A Love Letter to "This Bridge Called My Back"

deadline for submissions: 
August 15, 2019
full name / name of organization: 
Amelia M. Kraehe


Call for Chapter Proposals

Book Overview

In 1979, Gloria Anzaldúa and Cherie Moraga shared a vision for “revolutionary solidarity” for and among women of color. Their assessment of the conditions of their lived experiences and the experiences of other women of color, as well as their youthful optimism, propelled them forward to begin what would be considered a radical project to advance what they referred to as “Third World Feminism.” Out of this vision and shared desire to coalesce, center, and catalyze solidarities of sisterhood grounded in the intersectional identities and perspectives of women of color, Anzaldúa and Moraga conceived a literary gem, This Bridge Called My Back (Anzaldúa & Moraga, 1981). The writings of the original Bridge authors range from full-throated and unflinching to lyrical and heartfelt testimonies of the lived experiences of Third World women of color at a particular time and place.

Bringing together arts- and text-based declarations or “aesthetic pronouncements” from individuals who have been moved by the foundational work of the Third World women of color (WoC) writers of This Bridge Called My Back, we will honor the 40th anniversary of Gloria Anzaldúa and Cherie Moraga’s book by publishing A Love Letter to This Bridge Called My Back in 2021. For this collection, we are interested in short essays, poems, visual artworks, first person letters, narratives, etc. bywomen and femme of color living at the margins and intersections of (difference) race, gender, sexuality, class, religion, ethnicity, language, and ability. Further, to honor the legacy of the original Bridge writers, we are seeking non-academic and academic authors who challenge and expand the existing boundaries of traditional academic discourse and who embrace writing that is accessible to the broadest possible audience.

Contributions to this volume represent an on-going commitment to the foundational work laid by Anzaldúa and Moraga by illuminating, questioning, and responding to past, present, and future 1) political currents, 2) progressive struggles, 3) healings, transformations, and acts of resistance, and 4) solidarity toward gender and sexual justice. Although brief, these Love Letter aesthetic pronouncements advance the on-going and ever-shifting conversations brought about by and with a new generation of WoC working toward what it means to be Third World Feminist-conscious.

Chapter Guidelines

The chapters in this volume will be comprised of writings (short essays, poems, first person letters, narratives) of no more than 1,500 words and visual artwork (digital images), which may include 2-D and 3-D works.

The writings and/or artwork should center the lived and embodied experiences of Women of Color (WoC) and may be inspired by or respond to:

  • historical and contemporary “truths” of WoC

  • WoC embodied knowledges or “theories in the flesh” (Anzaldúa & Moraga, 1981)

  • moments of resisting, transforming, and creating discourse through WoC gender- and race-conscious work

  • on-going dehumanizing political climates that maintain racialized/gendered oppressive systems of power

  • WoC realities of continued lack of inclusion within current transnational feminist movements

  • class divisions, inequality, homophobia, populism, nativism, imperialism

  • narratives that share the varying social, cultural, and spiritual languages

  • Womanist, postcolonial, critical race, indigenous, third space, queer, and trans-, futurist, and spiritual-body perspectives

  • Other themes related to Third World WoC feminist experiences, visions, practices

While submissions should be informed by a range of these themes, proposals should be written in an accessible manner, as this text is aimed at a broad readership that ranges from academics to community activists, artists to engineers, mail carriers to stay at home mothers and any and everyone in-between. The goal is to develop a “text” that people from varied backgrounds may find connections to and peace in.

If you are interested in contributing to A Love Letter to This Bridge Called My Back, please submit a brief proposal by August 15, 2019 following the format and procedures below.


Proposal Submission Format

For authors proposing written work: a 300-word abstract, a list of 3 other texts that inspire you, and a chapter title. Please include contributor name(s), a 200-word bio that includes a statement on positionality, and contact information (email, mailing address, and phone number).

For artists proposing artwork: a 300-word (artist’s) statement to include the contributor’s intended artistic approach to the theme, at least 3 sources of inspiration (i.e. artists/texts whose works reflect themes of this call), a link to a personal/professional webpage (if applicable), and a selection of five images of your work with standard caption details (completed within the last 5-7 years; not necessarily in the same medium). Send high resolution images of each work to enable the editors to form as accurate an idea of the contributor’s practice. Please include: contributor’s name, 200-word author bio that includes a statement on positionality, and contact information (email, mailing address, and phone number).

Submission Procedures

Submit proposals as .doc or .docx email attachments to LoveLetters2021@gmail.com


Proposal Submission Due - August 15, 2019

Review Results Sent to Authors - September 30, 2019

Chapters Due - January 15, 2020

Requests for Revisions Sent to Authors - March 13, 2020

Final Chapters Due - April 13, 2020


Gloria J. Wilson is currently an Assistant Professor of Art and Visual Culture Education at The University of Arizona. Her on-going research, teaching and art-making practices examine the intersections of race, gender and participation in arts education and are rooted in critical arts-based and cultural studies approaches. She is published in numerous journals including, among others, Visual Arts Research, Visual Inquiry: Learning & Teaching Art, Art/Research International: A Transdiciplinary Journal. Website: http://gloriajwilson.com


Joni Boyd Acuff, PhD is an Associate Professor of Arts Administration, Education and Policy at The Ohio State University. Her research attends to critical multiculturalism, critical race theory, Black feminist theory, and culturally responsive pedagogy, teaching and curriculum development in art education. Acuff is the co-editor of the anthology, Multiculturalism in Art Museums Today, published by Rowman & Littlefield. More about Acuff and her research can be found athttps://aaep.osu.edu/people/acuff.12


Amelia M. Kraehe, PhD is currently Associate Professor in the School of Art at The University of Arizona. She researches and teaches about social justice in education, the arts and creative forms of agency, racism and intersectional processes of self-identification. She is co-editor of Pedagogies in the Flesh: Case Studies on the Embodiment of Sociocultural Differences in Education and The Palgrave Handbook on Race and the Arts in Education. For more information, visit https://art.arizona.edu/people/directory/akraehe/