Send us a MessageListeners who did not share Gillian’s TV viewing habits in the 1980s and ‘90s can find the Pace salsa ad here.We make reference to not only Gloria Anzaldúa’s Borderlands/La Frontera: the New Mestiza but also Light in the Dark/Luz en lo Oscuro, edited by AnaLouise Keating.For more on Anzaldúa’s “doodles,” see Suzanne Bost’s “Messy Archives and Materials that Matter: Making Knowledge with the Gloria E. Anzaldúa Papers.”Read an interview between Gloria Anzaldúa and Patti Blanco here.Read Paula M.L. Moya’s “Postmodernism, Realism, and the Politics of Identity: Cherríe Moraga and Chicana Feminism” here.Steph refers to Melissa Castillo Planas’s book A Mexican State of Mind: New York City and the New Borderlands of Culture, Shelley Fisher Fishkin’s “Crossroads of Cultures: The Transnational Turn in American Studies” (paywall), and to the artists Delilah Montoya, Consuelo Jimenez Underwood, and Scherezade García.We reference the Nettie Lee Benson Latin American Collection at the University of Texas at Austin.For more on the Chicano Movement, see Valerie Mendoza’s “Chicano! A History of the Mexican American Civil Rights Movement” and Jessie Kratz’s “El Movimiento: The Chicano Movement and Hispanic Identity in the United States.”For a discussion of Trump’s border wall, see Alex Guillén’s article on Politico.For a discussion of corridos, see Celestino Fernández’s “Corridos: (Mostly) True Stories in Verse with Music.”The material in this podcast is for informational purposes only. The personal views expressed by the hosts and their guests on the Borders Talk podcast do not constitute an endorsement from associated organisations. Thanks to the School of Arts, Media and Communication at the University of Leicester for the use of recording equipment, and to the School of Cultures, Languages and Area Studies at the University of Nottingham for financial support. Music: “Corrupted” by Shane Ivers - https://www.silvermansound.com Edited by Steve Woodward at podcastingeditor.com

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