Catching Fire: Preface to the Fourth Edition<BR>Cherríe Moraga<BR><BR>Acts of Healing<BR>Gloria Anzaldúa and The Gloria E. Anzaldúa Literary Trust<BR><BR>Foreword to the First Edition, 1981<BR>Toni Cade Bambara<BR><BR>The Bridge Poem<BR>Kate Rushin<BR><BR>La Jornada: Preface, 1981<BR>Cherríe Moraga<BR><BR>Introduction, 1981<BR>Cherríe Moraga and Gloria Anzaldúa<BR><BR>I. Children Passing in the Streets: The Roots of Our Radicalism<BR><BR>When I Was Growing Up<BR>Nellie Wong<BR><BR>on not bein<BR>mary hope whitehead lee<BR><BR>For the Color of My Mother<BR>Cherríe Moraga<BR><BR>I Am What I Am<BR>Rosario Morales<BR><BR>Dreams of Violence<BR>Naomi Littlebear Morena<BR><BR>He Saw<BR>Chrystos<BR><BR>II. Entering the Lives of Others: Theory in the Flesh<BR><BR>Wonder Woman<BR>Genny Lim<BR><BR>La Güera<BR>Cherríe Moraga<BR><BR>Invisibility Is an Unnatural Disaster: Reflections of an Asian American Woman<BR>Mitsuye Yamada<BR><BR>It's In My Blood, My Face--My Mother's Voice, the Way I Sweat<BR>Anita Valerio<BR><BR>"Gee You Don't Seem Like An Indian from the Reservation"<BR>Barbara Cameron<BR><BR>"...And Even Fidel Can't Change That!"<BR>Aurora Levins Morales<BR><BR>I Walk in the History of My People<BR>Chrystos<BR><BR>III. And When You Leave, Take Your Pictures With You: Racism in the Women's Movement<BR><BR>And When You Leave, Take Your Pictures With You<BR>Jo Carrillo<BR><BR>Beyond the Cliffs of Abiquiu<BR>Jo Carrillo<BR><BR>I Don't Understand Those Who Have Turned Away From Me<BR>Chrystos<BR><BR>Asian Pacific Women and Feminism<BR>Mitsuye Yamada<BR><BR>"--But I Know You, American Woman"<BR>Judit Moschkovich<BR><BR>The Black Back-Ups<BR>Kate Rushin<BR><BR>The Pathology of Racism: A Conversation with Third World Wimmin<BR>doris davenport<BR><BR>We're All in the Same Boat<BR>Rosario Morales<BR><BR>An open Letter to Mary Daly<BR>Audre Lorde<BR><BR>The Master's Tools Will Never Dismantle the Master's house<BR>Audre Lorde<BR><BR>IV. Between the Lines: On Culture, Class, and Homophobia<BR><BR>The Other Heritage<BR>Rosario Morales<BR><BR>The Tired Poem: Last Letter From a Typical (Unemployed) Black Professional Woman<BR>Kate Rushin<BR><BR>To Be Continued...<BR>Kate Rushin<BR><BR>Across the Kitchen Table: A Sister-to-Sister Dialogue<BR>Barbara Smith and Beverly Smith<BR><BR>Lesbianism: An Act of Resistance<BR>Cheryl Clarke<BR><BR>Lowriding through the Women's Movement<BR>Barbara Noda<BR><BR>Letter to Ma<BR>Merle Woo<BR><BR>I Come with No Illusions<BR>Mirtha N. Quintanales<BR><BR>I Paid Very Hard for My Immigrant Ignorance<BR>Mirtha N. Quintanales<BR><BR>Earth-Lover, Survivor, Musician<BR>Naomi Littlebear Morena<BR><BR>V. Speaking in Tongues: The Third World Woman Writer<BR><BR>Speaking In Tongues: A Letter to Third World Women Writers<BR>Gloria Anzaldúa<BR><BR>Millicent Fredericks<BR>Gabrielle Daniels<BR><BR>In Search of the Self As Hero: Confetti of Voices on New Year's Night, A Letter to Myself<BR>Nellie Wong<BR><BR>Chicana's Feminist Literature: A Re-vision through Malintzin/or Malintzin Putting Flesh Back on the Object<BR>Norma Alarcón<BR><BR>Ceremony for Completing a Poetry Reading<BR>Chrystos<BR><BR>VI. El Mundo Zurdo: The Vision<BR><BR>Give Me Back<BR>Chrystos<BR><BR>La Prieta<BR>Gloria Anzaldúa<BR><BR>A Black Feminist Statement<BR>Combahee River Collective<BR><BR>The Welder<BR>Cherríe Moraga<BR><BR>O.K. Momma, Who the Hell Am I? An Interview with Luisah Teish<BR>Gloria Anzaldúa<BR><BR>Brownness<BR>Andrea Canaan<BR><BR>Revolution: It's Not Neat or Pretty or Quick<BR>Pat Parker<BR><BR>No Rock Scorns Me as Whore<BR>Chrystos<BR><BR>Appendix<BR><BR>Afterword: On the Fourth Edition<BR>Cherríe Moraga<BR><BR>Foreword to the Second Edition, 1983<BR>Gloria Anzaldúa<BR><BR>Refugees of a World on Fire: Foreword to the Second Edition, 1983<BR>Cherríe Moraga<BR><BR>Counsels from the Firing...past, present, future: Foreword to the Third Edition, 2001<BR>Gloria Anzaldúa<BR><BR>Biographies of Contributors<BR>Biographies of the Original Contributors, 1981<BR>Credits
