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27 pages 54 minutes read

Rudolfo Anaya

Take the Tortillas Out of Your Poetry

Nonfiction | Essay / Speech | Adult | Published in 1995

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Literary Devices

Anecdote

An anecdote is a short, personal story that describes an incident related to the larger topic. Anaya’s essay employs multiple anecdotes, beginning with the importance of books in his childhood and how storytelling was vital to his formation. Another anecdote involves his friend, a Chicano poet, who categorized his best poetry as bilingual but submitted English-only poetry with his grant application; this anecdote provides a real-life example of self-imposed censorship. A final anecdote discusses how Anaya’s book Bless me, Ultima was burned by school board members in New Mexico, which shows the extreme lengths to which censorship can go. The build-up to this last anecdote creates a sort of rising action and climax in the essay, and it shows how literature can be liberating for some but very threatening for others.

Symbolism

Symbolism usually draws on tangible examples to talk about abstract concepts. The essay’s most prevalent symbol is that of tortillas, which signify Mexican American cultural elements. Tortillas are a staple of Mexican and Mexican American cuisine, and in the essay, they represent all of the elements unique to Chicano writing, such as the use of Spanish, street talk, folklore, and local history. The author encourages preserving these elements in Chicano literature but believes that the publishing industry often censors them. For Anaya, having “tortillas” in poetry is a form of nourishment. These cultural elements nourish the mind, just as a real tortilla nourishes the body.

Point of View

A point of view is the perspective from which the narrator tells their story. In this essay, Anaya chooses a first-person point of view to talk about censorship while incorporating anecdotes from different periods of his life. For example, “When I started school, I remember visiting the one-room library of our town […]” (67) or “The burning of my novel wasn’t an isolated example” (71). While some essays are devoid of first-person narration, Anaya inserts himself into “Take the Tortillas Out of Your Poetry” to demonstrate how censorship has affected him directly. The essay’s personal element is more likely to engage readers and draw them into the argument that censorship obstructs knowledge, particularly cultural knowledge. While the essay is personal and anecdotal, however, the tone also conveys an academic rigor, and Anaya’s firsthand experience lends him an air of authority on the subject matter. All these point-of-view elements are geared toward making his argument more persuasive.

Juxtaposition

Juxtaposition is when two entities are placed alongside one another with contrasting effect. Anaya juxtaposes censorship and liberation, even framing the two realities as antithetical. For Anaya, access to books by diverse authors is a pathway to knowledge because, through reading, a person is exposed to different perspectives, ideas, and experiences. That sort of knowledge is emancipatory. By contrast, censorship stifles voices, especially those with differing views, which prevents readers from experiencing other perspectives; Anaya thus states that “[c]ensors […] are afraid of our liberation” (72). In the past, schools have banned Anaya’s novel Bless me, Ultima due to its profanity, but Anaya counters that the censorship has more to do with the book’s themes: coming of age as a Mexican American boy navigating the Americanization of his state.

Anaya also points out others’ use of juxtaposition, but this time, the juxtaposition furnishes a specious binary: A New York magazine advertisement asked, “Do you sometimes have the impression that our culture has fallen into the hands of the barbarians? […] Are you apprehensive about what the politics of ‘multiculturalism’ is going to mean to the future of civilization?” (72). This excerpt juxtaposes “civilization” and “barbarism”; the binary itself is unsound, but there is also the false equivalence of multiculturalism with “barbarism.” The advertisement’s rhetoric exploits the readership’s fear of cultural chaos—a fear that, at its core, may simply be a white person’s fear of losing their cultural dominance in society. This juxtaposition is also an instrument of sensationalism, a marketing ploy.

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