Reviewed by: The Places of Modernity in Early Mexican American Literature, 1848–1948 by José F. Aranda Jr Sandra Dahlberg José F. Aranda Jr., The Places of Modernity in Early Mexican American Literature, 1848–1948. Lincoln: U of Nebraska P, 2022. 269 pp. Hardcover, $99; paper, $30; e-book, $30. In The Places of Modernity in Early Mexican American Literature, 1848– 1948, José F. Aranda investigates the “fusions of two historically competing colonialisms” when, in 1848, the Spanish/Mexican “colonial matrix gave way to a yet more powerful” Anglo American one (25, 24). He analyzes the portrayal of Mexican Americans’ dual positionality as colonizers and colonized in texts produced in the century following the US–Mexican War. The focus of Aranda’s methodology is a concept he calls “modernities of subtraction” through which he articulates “a peculiar mode of modernity whose darker side, coloniality, operates at a greater distance from the rationalizations and promises of Enlightenment ideology” (2). His approach draws on Walter Mignolo’s interrogation of settler colonialism in addition to Aníbal Quijano’s examination of how modernity’s promise was “obstructed by Anglo-American ideologies of racial superiority” (12). He also borrows from theories of critical regionalism advanced by Krista Comer and Melina Vizcaíno-Alemán to explore the nexus of identity and place. According to Aranda, “to read modernity through place, through geography, invariably disrupts and questions the naturalizing effect of timelessness that each colonializing institution . . . has had over space” (231). Aranda’s study of subtractive modernity begins by analyzing three generations of works by the Vallejo family of California. From Mariano Guadalupe Vallejo’s Recuerdos históricos y personales to Francisca Vallejo’s “Padres, Gringos, and Gold” radio program in the 1930s, the Vallejos, including María Amparo Ruiz de Burton, worked [End Page 435] to disrupt Anglo-American narratives that Mexicanized Californios. They did so by employing a “coloniality of nostalgia” that expressed their loss of social capital after American annexation and, Aranda contends, projected a “Spanish fantasy heritage” that distanced elite Californios from associations with Mexico or Mexicanness. After 1848 Aranda demonstrates how the term “Mexican” became a “potent and particular instance of a modernity of subtraction,” functioning as a “sly marker for race, racism, and white nation-building” that enables the displacement and disenfranchisement of Mexican Americans (151–52). In another chapter Aranda mines José Villarreal’s novel Pocho to elucidate the “statelessness” of twentieth-century Mexican Americans who faced “racial discrimination in the United States and social discrimination in Mexico” (204). Through the work of writer/folklorist Jovita González, Aranda discusses the gendered qualities of these “racialized connotations” and asserts that “Shades of the Tenth Muse” is González’s “attempt to theorize her colonial, [gendered] condition in Texas . . . as related to but ultimately separate from the model of feminine creativity provided by the Tenth Muse of either New England or New Spain” (169). Unlike González, those tenth muses, Anne Bradford and Sor Juana Inés de la Cruz, occupied dominant positionalities in their colonial landscapes. Place, according to Aranda, shapes modernism’s “subtractive prerogatives” and the “interplay” of race, racism, and raced communities throughout the Southwest (112). This interplay is particularly evident, he argues, in Miguel Antonio Otero’s The Real Billy the Kid, which depicts a late-nineteenth-century geography where Nuevo Mexicano civic authority was predicated on a “collective denial of ever having shared an indigenous heritage” and immigrant Anglos like Billy the Kid often adopted a “settler hybridity” by becoming Hispanicized (133, 139). In The Places of Modernity in Early Mexican American Literature, 1848–1948, particularly with his theory of a “modernity of subtraction,” Aranda provides an important lens through which to wrestle with the competing Spanish/Mexican and Anglo-American settler colonialist ideologies in Mexican American cultural production. [End Page 436] Sandra Dahlberg University of Houston-Downtown Copyright © 2023 Western Literature Association ...
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