Reviewed by:

• Translocas: The Politics of Puerto Rican Drag and Trans Performance by Lawrence La Fountain-Stokes
• Enzo E. Vasquez Toral

Loca, a Spanish word for a madwoman or a slur for an effeminate man, unsettles people as it travels across spaces in the Americas. In Translocas: The Politics of Puerto Rican Drag and Trans Performance, Lawrence La Fountain-Stokes breathes a new meaning into this stigmatized identity by introducing the neologism transloca, which accounts for the "trans-" elements of diasporic movement and displacement of Puerto Rico as a "transnation" (15). Instead of proposing transloca as an identity, La Fountain-Stokes builds transloca performance as a theoretical lens to read "Puerto Rican loca, drag, and trans theatrical, film, literary, activist, and cabaret/ nightclub performances" (3). Although the works under analysis extend from the 1960s to the present, Translocas is far from a historical account; rather, it theorizes based on historical events and individual works that speak of a broader phenomenon and considers drag and trans as elastic—and at times intersecting—labels to characterize performance. Specifically, La Fountain-Stokes argues that these transloca performances challenge the status quo and "are key to understanding translocal Puerto Rican, American, Latin American, and Caribbean national imaginaries and social processes" (6).

At its core, transloca performance is a decolonial mode of analysis that addresses the complexities of Puerto Rican race, gender, sexuality, class, and migration. Transloca is a term that resists Anglo-American words such as "queer" and the process of globalization and capitalist logics of LGBTQ politics. La Fountain-Stokes puts in conversation an impressive amount of literature about, or produced in, Latin America and the Caribbean across different languages and disciplines. In his opening chapter "Theorizing la Loca," he traces the different theorizations and uses of loca as a debated term in queer and feminist studies and places his own contribution in these genealogies. For instance, the late sociologist Lionel Cantú Jr. used transloca for the first time to refer to a group of Latina transnational feminist scholars (35). Although significantly different in definition, La Fountain-Stokes considers his use of this term as an extension of Cantú's insights.

The two subsequent chapters focus on separate groups of performers who embody the contradictory aspects of transloca performance such as life and death and glamour and poverty. Chapter 2 contrasts the transloca aesthetics and self-fashioning of androgynous drag performer Nina Flowers to those of aspiring fashion designer and makeup artist Jorge Steven López Mercado and femme trap singer Kevin Fret, who were both brutally murdered. La Fountain-Stokes delineates the ways in which transloca embodiments and knowledges manifest in these three artists to argue for a broader transloca epistemological framework. Homing in on class as a vector of analysis, chapter 3 argues for the transloca drag of poverty as "a multifaceted, resourceful drag of resistance and negotiation, involving contradictions, invention, and inversion" (70). Drawing from solo performance, autobiography, film, and television appearances, this chapter analyzes the individual works of Erika Lopez, Holly Woodlawn, and Monica Beverly Hillz in juxtaposition to the radical activism of Sylvia Rivera. Historically grounding the work of each of these performers, La Fountain-Stokes shows how they "challenge[d] social structures in the context of inequality" across time (101).

Throughout his book, La Fountain-Stokes accounts for whiteness in Puerto Rican identity by introducing some artists as "light-skinned"; nevertheless, it is only in chapters 4 and 5, where race takes center stage, albeit in distinct manners. In chapter 4, La Fountain-Stokes introduces the works of Freddie Mercado in genres such as painting, installation, performance art, and female impersonation. The author coins "ultrabaroque drag of rasanblaj" (reassembly, in Haitian Kreyòl) as a rubric to read Mercado's aesthetics—epitomic transloca work in its ability to cross "the line between sanity and madness, the known and the unknown, and the real and the imaginary" (105). As a light-skinned performer, Mercado's treatment of the politics of race and mestizaje in Puerto Rico...

审核人：

• Translocas： Lawrence La Fountain-Stokes的波多黎各变装政治和跨性别表演
• 恩佐·E·瓦斯奎兹·托拉尔

Loca是一个西班牙语单词，意思是疯女人，或者是对柔弱男人的诽谤，当它穿越美洲时，人们会感到不安。在Translocas : The Politics of Puerto Rican Drag and Trans Performance中，Lawrence La Fountain-Stokes 通过引入新词transloca为这种污名化的身份注入了新的含义，它解释了波多黎各散居运动和流离失所的“跨”元素一个“翻译”（15）。La Fountain-Stokes 没有提出 transloca 作为一种身份，而是将transloca 表演构建为一个理论镜头来阅读“波多黎各人的loca、变装和跨戏剧、电影、文学、活动家和歌舞表演/夜总会表演”（3）。虽然所分析的作品从 1960 年代延伸到现在，但Translocas远非历史记载；相反，它的理论基于历史事件和个人作品讲述了更广泛的现象，并将变装和跨性别视为具有弹性且有时相互交叉的标签来表征表演。具体而言，La Fountain-Stokes 认为这些 transloca 表演挑战现状并且“是理解的关键跨地方的波多黎各人、美国人、拉丁美洲和加勒比国家的想象和社会进程”（6）。

从本质上讲，transloca 表演是一种非殖民主义的分析模式，旨在解决波多黎各人种族、性别、性取向、阶级和移民的复杂性。Transloca是一个抵制英美词汇的术语，例如“酷儿”和全球化进程以及 LGBTQ 政治的资本主义逻辑。La Fountain-Stokes 发表了大量关于拉丁美洲和加勒比地区或制作于不同语言和学科的文学作品。在他的开篇“Theorizing la Loca ”一章中，他追溯了loca作为酷儿和女权主义研究中一个有争议的术语的不同理论化和使用，并在这些谱系中做出了自己的贡献。例如，已故社会学家 Lionel Cantú Jr. 使用transloca首次提及一组拉丁裔跨国女权主义学者（35）。虽然在定义上有很大不同，但拉方丹-斯托克斯认为他使用这个术语是对坎图见解的延伸。

随后的两章关注不同的表演者群体，他们体现了异地表演的矛盾方面，如生与死、魅力与贫穷。第 2 章将雌雄同体的变装演员 Nina Flowers 的异域美学和自我塑造与有抱负的时装设计师和化妆师 Jorge Steven López Mercado 和女性陷阱歌手 Kevin Fret 进行了对比，他们都被残忍地谋杀了。La Fountain-Stokes 描绘了 transloca 的体现和知识在这三位艺术家身上体现的方式，以主张更广泛的 transloca 认识论框架。第 3 章将阶级作为分析的载体，论证了贫困的异域拖累作为“一个多方面的、足智多谋的阻力和谈判，涉及矛盾、发明和倒置”（70）。本章从个人表演、自传、电影和电视节目中汲取灵感，分析了 Erika Lopez、Holly Woodlawn 和 Monica Beverly Hillz 的个人作品，并与 Sylvia Rivera 的激进激进主义并列。La Fountain-Stokes 从历史上将这些表演者中的每一个的作品都建立在基础之上，展示了他们如何随着时间的推移“在不平等的背景下挑战 [d] 社会结构”（101）。

在他的书中，拉方坦-斯托克斯通过介绍一些艺术家为“浅肤色”来解释波多黎各人身份中的白人身份。然而，只有在第 4 章和第 5 章中，种族才占据了中心位置，尽管方式不同。在第 4 章，La Fountain-Stokes 介绍了 Freddie Mercado 在绘画、装置、行为艺术和女性模仿等流派中的作品。作者创造了“rasanblaj 的超巴洛克式拖曳”（reassembly，海地克雷奥）作为阅读梅尔卡多美学的标题——典型的 transloca 作品能够跨越“理智与疯狂、已知与未知、真实与真实之间的界线”。想象的”（105）。作为一个浅肤色的表演者，Mercado'