Watch the video of the event below or on YouTube.
Recorded on October 15, 2026, this video features a conversation with Norma Alarcón, Professor Emerita of Chicanx Latinx Studies at UC Berkeley, a groundbreaking Chicana theorist and feminist scholar. The conversation centered on the book Forced by Circumstance: A Chicana Feminist Journey (1981–2024) a deeply personal and intellectual reflection that spans Alarcón’s groundbreaking work in Chicana feminism, cultural studies, and social justice. The book is a collection of essays that was co-edited by Norma E. Cantú, Dionne Espinoza, and Marisa Belausteguigoitia.
Dr. Alarcón discussed her work alongside Professors Norma Cantú (Murchison Professor, Trinity University) and Laura E. Pérez (UC Berkeley). The event was presented by the UC Berkeley Latinx Research Center and Social Science Matrix.
About the Book
Forced by Circumstance: A Chicana Feminist Journey (1981–2024) is a powerful new book, a deeply personal and intellectual reflection that spans more than four decades of groundbreaking work in Chicana feminism, cultural studies, and social justice. Professor Alarcon’s voice has shaped conversations about identity, gender, culture, and power for generations of students and readers. Now, her story — and the ideas that have transformed an entire field — are available to the public. The book gathers in one volume foundational essays by, and interviews with one of the most highly esteemed intellectuals in Chicana/o, Latina/o, and Feminist Studies. Reading Alarcón’s essays—from her early work on Mexican feminist writer Rosario Castellanos to her recent reflections on the carceral state and the political debacle that our contemporary situation presents—not only offers readers a sense of the intellectual trajectory of one of our most important Chicana feminist thinkers but also brings to a new generation of scholars and readers classic essays in Chicana/o Studies, Cultural Studies, Feminist Studies, and Literary Studies.
Podcast and Transcript
A podcast recording of this event can be found below or on Apple Podcasts.
(Music)
[CORI HAYDEN]
Welcome. So glad to have you all here. I’m director of Social Science Matrix, and We have the enormous pleasure today, working with the Latinx Research Center, to host this panel in honor of the work and career of Norma Alarcón, a giant of Chicana feminist thought.
So glad to have you here and to have all of you with us. This event will be moderated by Profesora Laura Pérez of the Department of Ethnic Studies and chair of the Latinx Research Center, which is, I don’t need to explain to you all, an interdisciplinary and trans-Americas research hub here at Berkeley. Laura is a core faculty member of the Department of Women’s Studies, an affiliated faculty member in the doctoral program in Performance Studies, and of the Center for Latin American and Caribbean Studies. She publishes widely in journals, anthologies, exhibition catalogs on decolonial thinking and Latinx art, on Latinx spirituality, Latinx critical thought and philosophy.
Pérez is the author of, among many works, Chicana Art: The Politics of Spiritual and Aesthetic Altarities, and Eros Ideologies: Writings on Art, Spirituality, and the Decolonial, among many others. It’s so wonderful to have you all here and to have you here, Laura. Without further ado, let me turn it over to you to get us started. Thank you so much.
(applause)
[LAURA ELISA PÉREZ]
Thank you, Cori. Thank you so much. Well, good afternoon, everyone. I am Laura Pérez.
As Cori just said, I’m a professor in the Department of Ethnic Studies and the chair of the Latinx Research Center. It is a great pleasure to welcome all of you. And our two guest speakers, Doctors Norma Alarcón and Norma Cantú, to the celebration of Dr. Alarcón’s new collection of essays, Forced by Circumstance: Chicana Feminist Essays, 1981 through 2024, co-edited by Doctors Norma Cantú, Marisa Belausteguigoitia, and Dionne Espinoza, and published by San Francisco’s Aunt Lute Books. I would also like to thank the Social Science Matrix for co-sponsoring and hosting this event, the Department of Ethnic Studies, the Chicanx Latinx Studies Program, and the Democracy and Latinx Faculty Cluster for their generous support.
I also want to thank the Social Science Matrix and Latinx Research Center staff who helped organize this event, Chuck Kapelke in particular, and on Norma’s end, Joe McKesson. Thanks also to Alma and Diego and Luis Javier.
(applause)
Thank you, everyone. Our program will begin with my introduction of the two Normas. Then Dr. Alarcón will read from her book and discuss it, and then Dr. Cantú will speak about the editorial process and the importance of the collection. Dr. Cantú and I will lead the Q&A with questions for Dr. Alarcón, and then we’ll open it up to the audience online and here physically present.
So let me start. The two Normas are longtime friends, both distinguished scholars and mentors to countless outstanding feminist scholars.
Norma Cantú is the Norine R. and T. Frank Murchison Professor of the Humanities at Trinity University in San Antonio, Texas, where she teaches Latinx and Chicanx studies, folklore, and creative writing. She taught at Texas A&M International University for 20 years and then taught in the Department of English at the University of Texas in San Antonio. She earned her PhD from the University of Nebraska-Lincoln.
And she served as senior arts specialist with the National Endowment for the Arts, Folk and Traditional Arts Program. She’s author of the award-winning novels Canícula: Snapshots of a Girlhood en la Frontera, and Cabañuelas. She also published the poetry collection Meditación Fronteriza: Poems of Love, Life, and Labor, and has edited or co-edited over a dozen anthologies.
Her most recent include Chicana Portraits: Critical Biographies of Twelve Chicana Writers and the co-edited volume Somos Tejanas: Tejana Identity and Tejanidad. She’s also author of Fiestas en Laredo: Matachines, Quinceañeras, and George Washington’s Birthday. She lives in San Antonio, Texas.
Norma Alarcón is professor emerita in the departments of ethnic studies, Spanish and Portuguese, and gender and women’s studies here at the University of California, Berkeley. She was founder and publisher of the historic Third Woman Press, which began as a journal and then went on to launch the careers of many Latina writers. Her early critical writings brought attention to writers that today are very well known to us, such as Sandra Cisneros and Ana Castillo. She is author of Ninfomanía: El discurso feminista en la obra poética de Rosario Castellanos, Nymphomania: The Feminist Discourse in the Poetic Work of Rosario Castellanos.
And she’s also co-editor of Between Woman and Nation: Nationalisms, Transnational Feminisms, and the State. Trained as a literary scholar at Indiana University, where she received her PhD, her work as a Chicana woman of color feminist theorist has been courageous and groundbreaking.
Early on in her career, and persistently, she has analyzed the impossibilities of exercising voice and subjectivity for women of color within patriarchal thought and within Eurocentric white feminist thought. Pioneering as well was her analysis of the silenced Indigenous woman within Mexican and Chicano male-centric cultures. The intellectual rigor and subtlety of Norma Alarcón’s thought is recognized internationally and across the humanities and social sciences, and her essays have been reprinted in numerous anthologies and journals. She has received the highest honors from the National Association of Chicana and Chicano Studies and the Mujeres Activas en Letras y Cambio Social, and she was recognized by the Modern Languages Association for her contributions to Chicana and Chicano literature.
Forced by Circumstance is the long-awaited collection of 19 of her most important essays and two interviews. So, without further ado then, I’d like to invite Norma Alarcón to read a passage from her collection and then to To join us with further comments.
Norma, please.
[NORMA ALARCÓN]
This is an honor of critical thinkers, DEI and woke critical thinkers, whose books, some of them have been already banned in the curriculum of Kindergarten through 12th grade, like all the children’s books by minorities, by minority authors in the United States, as well as all LGBTQ plus, their critical thinking in those texts have all been banned out of the K to 12. It is my desire that They don’t have the time to come after the universities in the next two years of the Trump regime, because that is the plan. That is the plan for Project 2025, to assault the universities.
I don’t know which university. You are aware that they started with the elite institutions already. Maybe all of us. I have no idea what the plan is. I do know that J.D. Vance is going around telling everyone ‘Give us a chance. Two more years. We haven’t finished our project.” And I take that as a kind of clue that we may be next between now and 2028. And I, as you may have noticed, I dedicated the book to my students who enjoyed the challenge of critical thought and in turn challenged me.
I want to read you the poem. That I wrote and published around 2010 or ’11, por ahí, and was published in an anthology by Arteaga.
The poem is called “Forced by Circumstance,” which I dedicate to Sor Juana Inés de la Cruz.
Forced by circumstance to be a woman, I’ve had to live far from your scent, far from your calloused lips and smoke-stained hands. The day I left, I heard the missed crack of a wishbone. I longed to pull your flesh off every rib, putting off a kill I felt fated to fulfill.
I held back. I held back gestures, glances, even sounds. I have had to let you go to evoke my name, though you follow me, though your face follows me, reminding me of the unsaid. Enveloped by the silence of a mushroom cloud, I left with cardboard boxes, arm in arm, and joined the endless lines of hapless immigrants who gather up their breath And walk.
I’ve walked everywhere. I’ve walked everywhere you walked, followed your tracks on pressed down dirt. I’ve lived inside your every move, your every thought.
Forced by circumstance to be a woman, I’ve lived far from your scent. Though your face follows me, reminding me of the unsaid.
This poem is dedicated to Sor Juana Inés de la Cruz, who has been inspiring me for 50 years. Now, I’m going to read a passage from my preface that I selected for this particular event.
It is the challenge to and the fugue from those patriarchal structures that can produce the thought of one’s own as one faces the issues that beleaguer our ability to even speak, let alone write and think. So what is a word or a thought of one’s own?
What can that be? So much verbal rubbish continuing to bury the so-called feminine condition, when indeed it may well be the condition in those branded as a woman from birth and constructed in accordance with her reproductive organs. These mentors, as well as many Others I cite in the work that follows constructed thoughts of their own by challenging the misogynistic heteropatriarchal regime that continues to brand and plague women. I’m not alone.
I think, in order to have enough time, I’ll skip another one, a passage I had chosen, and go to the next one. In the preface, so that I have time for the other passages. This is the conclusion to the preface.
What one has to say or write or think does not fit into the words available. Sor Juana did not have the language at hand with which to express the disastrous devastation she underwent when the church rejected her and deprived her of the tools of her labors. Imagine…
Imagine a sculptor, an architect, a fisherwoman without the tools for the job. One has to take apart the master’s and mistress’s house.
One has to rebuild, and we have to do it over and over again, as Gloria Anzaldúa tells us. In the call for the Coyolxauhqui imperative, the poverty of language presents itself as a fact when one attempts to express our confoundedness with the language available.
If nothing more, for starters, we have to unscramble the rhetoric that traps And imprisons us. And this is from the preface, so I selected those from the preface. I also selected my epigraph from an essay that a colleague once upon a time told me was my signature essay.
I hadn’t thought of such a thing myself, but it’s like, I guess, your role in a breakout movie. Here is the epigraph that I choose from Todorov, which precedes my “Translator Traitor” essay. When the Spanish conquistador appears, this woman, a Mayan woman, is no… is no mo-… is, is…
Sorry. Sorry.
It’s more than… It’s more than she… It’s more than the site where the desires and wills of two men meet. To tell men to take, to rape women, these are the conquerors and wield the power that is his reward.
She also is subject to her husband. So the Mayan woman here has two masters: the conqueror and her husband. She is the internal other of her husband and the external other of the conqueror, and she has to help herself to get outside of this predicament. In other words, she has two masters on the conquest.
And I also think of it in terms of the United States, in the essay, the Chicanas are the colonized of two masters: Anglo-American and her husband or her partner or whoever is male is in her life. She is the internal other of these people and of these men. Now I want to move on to a passage I chose from Habermas, the German philosopher that, in my view, has inspired a great deal of thought in the North American right-wing thinkers, intellectuals, and the authors, to some extent, of Project 2025.
And… This is what he says at the conclusion of his essay on multiculturalism, and the era of multiculturalism, which I take from a book called by that name.
And this is Habermas’ conclusion, which I think has inspired many of the thinkers that have Constructed the legalistic regime and other forms of discourse that oppress. He concludes his essay by saying, I conclude him by saying, the clarity of thought in Habermas should not be under— especially its apparent administrative resolutions in the historical context of a legal community. It interpellates a historically constructed Anglo-America and those who have been able to seek protections and entitlement to that proceduralism.
Insofar as the rhetoric and practitioners of the cultural politics of difference, each in turn and focused around their historically constitutedness, have engaged in a dialogue, in a dialogism with a proceduralist center, we have not been able to produce a notion of the coalitional subject. White paranoia and panic have reached extreme proportions in California, as reflected in the negative adjudications of Rodney King rights and those of Indigenous and immigrant people via the passage of Proposition 187 of the upcoming Irony not intended.
California Civil Rights Initiative. As you can see, I wrote it a few years ago, but I was right on, I think, with respect to this particular thinker. My thinking at this point is that his work has influenced the right wing in the United States, particularly the intellectuals. Those that have restructured the legal system with Leonard Leo, and those that he taught, all the lawyers he has taught, maybe Blanche is one of his pupils, the Attorney General.
I don’t know for sure. It’s just a suggestion. So I wanted to read it because Although it’s dated vis-à-vis a few years, What he has said, he said it a lot long ago, more like 20 years, 30 years. And I think that he has been instructed to all of these people that at this particular point in time are going to close up our windows and our doors.
And if I have a little more time, I wanted to Read something from Imbrications. Here it is.
Imbrications is in the third section of the book. It was an essay I wrote more recently, maybe five years ago or so, maybe six. I don’t remember exactly. And this is what I wanted to do.
The essay is a meditation on my part, engaging Cherríe Moraga, Emma Goldman, Gloria Anzaldúa, and most especially as well, Anzaldúa’s essay La Prieta. But this is the part I wanted to read for today, and that is, One’s contingent and constructed life formations, especially in our youth, is inescapable and must be confronted over and over again until, the poison is extracted or dematerialized, keeping in mind the self-transformations we desire.
However, it is a never-ending process that becomes less burdensome in time. I wanted particularly to read that for the youth because the journey starts with the first rebellion of our children.
The first rebellion of our children. I’ll just time it in my own life. My first rebellion was at three years of age.
The next rebellion comes about ten, And the next rebellion is adolescence, when our consciousness comes into full bloom and we don’t know how to handle it, and we try and we rebel as well we can. And we can see that in all our youth, as well as our own personal experience, if you reflect on them. And I wanted to cite this particularly for those of you who are still in your youth, as it were.
And… And thank all of these writers that have helped me think through and meditate on their more intimate side of their thinking and their emotional formation. And imbrication takes that into account.
And I also wanted to, in conclusion, thank all the people that have helped me put this book together. My tocaya, Norma Cantú, Laura already mentioned. Also Marisa Belausteguigoitia, who has been also tremendous in spreading the word, as it were, to the UNAM. And I thank her for that.
And Dionne Espinoza for her magnificent introduction to the first and second sections of my book. It is a tour de force, I think. I think my tocaya agrees, don’t you?
That she did. There was a tour de force with respect to the incredible work she did in further contextualizing, further giving context to my work, so that all of her footnotes— and I thank her for that— to all the footnotes that she added to mine in terms, because I know that she drew on her knowledge through the books that she has published. With women activists, with poets and writers, and with her colleagues in LA.
And I thank her very much for that, for adding to my knowledge as well. Also, I don’t know if the time is up, but I do want to close with an upbeat note. And I want to recommend the new book by some of my favorite podcast women, white women from Oklahoma, who had the podcast I’ve Had It. Jennifer Welch, who leads the podcast, has just published a book called Not Today, Fascists.
I encourage those of you who love raw language, who love the vernacular in English, who like to have women that expose the GOP, the men in the GOP to their closetedness and the way that they bring down Grindr whenever they have a rally in Dallas, wherever they have a rally. And I love them. They make me laugh with respect to these assholes. Thank you.
[LAURA ELISA PÉREZ]
Thank you, Norma. And now if I can ask Norma Cantú if she could follow and maybe tell us something about the editorial process of putting this book together, and also maybe how you understand the importance of this book.
[NORMA ELIA CANTÚ]
Absolutely. Muchas gracias, Laura, and buenas tardes, everyone. Good afternoon.
I come to you from the land of the Coahuiltecans, the land of Yanaguana, which is San Antonio, Texas. And the Process, how the book came about is long and tedious.
I’m not gonna bore you with that. As you know, any book takes a long time. This one in particular, because as I recall, we started working on it pretty soon after my tocaya moved to San Antonio in the early 2000s, 2006, ’07, por ahí. But it was in 2008 that we started putting together the poems because there are other poems and the essays and… I left in 2013 to go to Missouri, came back, the book was still not done.
Others had said they would want to work on it, but it didn’t happen. So we took it up again, although by then my tocaya had left San Antonio.
So it was a long, tedious process of trying to recover those essays that had been gathered. And, well, we invited and we got Marisa Belausteguigoitia to come on board, and of course, Dionne Espinoza. We call it the triangle, the three of us working, alongside with tocaya to get the book in shape. She had, of course, complete control as to what went in it.
Not everything got in, and she also had control as to what happened when. The natural divisions, it seemed to us, were the sections that ultimately comprised the book.
So there are three parts. Hay que inventarnos is the first one, and it recovers some of the early work, especially with Rosario Castellanos and some of the early essays. On Chicana literature and on feminine culture from Rosario Castellanos. The second one takes a theoretical turn and goes into the theoretical subjects.
And there the essays pretty much look at some of the writers, but it also, of course, brings in Castellanos again and Anzaldúa. Anzaldúa and Textualities is the last essay in that section.
and it’s a nice kind of segue into the last section where we now are doing something totally different, and it is talking about the interviews. And also the imbrications, and that’s where that essay is. Anzaldúa’s Insurrection of Subjugated Knowledges, an interview with Norma Alarcón. The conjugations, the insurrection of subjugated knowledges and exclusionary practices.
Those are the titles. And then we concluded with what had been part of an earlier introduction that Marisa had written, separate from Dionne’s, with a epilogue that takes it still in a different direction and talks about the work in terms of pedagogy. As you all know, Professor Alarcón, as a professor, had been mentoring and working with students throughout the whole period, and so it just seemed like a natural conclusion that was really a beginning, because it’s passing the baton on to her students. The book is dedicated to her students.
So that just to say that As difficult and as laborious and as challenging as the project was, it has been very rewarding. I won’t bore you talking about looking for a press and which presses and why and when and back and forth.
We worked on it, Oh, I don’t know, well over two or three years, at the end when we’re putting the book together. And we were very lucky that Aunt Lute Books picked it up and gave us what I think is a beautiful, beautiful volume that It’s in many ways a pathbreaking kind of book. It’s an anthology of a person’s life’s work, but in addition to that, it is so contemporary, and it is so on point with all the stuff that’s happening today.
So, excuse me, as you go back and read some of these early ’80s, ’90s essays, it just amazes me how They’re still so relevant and still speak to what we are going through, unfortunately. But I think it gives us a grounding.
And here I’m now shifting into the significance of the work. When we first talked about doing the book, I think, my tocaya was still at Berkeley way, way back, and it was because she didn’t have a book.
a solo-authored one book, except for the Rosario Castellanos work. So we started looking at which essays would go together.
And I really believe that books have a life of their own, and it was gestating this long because it needed to. So that we can see the trajectory of the thinking, the trajectory of the work evolving. And it’s always been political. It’s always been feminist.
It’s always been earth-shattering and illuminating. But if you put it in pieces, it doesn’t sound like it. It doesn’t seem like it.
And the essays were scattered all over in different journals, important journals nonetheless, and they were cited often. But seeing them all together in one volume I think really makes difference, and it hits at why it is so significant.
The sheer brilliance of the analysis and of the insights, not just on literature and culture, but also on the scholar that my tocaya is. And the one essay I’m referencing here is the one on being a Chicana academic, because it rings true for so many of us in our own situations in various departments, in various universities.
All over the world, I would say, not just in this country, because it talks about that conundrum. Who are we as Chicanas? How are we engaging with the academy? And what is it that we’re doing to change the world, not just for ourselves, but for those who come after?
And to me, that’s the Greatest impact that the book will have. It’s moving slowly but surely out into the world, like all books, and it brings readers who need to hear it, who need to read the words, who need to be affirmed that they are not alone, that this is not the first time, and that we need to continue porque la lucha sigue. It hasn’t ended yet.
And that’s why I’m so happy that Professor Pérez invited us to speak to students, because it’s in your hands now. You’re going to take the words. You’re going to take the insights and run with it.
And I think that’s my comments. I can come back and add if you have any questions, but I think, Dr. Pérez, that I have addressed the two, the process and then the significance.
[LAURA ELISA PÉREZ]
Thank you.
[NORMA ALARCÓN]
Can I add something?
[LAURA ELISA PÉREZ]
Thank you very much.
[NORMA ELIA CANTÚ]
Please.
[LAURA ELISA PÉREZ]
Yes, please.
[NORMA ALARCÓN]
I want to add something about, vis-à-vis Marisa Belausteguigoitia. Because I think she has done an incredible job. She was my student for six years.
I mean, she traveled all over the campus, but we connected for six years in Berkeley. And she took most of my classes, my seminars. And she has done an incredible job, I think.
And deep thought, fantastic. I just reread it today, and I’m surprised that she thinks I did that in the classroom.
I’m surprised every time I read it. I did that in the classroom, and I had a witness. And that’s Marisa Belausteguigoitia, who has also been with me at the UNAM to bring translated— She facilitated the translation of Gloria Anzaldúa’s Borderlands into Spanish, and I think that’s traveling globally.
[NORMA ELIA CANTÚ]
Mm-hmm.
[NORMA ALARCÓN]
She has also been translated with my tocaya and Paola Bacchetta in French, and that’s also traveling all over the world, thanks to them. And I also want to add that my style of pedagogy, because of Marisa Belausteguigoitia, is traveling all over the world. I wanted to mention that, to thank her for that.
[NORMA ELIA CANTÚ]
And yeah, I can continue the conversation because she talks about working in the prisons and taking the knowledge
[NORMA ALARCÓN]
Right.
[NORMA ELIA CANTÚ]
outside of the university walls.
[NORMA ALARCÓN]
Mm-hmm.
[LAURA ELISA PÉREZ]
Thank you for adding that. Yeah, they’re two really outstanding students of yours, Norman.
It’s wonderful to see how they worked with With Norma Cantú to bring this collection of essays, and I agree, Norma Cantú, that now finally in this volume, we’re going to be able to really see the impact of Norma Alarcón’s thought, because some of her essays are very well known in some circles, others are known in other circles, but when you see the amount, right, and this is even just a selection of essay after essay after essay after essay after essay that, she wrote that had very powerful and very groundbreaking analysis at the time, You realize that this is one of our thinkers that still has to be reckoned with, and that will certainly be counted as one of the historic women of color thinkers of the United States. So it’s incredibly exciting to have this volume. So Dr. Cantú and I will lead with a couple questions, and then we’ll open it up to all of you in the public and those who are online. So I wrote up a bunch of questions, but I’ll control myself and just ask maybe two.
So, Norma, This is a general big question, but I absolutely can’t resist because if I’m gonna ask anyone this question, it’s gonna be you. So where are we now in the world of feminist thought after so many decades of women of color creative and theoretical and scholarly writing?
[NORMA ALARCÓN]
Where are we now? That’s a question I’ve been posing to myself ever since that orange man, who is a pedophile and a rapist.
[LAURA ELISA PÉREZ]
Yes.
[NORMA ALARCÓN]
And somehow attracted 30% of the electorate, his base. I’ve been asking that myself because they have wiped out all the webs, all the terminology that feminists, all minorities of color, LGBTQ, all the terminology that we have introduced into the world is going to have to come back to us from the outside because they have wiped out all the web pages, all the terminology we introduced.
The last time I heard of a statistic, it was something like 5,000 terms have been erased from the federal government web pages. That includes all the agencies that have been wiped out. That includes the CDC because it includes scientific terms.
In other words, the goal is to bring on a dark enlightenment, of which the author is Peter Thiel. The visionary there is Peter Thiel, straight from Germany, Nazi Germany. His father was a Hitler sycophant, and he is now One of the trillionaires to be in the United States, a captain of AI.
They’re wiping out feminism as best they can. Of course, you are aware they started with the Dobbs decision to wipe out reproductive freedom, and they’re wiping out as much as they can of the three major groups that I’ve outlined in other places, and that is all people of color, including Ilhan Omar, whose passport was taken away from her now. Her telephone and her laptop. After they raided her house.
As you know, Trump hates Ilhan Omar. She needs a lot of help because he’s gonna put her through the— He has hated her for four years because she checked. All the Squad women of color in Congress are hated by Trump. So women are being wiped out everywhere.
All they want Go to that term that Margaret Atwood introduced in her Maiden’s Tale, Handmaiden’s Tale. And so I say that as a backdrop to ask us, Where are we going to pick up the pieces? And we have to preserve our libraries, be very careful with our archives, et cetera, et cetera, that they can’t get their hands on.
And we have to think together. Where do we start again? Now, for example, for me, I started, I think, thinking in these terms with This Bridge Called My Back. And that can be an inspiration for us in a second iteration with a different terminology than This Bridge Called My Back in order to advance the process.
And that’s an idea. I have been thinking about what we need to do. In the academy, and then what needs to be done in just ground politics and what needs to be done, in everywhere, because they’re trying to wipe us out. They don’t want us.
That’s what woke is to them. In other words, they want to have a Christian nationalist theocratic society.
That’s the ultimate goal. That’s why the base hasn’t been shaken by Trump, that this 30% of the electorate keep Keep voting that 30%, and they count on it. You see them going to Texas, you see them going to Alaska, you see them going to Ohio, Oklahoma, wherever they go, and they’re trying to keep that 30% to 33% that they’ve had, that Trump has had since the beginning.
It’s a cult, and now everybody’s realizing that it is a cult because they are waiting for the rapture, the end of times. This is their goal.
The ultimate goal is to form a Judeo-Christian alliance with the Israelis, and they hoped for, with the Arabs, is with Saudi Arabia, but I don’t know if that’s going to happen. But that’s their dream. We would be a theocratic world.
That’s their dream. And their dream is also to bring together a planetary corporate world.
And to have three columns, Jinping, Putin, and Trump, or whoever succeeds Trump. And there would be three hemispheres they will have control of. That’s the goal. J.D.
Vance wants to play, and Peter Thiel wants to play. And so we have to think… The reason I tell you their goal is, well…
Vis-à-vis feminism is because this is what feminists, women of color, LGBTQ have to contend with, as well as men. Men have to join in this because it’s their world too. At least the 60%, more or less, that… the 60% men and women that are not part of the cult.
I don’t know who they are. I know that in Berkeley, the faculty was divided with the American Culture Center. It was very visible.
I was there for the debates, I was there for the votes. And the American Cultures passed, but the faculty was terribly divided.
So by the time I left the university, the division against American Cultures had won.
[LAURA ELISA PÉREZ]
Yeah, thank you.
[NORMA ALARCÓN]
I mean, I don’t know if that helps.
[LAURA ELISA PÉREZ]
Thank you, Norma. Yeah, thank you for that. I found it really useful. You’re pointing to something super basic, which is literally, literally the erasure of words, right? Like
[NORMA ALARCÓN]
Absolutely. Absolutely.
[LAURA ELISA PÉREZ]
the sanitation and the destruction of books and censorship. So it’s a really, really basic on some level. Thank you for that. Dr. Cantu, do you have any questions that you’d like to
[NORMA ELIA CANTÚ]
Sure.
[LAURA ELISA PÉREZ]
ask?
[NORMA ELIA CANTÚ]
I’ll kind of segue from that. Awful view, and it is dystopian on so many levels. And I think tocaya and I have talked about this over the years, that the only way we can counter it is through our own work. And definitely the archives, keeping things alive, keeping the books, but also living to change that, to counter that with our actions, with our words.
It’s happened before. There have been attempts to do similar things before, have not succeeded because people stood up or basically did the right thing. I’m an optimist.
I think that’s gonna happen regardless of whether the dystopian world comes to be where there is this worldwide international fascist state. Maybe multiple states, but still the one run by the multinationals and AI. AI is already part of that plan so that they can take over, and meaning they, the AI even. I don’t want to be alarmist in that direction, but I think we need to contend with all of that.
So my question is actually to all of us, not just to my tocaya. What are we doing? I know what she’s doing, and I applaud her for it because she hasn’t stopped thinking and writing and putting it out in the world and being present. But what are we, each one of us, doing in our daily lives, in our work?
Anzaldúa kept telling us to do work that matters, vale la pena. And I want to go back to that because whatever matters, whatever that work matters, that’s where we need to be at. That’s where we need to keep doing it.
And another… Kind of platitude, I guess. It doesn’t really matter if you change the world. What matters is that you keep trying.
And if we keep trying, I think— I really feel this— we’re gonna be a substantial, not just 60%. I’m predicting it’ll grow. It’s gonna take a while, it’s gonna take time, and it’s gonna take a lot of work. And that, unfortunately, I think a lot of people are not willing to do the work and just sit back and let things happen.
They don’t think it’s part of their task to vote, for example, or to get out there and write and do the thinking, the hard work that needs to happen. But I really think that’s the only way, when we all get in there and do the work. My question, I guess, to Tokaya, now this is not the one for everybody, is which part Or what is it?
Is there something we left out? And I know we went back and forth, but is there something not in the book that you wish we had included or that you think— I mean, some of the more recent things, for example? I remember one essay… I don’t know where it is because we didn’t pick it up, about the disposable subjects. That analysis of workers, I think, was critical, and it’s an important perception.
I think at the time we were talking about maquiladoras, but now it’s gotten even much more complicated and intense.
[NORMA ALARCÓN]
Mm-hmm. Yeah.
[NORMA ELIA CANTÚ]
So could you talk about that?
[NORMA ALARCÓN]
Yes. Yeah. This is a very sad subject. It is painful, and it even makes me cry. We are undergoing our second, or maybe even third.
I’m not enough of a historian to know if it’s third, but I know for sure it’s second. Our second Holocaust in the Americas.
Just the Americas. It is our second Holocaust in the fact that our immigrant workers that gave so much to this country for decades are being deported en masse, regardless of their status. Regardless of their non-criminality, 80% of those that have been deported have not committed a crime at all.
Some are languishing in what I call concentration camps. Everything I hear about that, those… Whatever they call it, I call them concentration camps, because everything I hear coming out of those centers that won’t even allow Representatives from Congress or senators sometimes enter the premises.
It’s oversight. But their reports are terrible with respect to their health, their misery, and they’re not telling us how many have died, but they have died. And we have to…
And in my last book presentation in San Diego, I brought back to mind my earlier… thought with respect to what was happening five years ago, and it is now exacerbated, is stateless people. And what I call the necrological politics of our time, picking on the avant-garde, the theater of cruelty and death, which we are seeing today in this hemisphere. I’ll just stick to this hemisphere.
Even though I know it’s happening elsewhere, because the statelessness and the necrological politics are global. They don’t care. They have no, no, they don’t care. Think about that deeply, because it’s deep.
They don’t care. This is why it is a theater of cruelty and death that they are…
And the reason I call it theater is because the base enjoys it. And obviously their leaders want it to happen. This is their way, if you will, of depopulating the planet.
Those de los sujetos sobrantes, which I call, and disposable subjects. Excess, subjects in excess. Subjects in excess right now might be the…
What you might call, you might say they call the concentration camps. And the subjects, disposable subjects, are the one in Salvador’s jail and other jails all over the planet.
[NORMA ELIA CANTÚ]
Mm-hmm.
[NORMA ALARCÓN]
Think of them deeply because they represent the lack of contempt, care, hatred. I don’t have enough words to tell you how deep that is. It is satanic for those of you who are Christian and believe in that. It is satanic. That’s what it—
[NORMA ELIA CANTÚ]
Mm-hmm. Thank you. Yeah, that’s kind of where I was hoping you’d go, because when we started talking about that, you gave a talk here in San Antonio. I don’t remember the year, but we were talking about the subjects along the border,
[NORMA ALARCÓN]
Mm-hmm.
[NORMA ELIA CANTÚ]
the women of Juárez who were being killed and the maquiladora workers and all of that.
[NORMA ALARCÓN]
Yeah. Yeah.
[NORMA ELIA CANTÚ]
Now it has exponentially grown to include Millions across the world.
[NORMA ALARCÓN]
Of course.
[NORMA ELIA CANTÚ]
But definitely here in the US with the undocumented, yeah.
[NORMA ALARCÓN]
I’ll see if I can find my essay on the maquiladoras.
[NORMA ELIA CANTÚ]
Yeah.
[NORMA ALARCÓN]
Because I did do an essay on the maquiladoras that I haven’t found. I moved so much in the past 10 years.
[NORMA ELIA CANTÚ]
Mm-hmm.
[NORMA ALARCÓN]
That I haven’t found it.
[NORMA ELIA CANTÚ]
Yeah.
[NORMA ALARCÓN]
But maybe now that I’m settled here until I return to nature, as I call it.
[NORMA ELIA CANTÚ]
Where we’re all headed.
[NORMA ALARCÓN]
Where we’re all headed, our return to nature. And that’s why I love to live by the sea, because it’s part of the return to nature. Anyway.
[LAURA ELISA PÉREZ]
Okay.
[NORMA ALARCÓN]
I’ll see if I can find it and share it with all of you.
[LAURA ELISA PÉREZ]
Okay, thank you, two Normas. I’m gonna move now to the Q&A in the audience and to some questions that we may have on Zoom.
[AUDIENCE MEMBER]
Thank you again for the lovely talk and the lovely reading of the passages. It’s truly an honor to be here and to be able to speak with you. So thank you again for the both of you.
And my question kind of arose when we were reading “Traductora, Traidora” in our class, and I wanted to ask you, Doctora Alarcón, about your… About your opinion towards words and words that you were used to denigrate women, like the B-word and other words that have transformed in today’s world, have seen new uses, and I’d like to know whether you see that either as a transformation, a reclamation, or as just using and propagating these words, but being told that they mean different things.
[NORMA ALARCÓN]
Which words that are not in my text are you talking about? Are you talking about words that are currently being circulating in our social life?
[AUDIENCE MEMBER]
Yes, mainly like the B-word.
[NORMA ALARCÓN]
Oh, yeah.
[AUDIENCE MEMBER]
I don’t know if I can curse.
[NORMA ALARCÓN]
Okay.
[AUDIENCE MEMBER]
Like curse words like that that were used to, Like, to demean women.
[AUDIENCE MEMBER 2]
You can use it.
[AUDIENCE MEMBER]
Oh, okay, lovely. I didn’t know if I could use it. Just words like… Now I feel like I can’t say it.
[AUDIENCE MEMBER 2]
So, like, bitch.
[AUDIENCE MEMBER]
Like, bitch voice.
[NORMA ALARCÓN]
I got it, I got it, don’t worry. If I can say assholes, you can say bitch.
[AUDIENCE MEMBER]
Thank you.
[NORMA ALARCÓN]
Well, the thing about bitch—
[AUDIENCE MEMBER]
But it—
[NORMA ALARCÓN]
the thing about bitch is that it has been popularized in gay male circles.
[AUDIENCE MEMBER]
Mm.
[NORMA ALARCÓN]
It has been popularized in a way among them. I’m not quite sure. I would have to ask my son the expansive, shall we say, meanings that bitch entails on gay males, okay? But I know that it has been popularized in that way, and not in a negative way.
I don’t think it’s negativistic use. It’s sometime I feel it that they’re equating themselves to us bitches, if you will. The way to keep it, if you will, part of our vocabulary and at the same time see a strength is meaningful transformation as a result of LGBTQ and others. And you can tell who is using bitches to demean women and who is using bitches to celebrate themselves.
Because that’s where that word is at right now. The one word that hasn’t appeared in the public media, even someone like Joe Rogan, you know, that is the right-wing person that…
Well, anyway, the one word that I have not heard yet, but it’s probably in Nick Fuentes’ mind, is the C-word that I will say. So ask those around you that know what the C-word is. I haven’t heard it yet in the things I listen to. I allude to Nick Fuentes because here’s a Latino, I think he’s Cuban.
Cuban American, like Marco Rubio. He is a Latino that is Hitler all the way and misogynistic to the max.
If you want to know the depth of misogyny out there, listen to Nick Fuentes. And…
[LAURA ELISA PÉREZ]
Yeah.
[NORMA ALARCÓN]
I think we’re gonna have to parse the vernacular that is where Pat has… We’re gonna have to assess the vernacular from the point of view of what is making it into… What is being appropriated in a celebratory way, and what is being appropriated to demean and just to go to the max and misogyny.
[AUDIENCE MEMBER]
Mm.
[NORMA ALARCÓN]
And so the vernacular that has been popularized by the leader, et cetera.
[AUDIENCE MEMBER]
Thank you very much.
[AUDIENCE MEMBER 3]
Hello. I just want to say thank you so much for taking the time to come and speak to us, and thank you to our profesora. My question is, how do we inspire meaningful change? Well, how do we inspire meaningful change to people who are so brainwashed by the fascist ideals in this climate?
[NORMA ALARCÓN]
Well, you know, my podcast ladies that I alluded to do a good job of trying to delineate between the possibilities and those that are part of the cult. And they have experience with the cult. In other words, they come from a state that is theocratic already, Oklahoma. And…
And, but with respect to other people, people that you meet on the street or wherever, I think reading groups, You’re reading groups with youth and texts that appeal to youth. And what do I mean by youth?
I don’t know. All undergraduates, high schoolers, 12th grade, 11th grade, something like that. So, and do reading groups with those kinds of texts that cross-sect each other. That are controversial on the right wing and that might be controversial on the whatever wing, if you will, and engage them.
Engage some right-wing twist of text, I mean, along with progressive texts with students so that they can, learn how to break down the walls. Of such a ideology that permeates.
Youth want to break away. They’re breaking. Some youth are breaking away.
And I think you would also look in the internet for podcasts that engage youth that are breaking away, that engage people that have left MAGA. There are youth that they have broken away. And you may want to look at Ash—what’s her name? Ashley St. Clair.
Ashley St. Clair. Who was a wife of Elon Trump Musk and has left MAGA.
She can tell you a great deal about her being seduced, if you will, by Elon Musk and MAGA and at the base they called the theocrats, if I can call them that. And look for her. She’s in her 20s.
She’s almost 30. My podcast ladies have some young women guests that, like her, that have broken away from some of these pedophiles. That’s what comes to mind right away.
[NORMA ELIA CANTÚ]
You know what, tocaya? It reminds me of how when you were in San Antonio, you had one of those reading groups with you.
[NORMA ALARCÓN]
Yes, I did.
[NORMA ELIA CANTÚ]
Mm-hmm. So it’s not just theory, it’s practice.
[NORMA ALARCÓN]
Yes. When I was in San Antonio, if you will, healing for my career,
(laughter)
I formed a group in middle schools. And one of those students broke my heart because she said something that I actually use in one of my essays as an epigraph. And I don’t remember exactly the wording.
It’s in the book. But what she said to me was that she wished she had the words for all of her images in her mind. They were middle school student girls. And I looked around San Antonio for these opportunities so that I could teach elementary things to young women.
Or work with them, and also with the idea of doing poetry workshops, which we did as best we could. And I would take samples of poetry within their reach. Poetry within their reach, but not infantilizing.
That’s important because middle school, they’re ready to rebel big time soon. And I also engaged with a school in Oakland where all the juvenile delinquents that were expelled from the schools, the Oakland schools, were segregated into this school. And one of the things that amazed all the teachers there, the high school teachers, that amazed is that I let them make so much noise.
(chuckles)
Because they were eager to talk. They were eager to express themselves.
I had them write a play in which each one of them would invent a character to play with each other and then script it. And then after they script it… Well, we had a chance to perform it, but only to ourselves.
And that was another idea that I did with younger people and delinquents.
[NORMA ELIA CANTÚ]
I found a quote. It’s the epigraph for Anzaldúan Textualities: The Hermeneutic of the Self and the Coyolxauhqui Imperative. If I had the words for all of the images in my head, life would be much easier.
[NORMA ALARCÓN]
Thank you. Thank you. So those are other ideas that take youth from middle school, let’s say, to older youth, even undergraduates.
[LAURA ELISA PÉREZ]
We have a question, I think, that someone has put up in the chat.
[QUESTION READER]
Yes, there’s a question from Ashley Herrera. It reads, “As technology increasingly mediates how we learn, communicate, and understand ourselves, what responsibilities do you believe the next generation of Chicana feminist scholars have in transforming and challenging these systems, especially now with AI?”
[NORMA ALARCÓN]
Oh, AI, yeah. Well, let me first say something about AI. My understanding from my son, who keeps up with such things and has interest in such things and other texts, is that by the time AI Shall we say, boils down the importance of text and systems is about 75 to 80%.
I mean, 20% to 25% reduction of a text takes place so that they are taking away, they are taking away the depth of whatever text they take because they just want the surface of text. They don’t want depth. AI does not want depth. This is why it’s so dangerous.
AI does not want critical thinking. AI wants to formulate a simple ideology that circulates all over the planet. That’s my theory.
I haven’t done as much on that as I could have because I was doing other things, but that’s the new frontier, so to speak. And we have to follow it very closely from the point of view of critical thinking. Critical thinking requires depth.
It requires depth of thought, requires depth of reading, requires it if you want to have CDC. It requires it if you want to have PhDs of any worth whatsoever. And so consequently, we have to think from the point of view what they’re taking away so we know how to protect it, and what modes we can protect it, and what ways we can protect it.
Because we have to see what the value of what has been produced up to date and which they’re trying to erase. And I think that becomes kind of the boundary, wherein they take away the depth.
Where do they take away the depth of what we have done? Obviously, I’ve already mentioned the erasure of terminology from all web pages in the United States. Imagine getting rid of the Webster’s Dictionary.
Imagine getting rid of the Oxford Dictionary. Imagine those kinds of things to see what depth they would take away from us at this time in history. Because they want to return us to…
We don’t need intellectuals, according to Peter Thiel, who is the visionary of this, and along with J.D. Vance as his sidekick or his wing side, whatever you call it, wingman. And he wants to be president.
I don’t think he will make it, but that’s what he wants. And I’m not sure if I… I don’t know if I covered all of the points you made, or text, what you said, but if I omitted something, let me know.
I mean, in your question.
[AUDIENCE MEMBER 4]
Kind of going off what my colleague said, thank you so much for being here. A very insightful talk for two of you, but as people who’ve seen progressive movements gain steam and kind of go into the mainstream, whether it be feminism or others, what playbook or what strategies do you guys think is going to be needed to kind of bring back these progressive ideologies given current fascist circumstances? Do you think the past playbook applies, or do you guys think that something new has to occur in order to gain back this coverage?
[NORMA ALARCÓN]
Well, my reading experience tells me that, unlike Reagan’s economy, there is a trickle-down in the textual economy. And consequently, proceeding from that premise, what you have to look at is how high theory is absorbed at the At the different intellectual levels in our society.
By different intellectual levels, I mean public intellectuals, newspaper people, you know, investigative stuff, and so on and so forth. They all carry high theory of some kind or another, or critical thinking.
And it trickles down and all the way to my iPod. My favorite podcasters, I’ve had it. And that’s one avenue of approach.
In other words, bring into mind Deleuze and Guattari’s One Thousand Plateaus. Think of it geologically.
You know how stones, mountains have these veins. The geologists very smartly analyze That’s like a metaphor for analyzing texts up and down with the same thematics or similar vocabularies or vocabularies that work in those ways. What else would I say to that? I think the introduction to One Thousand Plateaus would be very helpful because they go down to the rhizomatic.
And for Deleuze and Guattari, the rhizomatic, I would say in our time, in this moment in time in the Americas, for example, somatic have become the disposable subjects, that they have become the subjects in excess. And the rhizomatics are close to the ground and under the ground.
And this, like roots. But the way I read them is to see it as a theoretical proposition that has parallel transferable possibilities.
Do you follow me on that?
[AUDIENCE MEMBER 4]
Yes.
[NORMA ALARCÓN]
Read the introduction to A Thousand Plateaus. And then remember what I said about the other trickle-down economy, trickle-down textuality in a parallel way.
[LAURA ELISA PÉREZ]
Norma, can you just tell us what it is, because we haven’t read that, but can you tell us what it is about the rhizomatic that you think is useful for thinking about progressive— re-injecting energy into progressive movements? What is it about Thousand Plateaus and the rhizomatic that seems to really be speaking to how we can organize or think right now in a progressive way?
[NORMA ALARCÓN]
I wish I could read it with you. Let me think.
[LAURA ELISA PÉREZ]
That would be fun.
[NORMA ALARCÓN]
Yeah, that would be fun. They conceptualize the rhizomatic as the roots of a tree.
They don’t necessarily say a tree. They don’t say we’re looking at a tree of life, but it is a tree of life in its own way, if you know what I mean. And the rhizomatics are the roots.
Are the roots. That means not just the ones, the men in CECOT and in Central America, because all of Central America has become CECOT.
If Milei has his way, he is popularizing his prison mode. The prisoners, men and women prisoners. The disposable subjects, stateless people, and all Indigenous people. The Indigenous people that we know here in the Americas that are still laboring in Chiapas or Zacatecas or wherever, in South Dakota, North Dakota, whatever, they’re still on the ground.
They’re standing on the ground. But below them in this rhizomatic are the ones that may never see the light again. I would start there because although they don’t say these things, the way the rhizomatics work is that this are what is anchoring us, and at the same time that they are dying. And after that, you proceed with the plateaus.
The plateaus that can be visualized in a kind of hierarchical way. But the rhizomatics are down there. So, for example, let me take a risk here and say, Subcomandante Marcos and the Zapatistas are standing on the ground.
And their rebellion helped them do that. The rebellion helped them get agency. The rebellion in Chiapas helped the indigenous people and the women and the men.
Learn agency in a Mexican state that oppresses them. Learned vocabularies, learned Spanish. I love the story of how Marcos taught them Spanish in the Lacandon selva.
It’s a fantastic story of how he did that. Well, I’ll tell you a little bit. He had multiple different tribes from the Chiapas area. Some of them were enemies of each other, but some of them were expelled from the tribal communities because they were too rebellious.
They were not necessarily as Christian as the rest, and so on and so forth. And they all took cover from their brethren in the jungle. Where Subcomandante Marcos joined them there, and he started getting them to tell stories to each other, so they could understand each other’s languages in the first place.
And then they started learning Spanish as well, so that they could become at least bilingual between their own idiom and the Spanish language. And at the same time, were able to make communities of themselves.
These were the exiles from the legitimate community They were more orthodox. You read it, it’s very inspirational.
[LAURA ELISA PÉREZ]
Yeah, it really is. Norma, thank you so much.
We’ve reached the end of the program. It’s 3:30 here, and I want to thank both of you, Dr. Norma Alarcón, Dr. Norma Cantú, for joining us today. I want to thank everyone in the audience and online who joined us today.
Thank everyone for their questions, and everyone have a nice evening. We’ll be in touch again, Dr. Alarcón and Dr. Cantú.
(applause)
[NORMA ALARCÓN]
Thank you very much.
[NORMA ELIA CANTÚ]
Thank you.
(jazzy music)

Mathematicians and engineers of the 1940s set out to design machines that could act as ideal rational agents in the face of uncertainty. In this pursuit, a cluster of foundational mathematical technologies — including information theory, linear programming, game theory, and neural networks — emerged as a foundation for a mathematical formalization of rationality, reshaping how we think about human decision-making itself.