“How to Tame a Wild Tongue”
Gloria Anzaldúa, 1987
Originally published in Borderlands/La Frontera: The New Mestiza
Editor’s Note: The excerpt in this chapter is included on the basis of fair use.
Hashtags
#multilingual, #immigration, #personal narrative, #music, #experimental, #personal is political, #identity, #feminism, #protest, #language discrimination, #family, #silence, #self-hatred, #community, #complicity, #assimilation
Frame
JS: This canonical essay embodies the concept of “polyphony” in a number of ways as Anzaldúa blends modes and styles of writing, braids together diverse sources and influences, and of course, presents a multilingual voice in writing. As we include it in this book, we want to emphasize both the content and form of this essay which is one of the most anthologized pieces of 20th century Chicanx, Latinx, and feminist writing.
Excerpt
Linguistic Terrorism
Deslenguades. Somos los del español deficiente. We are your linguistic nightmare, your linguistic aberration, your linguistic mestizaje, the subject of your burla. Because we speak with tongues of fire, we are culturally crucified. Racially, culturally, and linguistically, somos huérfanos – we speak an orphan tongue.
Chicanas who grew up speaking Chicano Spanish have internalized the belief that we speak poor Spanish. It is illegitimate, a bastard language. And because we internalize how our language has been used against us by the dominant culture, we use our language differences against each other.
Chicana feminists often skirt around each other with suspicion and hesitation. For the longest time, I couldn’t figure it out. Then it dawned on me. To be close to another Chicano is like looking into the mirror. We are afraid of what we’ll see there. Pena. Shame. Low estimation of self. In childhood, we are told that our language is wrong. Repeated attacks on our native tongue diminish our sense of self. The attacks continue throughout our lives.
Chicanas feel uncomfortable talking in Spanish to Latinas, afraid of their censure. Their language was not outlawed in their countries. They had a whole lifetime of being immersed in their native tongue; generations, centuries in which Spanish was a first language, taught in school, heard on radio and TV, and read in the newspaper.
If a person, Chicana or Latina, has a low estimation of my native tongue, she also has a low estimation of me. Often with mexicanas y latinas we’ll speak English as a neutral language. Even among Chicanas, we tend to speak English at parties or conferences. Yet, at the same time, we’re afraid of the other, vying to be the “real” Chicanas, to speak like Chicanos. There is no one Chicano language, just as there is no one Chicano experience. A monolingual Chicana whose first language is English or Spanish is just as much a Chicana as one who speaks several variants of Spanish. A Chicana from Michigan, Chicago, or Detroit is just as much a Chicana as one from the Southwest. Chicano Spanish is as diverse linguistically as it is regionally.
By the end of this century, Spanish speakers will comprise the biggest minority group in the U.S., a country where students in high schools and colleges are encouraged to take French classes because French is considered more “cultured.” But for a language to remain alive, it must be used. By the end of this century, English, and not Spanish, will be the mother tongue of most Chicanos and Latinos.
So, if you want to really hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity–I am my language. Until I can take pride in my language, I cannot take pride in myself. Until I can accept as legitimate Chicano Texas Spanish, Tex-Mex, and all the other languages I speak, I cannot accept the legitimacy of myself. Until I am free to write bilingually and to switch codes without having always to translate, while I still speak English or Spanish when I would rather speak Spanglish, and as long as I have to accommodate the English speakers rather than having them accommodate me, my tongue will be illegitimate.
I will no longer be made to feel ashamed of existing. I will have my voice: Indian, Spanish, white. I will have my serpent’s tongue–my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.
My fingers
move sly against your palm
Like women everywhere, we speak in code ….
–Melanie Kaye/Kantrowitz
How to Tame a Wild Tongue (With Translations)
The full text is also included in a number of anthologies.
Text Version
Wide Shots:
- How does Spanish appear in your local community? Zoom out a bit and consider how Spanish appears in your region, the nation, and the world. At each level, can you describe what the “dominant view” of this language is?
- How do you experience the relationship between language and culture? How is your own cultural identity expressed? What do your languages express about you and your identities?
- What does it mean to “accommodate” a difference? What are the various layers to this idea that you can think of? What alternatives exist? A word cloud or spider web brainstorm might be helpful here.
Close Shots:
- This section of Anzaldúa’s essay is titled “Linguistic Terrorism,” yet this term does not appear in the body, and she does not offer a direct definition. Re-read the excerpt for details that help you work out a definition of this term. Then consider: Why call this form of violence “terrorism”? Why emphasize “linguistic” violence rather than “cultural” violence more broadly?
- Near the end of this passage, Anzaldúa claims that language is “alive” (and must be kept alive). What kind of life story does Anzaldúa describe for Chicano Spanish? Re-read the excerpt for key moments and details and try to draw or outline the life story of this language.
- In the last two paragraphs, Anzaldúa offers a kind of testimony about the impact of linguistic terrorism. Close read the paragraph sentence by sentence to answer the question: What legitimizes a language?
- Based on this excerpt, and/or the full chapter if you have access, how do you understand “the tradition of silence” that Anzaldúa refers to?
Mid Shots
- See “Tracing Citations” for two short writing assignments that engage the research behind this essay either through a poetic reading of Anzaldúa’s footnotes or a student-contributed footnote.
- See “Music Trails” for an exploration activity inspired by music traditions that cross borders.
Possible Transitions
ET: I would teach Anzaldúa alongside Jamila Lyiscott’s “Three Ways to Speak English” to expand on the plurality of any one language and the dynamics of language discrimination. Another compelling pairing would be with Audre Lorde’s “The Transformation of Silence to Language and Action” to draw on the women’s relationship with silence in particular.
DU: This would go well with DeGraff’s essay on Haitian Creole to discuss questions around linguistic violence.
See:
“As a Child in Haiti, I Was Taught to Despise My Language and Myself”
“Gun Bubbles”
“How to Tame a Wild Tongue”
“Place Name: Oracabessa”
“Puerto Rican Obituary”
“Saving a Language You’re Learning to Speak”
“Three Ways to Speak English”
"To Speak is to Blunder"
“Vão/Vòng A Conversation with Katrina Dodson"
Against the Grain: Listening for Controversy (exploration)
Historical Contexts (exploration)
Parsing Themes (exploration)
Translations Across and Within Languages (exploration)
a nonfiction genre where the author and narrator are one
See:
"Asters and Goldenrod"
"Connecting the Dots"
“Grammar, Identity, and the Dark Side of the Subjunctive”
“Gun Bubbles”
“How to Tame a Wild Tongue”
"Saving a Language You're Learning to Speak"
“Skin Feeling”
"To Speak is to Blunder"
Critical Learning Reflection (exploration)
Poetry and Science: Epistemology through Language (exploration)
See:
“How to Tame a Wild Tongue”
“Puerto Rican Obituary”
“Skin Feeling”
Music Trails (exploration)
challenges conventions of language, genre, and structure in how the piece is written
See:
“How to Tame a Wild Tongue”
“Place Name: Oracabessa”
“Puerto Rican Obituary”
“Skin Feeling”
"To Speak is to Blunder"
Poetry and Science: Epistemology through Language (exploration)
See:
“The Contract Says: We’d Like the Conversation to be Bilingual”
“How to Tame a Wild Tongue”
“Place Name: Oracabessa”
“Puerto Rican Obituary”
“Saving a Language You’re Learning to Speak”
“Skin Feeling”
“Three Ways to Speak English”
"To Speak is to Blunder"
“The Transformation of Silence into Language and Action”
Body as Metaphoric Space (exploration)
Emotion in Language (exploration)
Historical Contexts (exploration)
Juxtapositions of Silence (exploration)
Self Reflection, Collective Change (exploration)
Transculturation, Language and South-South Migration (exploration)
See:
"Asters and Goldenrod"
"Connecting the Dots"
“Grammar, Identity, and the Dark Side of the Subjunctive”
“How to Tame a Wild Tongue”
“Saving a Language You’re Learning to Speak”
“Puerto Rican Obituary”
“The Transformation of Silence into Language and Action”
“Vão/Vòng A Conversation with Katrina Dodson"
See:
“As a Child in Haiti, I Was Taught to Despise My Language and Myself”
“The Contract Says: We’d Like the Conversation to be Bilingual”
“How to Tame a Wild Tongue”
“Place Name: Oracabessa”
“Puerto Rican Obituary”
“Three Ways to Speak English”
“The Transformation of Silence into Language and Action”
Dialogue Over Time: A New Boogaloo: “How Beautiful We Really Are” (exploration)
See:
"Asters and Goldenrod"
“Grammar, Identity, and the Dark Side of the Subjunctive”
“How to Tame a Wild Tongue”
“Saving a Language You’re Learning to Speak”
“Skin Feeling”
Dialogue Over Time: A New Boogaloo: “How Beautiful We Really Are” (exploration)
Building an Opinion (exploration)
Self Reflection, Collective Change (exploration)