Las Hociconas is to be handled with R-E-S-P-E-C-T. La Angry Xicana?!, La Sad Girl…, and La Chismosa… are the Holy Trinity of Xicana jotería. Anthony’s wisdom comes from the feminist sheroes themselves: la Moraga, la Anzaldúa and la Lorde. If on the stage Adelina makes her audiences pee from laughter, the raw scripts of her outrageous and irreverent performances in this collectionwill scare the hell out of all the phallogocentric, xenophobic and homophobic hegemamones of the nation—starting with Arizona. Nothing is sacred for her, except performance, and nothing can untame her loud and wild lengua – she is but an hocicona, lengüilarga, malcriada and chingona who will not shut up. Be alerta: When Adelina calls her broke-ass filosofía de vida “political puteando,” you better take it seriously. ¿Por qué? Because witnessing her performance just turns you into a pinche fan with a decolonized mind!
Professor, Mount Holyoke College,
Author of José, Can You See? Latinos on and Off
The combined fires of Adelina’s capacious imagination, her unflinching honesty, her razor sharp humor and her bone-deep compassion have birthed stellar live art. This book harnesses the extraordinary light of Anthony’s live work - her flawlessly observed characters burst from the page with immediacy and vitality. She is a fearless, luminous, resonant “yes” in this world.
Daniel Alexander Jones,
Award-Winning Performance Artist
Assistant Professor of Theatre, Fordham University
Make Las Hociconas required reading for your theory classes! Building on Anzaldúa and Moraga, Anthony surpasses her mentors in sheer audacity and sexy zest, with fiery, cutting-edge and hilarious queer of color critiques of how the sexual is always political. While putting “the triple X in Xicana,” Anthony turns us on and makes us think through tears of laughter.
Professor, Stanford University
Author of The Wounded Heart: Writing on Cherríe
Adelina Anthony’s Las Hociconas is sheer brilliance! Each of her finely wrought characters—“La Angry Xicana”, “La Sad Girl” and “La Chismosa”—speaks to us in ways that make you wonder, “Is she talking directly to me?” And indeed she is. She schools us, consoles us, teases us, tends to us, spanks us, provokes us, soothes us, and ultimately satisfies us on multiple levels. After seeing her show, I wanted to come back with my lovers, my sons, my ex’s, my siblings, my friends, and all of my students. To see Adelina perform the series on stage is a gift. To hold her words in your hands and be able to come back to them is nothing short of pure medicine.
Grace Chang, Associate Professor of Feminist
Studies University of California, Santa Barbara
Adelina Anthony’s Las Hociconas stands as a hallmark in solo drama. As a virtuosic storyteller, she ushers audiences into a circle of witnessing, providing us with a mirror to see both the darkness and the beauty of who we are as a people, giving us a language to heal crafted through the wisdom of Las Hociconas.
Tiffany Ana López, Professor
Theatre Department, University of California,
Any one of these valiant solo throw downs in and of itself could be considered an incisive amelioration of the offerings found on the stages of American theaters. But imagine, three different solo shows staged consecutively over three nights, hella audacious! As I sat in the jam packed audiences of the Hocicona Series’ Los Angeles run—enthralled, dazzled, abashed, and broken out in shivers of cold and hot sweats (like the rest of the howling compañeras around me), La Angry Xicana?!, La Sad Girl…, and La Chismosa!!! proceeded to take their audiences on a wondrous and provocative X-X-Xicana odyssey where each hocicona wielded her jota theory of the flesh to crack open the world and release concha empowerment. Luscious and pernicious, these seductive firebrands eviscerated everything from people of color politics to the vicissitudes of jotería to the “dicky-dick” machinations of class, misogyny, homophobia, and popular culture. Now, with the publication of this triumphant journey, Anthony brings her decolonizing jotas from the stage to the page providing a front row seat where chulas, jotitas, and gente can be thrilled anew as they discover how desire capacitates action, queering produces hope, and Xicana-Indígena critical hijinks provides the medicine we need for healing.
Irma Mayorga, Assistant Professor of Theater
Dartmouth College and co-author of
The Panza Monologues