In the 1980s there was a proliferation of poetry collections, short stories, and novels published by women of Latin American descent in the United States. ██ ███ ███ ██ ███ ███████ ███████ █████ ██ ████ ██████ ████████ ███ ██████████████ ████ ████ ████ ██████████ ████ ███ ███████████ ██ █████ ███████ ████████████████ ████████████ ██████ ██ ███ ███ ██████ ██ ███ █████ █████ ███ ███ ███████ ██ ████████ ███████ ███████ ████ ██████ ██ ██████ ██████ ███████ ███ ███████ ████████ ███ ██████████████ █████████ ██ ██████ ██████████
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The passage indicates which one ██ ███ █████████ █████ ███ ██████ ███████████████ ████ ███ ██████ ██████████
Each contains some ████████ ████ █████ ██████████ ██ ████████ ██ █████████ ██ █ █████ ██ ██████████ █████ ████ ██████████████
Supported by P2. Anzaldua’s work involves poetry. Moraga’s work involves a “mixture of genres.” And Getting Home Alive involves poems. The author also calls the works “
Each quotes from ██████████ ███████████ ███████ ████████ ██ █████ ███████ ██████████
We don’t know that each of the quotes from “unpublished” private documents.
Each contains analysis ██ ███ ████ ██ █████ ███ ███████ ███ ██████████ ██ ███ ████████ ████████ ███████████
We’re not told that each work analyzes the ways in which its content was influenced by cultural background. Don’t confuse the passage author’s commentary on what influenced the works with the Latina authors’ own analysis of how they were influenced.
Each contains writings ████ ████ ████████ ██ ████ ████ ███ ███████
One work involved multiple voices. We’re not told that each work did.
Each includes explanations ██ ███ █████████████ ████ ███ ███████ ██ ████████ ████ ██ ███████ ███ ██████████████
We’re not told that each work explains its own methodologies. One work arguably does (Moraga’s), but we don’t know that the other works do. Don’t confuse the passage author’s commenting on each author’s methodology with the Latina authors’ own explanations of their methodologies.
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