Abstract
In the following response and reflection to the San Diego Repertory's Theatre's production of Matthew Spangler's Tortilla Curtain, I position myself as a queer woman of color, artist-scholar, and undocumented-immigrant ally. Writing from such a position, I use the queer Chicana theory of Gloria Anzaldúa—in particular her notion of the “Coatlicue State”—to discuss the language and cultural politics within the play.
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