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| Preface | |
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| Photographic Images: Some of the Contributors | |
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| Introduction | |
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| Foremothers | |
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| The Oral Tradition | |
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| Excerpts from "Una Vieja Y Sus Recuerdos" | |
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| Eufemia's Sopapillas | |
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| An Old Native Custom: La Curandera | |
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| Quiteria Outwits the Witch Nurse | |
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| Las Tres Gangozas (The Three Sisters) | |
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| The Written Tradition | |
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| Asking For the Bride | |
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| The Field Crosses of the Farmers | |
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| The Herb Woman | |
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| Shadows of the Past - VI. Memorias | |
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| Flores Secas / Dried Flowers | |
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| Quinceanera / Sweet Fifteen | |
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| Drama en Mananitas / Drama in the Early Mornings | |
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| Maria Esperanza | |
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| Simplicidades / Simplicities | |
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| A Elena / To Elena | |
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| School | |
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| Self and Identity | |
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| So Not To Be Mottled | |
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| My Name | |
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| Toma de nombre / Taking of Name | |
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| By Your True Faces We Will Know You | |
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| El dia de la chicana | |
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| Soy hija de mis padres... / I am the daughter of my parents | |
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| La Loca de la Raza Cosmica | |
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| Crisis de identidad / Crisis of Identity | |
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| Oaxaca, 1974 | |
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| The Gift? | |
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| Chicana Studies | |
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| To Other Women Who Were Ugly Once | |
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| Women Are Not Roses | |
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| Legal Alien | |
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| To live in the Borderlands means you | |
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| Mestiza | |
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| ever since | |
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| I sing to myself | |
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| Progenitor | |
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| From "A Letter to Alicia" | |
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| Whole | |
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| Desert Women | |
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| Self and Others | |
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| My Mother Pieced Quilts | |
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| ser conforme | |
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| Haciendo Tamales | |
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| Beneath the Shadow of the Freeway | |
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| mi mama se sentaba / my mother would sit | |
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| For the Color of My Mother | |
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| Baby Doll | |
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| The Album | |
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| Section 3 from Mother, May I? | |
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| Mama Tona | |
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| The Moths | |
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| Mourning a Sister's Death | |
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| To a Little Blond Girl of Heber, Califas | |
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| Wimpy's Wake | |
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| Arturo Burro | |
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| mente joven... | |
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| El sueno de las flores | |
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| On Meeting You in Dream and Remembering Our Dance | |
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| Chon | |
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| after the name-giving | |
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| To My Daughter | |
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| Nuestros mundos / Our Worlds | |
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| Plot | |
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| The Toltec | |
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| South Sangamon | |
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| The Jewelry Collection of Marta la Guera | |
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| Do You Take? | |
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| Para un Revolucionario | |
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| A Woman Was Raped | |
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| For Virginia Chavez | |
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| Crow | |
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| Spaces | |
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| La Casa / The House | |
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| kitchen talk | |
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| New Year's Eve | |
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| Section 5 from Mother, May I? | |
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| Spaces like the Barrio | |
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| The Truth in My Eves | |
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| The Journey | |
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| was fun running 'round descalza | |
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| Caminitos | |
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| Roads | |
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| The Valley of the Sun | |
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| Fecundating | |
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| El retorno | |
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| Drought: San Joaquin Valley, Winter | |
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| La Gran Ciudad | |
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| The Border | |
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| tia juana u glisten | |
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| tavern taboo | |
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| Myths and Archetypes | |
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| Aztec Princess | |
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| Marina | |
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| La Malinche | |
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| La Malinche a Cortez y Vice Versa / La Malinche to Cortez and Vice Versa | |
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| Somos la Tierra | |
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| Malinche's Discourse | |
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| Malinche Past: Selection from Paletitas de guayaba | |
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| Malinchista, A Myth Revised | |
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| Como Duele | |
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| Go Away from My Window, La Llorona (1) | |
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| La Llorona: At Sixteen; Portrait by the River | |
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| La Llorona | |
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| Witches' Blood | |
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| The Three Sisters | |
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| Hands | |
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| 1910 | |
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| Josefina's Chickens | |
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| Adelita | |
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| Guerrillera Soy / I Am a Warrior Woman | |
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| Sor Juana | |
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| 444 Years After | |
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| Little Miracles, Kept Promises | |
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| Gullible | |
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| Cuento de Hadas / Fairy Tale | |
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| Mi Reflejo | |
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| Writers on Language and Writing | |
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| A Poet's Job | |
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| It Is My Nature | |
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| Creations | |
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| Cuentista: Story-teller | |
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| Clever Twist | |
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| Restless Serpents | |
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| Como la semilla / Like the Seed | |
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| Protocolo de verduras / The Protocol of Vegetables | |
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| Para el consumidor / For the Consumer | |
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| Maybe a Nun After All | |
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| Visions of Mexico While at a Writing Symposium in Port Townsend Washington | |
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| Poem For The Young White Man Who Asked Me How I, An Intelligent, Well-Read Person Could Believe In The War Between Races | |
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| Declaration on a Day of Little Inspiration | |
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| Literary Wetback | |
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| Refugee Ship | |
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| Linguistic Terrorism | |
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| Julieta's Muses | |
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| They Are Laying Plans for Me - Those Curanderas | |
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| Poema Inedito / Unpublished Poem | |
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| Mi Poesia / My Poetry | |
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| Dedicated to American Atomics II | |
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| Lirica fanatica / Fanatic Lyric | |
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| Desveladas inutiles / Useless Sleeplessness | |
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| The Confession | |
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| como embrujada | |
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| Paradox | |
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| Mango Says Goodbye Sometimes | |
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| Growing-Up | |
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| Growing | |
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| Aay Cucuy...! / "Ooooh! The Boogieman!" | |
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| Nostalgia | |
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| Pueblo, 1950 | |
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| Elena at 5 Years | |
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| Troublemaker (for all who ask what I plan to do with my degree) | |
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| Excerpts from "Rosebud" | |
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| How I Changed the War and Won the Game | |
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| Velorio | |
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| Evening in Paris | |
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| Monarquia | |
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| Para Teresa | |
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| I Was a Skinny Tomboy Kid | |
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| In the Toolshed | |
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| Her Choice | |
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| Celebrations | |
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| My Poetry | |
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| Fire | |
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| Movimiento / Movement | |
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| Let Us Never Forget the Dance | |
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| He was one of those special ones, she said | |
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| The Ceremony of Orgasm | |
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| Mielvirgen | |
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| Spring Tonic | |
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| Dream | |
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| The Body as Braille | |
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| Como lo siento | |
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| Making Tortillas | |
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| Bearded Lady | |
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| Two Brothers | |
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| Plumb | |
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| Segments | |
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| Emplumada | |
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| 'San Antonio Rose' Era Xicana | |
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| Sin Ti Yo No Soy Nada / Without You I Am Nothing | |
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| The Paris Gown | |
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| Weeping With Laughter | |
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| Bibliography | |
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| Acknowledgments and Sources | |
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| About the Contributors | |
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| About the Editors | |