Chicano poetry

[1][4] The Chicano Movement inspired the development of a poetic current among the Mexican Americans who embraced Chicana/o identity.

[2] Abelardo "Lalo" Delgado's poem "Stupid America" written in the 1960s discussed the poor treatment of Chicanos and their erasure as artists, poets, and visionaries who are not permitted by the American mainstream to reach their potential.

[7] Rodolfo "Corky" Gonzales' poem "Yo Soy Joaquin" was widely influential, being adapted into a 1969 film by Luis Valdez of the same name.

The poem reviewed the exploitation of the Chicano: Chicana poets challenged the role of women in the community through their poetry and spoke to a variety of issues.

[9][10] Chicana feminist poets used poetry to express their views of aggressive masculine pride or machismo,[11] which had excluded them from the movement.

[13] In the interwar period, unmarried Mexican American women were often mandated by their families to be accompanied by a male when going out, who would watch over them throughout the night.

[13] Chicana feminist poets addressed this in their work, such as "Pueblo, 1950" (1976) by Bernice Zamora, who discussed the consequences young, unmarried, Mexican-American women would face from a simple kiss:[14] Chicana poet Inés Hernández-Ávila valorized the Pachuca in her poem "Para Teresa.

Chicano poet Alurista performing a poetry reading (1982)
Chicano poets reclaimed the Pachuco , who was historically framed negatively, as a figure of empowerment.
Pachucas have been valorized in the works of Chicana/o poets, including Inés Hernández-Ávila's poem "Para Teresa." [ 2 ]
Trinidad Sanchez Jr. 's "Why Am I So Brown?" discussed issues of childhood internalization of colorism .
In 2015, Juan Felipe Herrera became the first Chicano or Latino United States Poet Laureate .