Abstract
Gloria Anzaldúa’s linguistic awakening—the realization that speech acts are performative—was inspired by a conversation between actors from diverse zones of the Americas. Overhearing Caribbean women talking to each other, it dawned on the girl that language is continuously reinvented: “The first time I heard two women, a Puerto Rican and a Cuban, say the word ‘nosotras,’ I was shocked. I had not known the word existed. Chicanas use nosotros whether we’re male or female” (Anzaldúa 2007, 76, original emphasis). To define linguistic processes as unstable and constructed, Anzaldúa pictured young Gloria who started to grasp complex cultural dynamics. From now on, she would regard language as a male discourse which could be altered.
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