Four Overcoming Self-Loathing, Learning to Love Brownness: Oscar Zeta Acosta and The Autobiography of a Brown Buffalo

This chapter focuses on the Chicano writer and lawyer Oscar Zeta Acosta, whose novels, Autobiography of a Brown Buffalo and Revolt of the Cockroach People, chart his transformation into a radical lawyer for Los Angeles’s Brown Power Movement. Acosta began his career with Legal Services, a network of War on Poverty–funded Legal Aid offices. When he turned to movement activism, he radicalized Legal Services’ demand that lawyers use their expertise to challenge laws that work against the interest of their lower-class clients. This demand became central to Acosta’s version of process art. At the same time, Acosta’s work replicates gender biases that ran throughout the War on Poverty. His political turn entailed his rejection of welfare mothers as clients in favor of militant young men—a turn that paralleled the War on Poverty’s focus on male delinquents.

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Oscar Zeta Acosta and Nepantla: The Conceptual In-between

American Studies in Scandinavia ◽

10.22439/asca.v47i1.5162 ◽

2015 ◽

Vol 47 (1) ◽

pp. 85-107

Author(s):

Eric Bergman

Keyword(s):

Mexican American ◽

Theoretical Work ◽

Chicano Movement ◽

The Novel ◽

Conceptual Space ◽

Oscar Zeta Acosta ◽

Constructed Identity ◽

American Catholic ◽

Identity Formations ◽

Multiple Categories

In this paper the concept of nepantla, which means ‘torn between ways’ in Nahuatl, the Aztec language, is applied to a reading of Oscar Zeta Acosta’s The Autobiography of a Brown Buffalo in order to determine how in-betweenness is represented and constructed in the novel. Based on Gloria Anzaldúa’s theoretical work, the resulting reading into nepantla becomes useful in determining how the protagonist, Oscar, does not narrate his experiences from a static position that can be easily categorized, but rather as a multiplicity in which he is located in a conceptual space in-between multiple categories. As such, applying nepantla to a text broadens the understanding and applicability of non-diachronic identity formations, particularly in contrast to the term mestizaje. Nearly every character in the novel is described in terms of his or her ethnicity, often derogatorily, including the narrator, which, understood as satire, goes beyond the nationalism prevalent in the Chicano Movement. Understood as a religious pilgrimage, the narration develops from a Mexican American Catholic upbringing, to Baptist Anglo Protestantism and ultimately into a form of Aztec religious coding that is in-between inherited and constructed identity categories and framed as a creative nepantlera space and as a choice.

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