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Discussion
Questions for Crossing Borders: Personal
Essays
Troncoso, Sergio, Crossing
Borders: Personal Essays, Arte Público Press,
September 2011, 201 pp., ISBN-10: 1558857109,
ISBN-13: 978-1-55885-710-0 (paperback), $16.95.
Downloadable PDF of
Discussion Questions
1. In “Crossing
Borders,” the author says, “we create
pure beginnings to simplify things, maybe to build our self-esteem, but in
reality we are interrelated, mestizo, in more ways
than we can imagine.” Do you know of an
instance when someone created a pure beginning for his heritage or history,
only to find out that the truth was more complicated than that imagined
beginning? Why do you think we do this?
2. In “Literature and Migration,” how is the author making a distinction between
morality and intelligence? Why do you think
Troncoso learned this lesson going from Ysleta to Harvard and Yale?
3. Describe and
analyze this borderland the author says he inhabits, “trying to write to be
understood by those who matter to me, yet also trying to push my mind with
ideas beyond the everyday.” What are the
difficulties of writing simply, yet also writing about complex, philosophical
topics? Why should this matter? What do you think the author wants to
accomplish?
4. In “Fresh Challah,” the author describes his abuelita
as having not just a contrary character, but also a righteous one. Explain the difference. How is self-reflection and humility important
in being righteous? How does
self-criticism help you to empathize with others?
5. In interviews,
Troncoso has said he wrote “Letter
to my Young Sons” after hearing his
wife’s stories about how many women in her support group had been abandoned by
their spouses or boyfriends during these women’s struggles against breast
cancer. What kind of example, as a
husband and father, is the author giving us in this essay? Does he succeed? What stereotypes is he challenging?
6. Describe and
explain the “quotidian fantasy” that is shattered after the author’s wife is
diagnosed with breast cancer. Have you ever
had a crisis in which your quotidian fantasy is undermined? How close must you be to a crisis for this
fantasy to be shattered? Why do you
think we need this fantasy to function in the world?
7. What are the
challenges the author and his wife faced in telling their young children about
her breast cancer? How should we talk to
a child to explain a disease and its treatment? Why?
8. During the care
the author’s wife received at the hospital, Troncoso writes that they struggled
against the attitude of demanding “one right answer.” Why?
What kind of answers should patients and their families expect from
doctors? How can patients and their
families check their own emotions and desires when demanding answers? What responsibilities do doctors have when
communicating their results to patients?
9. How do you think
a patient’s (or her family’s) reaction to a health crisis affects her ability
to overcome that crisis? Do you agree
with the author that “if the patient gives up, in some manner her body also
gives up on her”? Why or why not?
10. Why do you
think the author writes about his life in a counterfactual manner in “A Day Without
Ideas”?
11. Why do you
think the
12. Why do you
think the author writes “The
Father Is in the Details” like a daily
journal, in the present tense, with sentence fragments, chockfull of minor and
major details? What kind of reality is
he describing? As a reader, how do you
feel when you are embedded in this reality?
13. How do you
think writing about a character trait you are trying to change in yourself will
help you change it? The author writes:
“These words have helped me in a way. I put myself there, on the page, this
impatient self, and attempt to step beyond it. What I want is to change my
character forever. I want to be a good father.”
14. In “Terror and Humanity,” the author argues that idea-things (i.e. abstractions
via categorizations) allow us to more easily be inhumane, to perpetrate evil
acts. Why? Do you agree? Cite examples
to support your argument.
15. “My mind is a
body that’s a mind,” says the author in “Trapped.” How is this at once an attempt to write
through the senses (à la Robert Olin Butler), but also a criticism of this
style of writing? How is the author
trapped? How can he separate what he experiences
through his senses and what he thinks with his mind?
16. Analyze the
struggles the author faced as a board member of a writers’ center in “Apostate of my Literary Family.” Should someone
facing such challenges stay in an organization to change it for the better, or
does he compromise too much of himself by doing so? What did the author learn
from this experience?
17. “This Wicked Patch of Dust” begins with a trivial argument, but metamorphoses
into something more important: what is this conflict between father and son
about? Different generations and different values? The
pain of a family’s history and what was never said? Adulthood and mortality?
What does it mean for ‘a father and son to break away from each other’? Have
you ever experienced a similar family conflict?
18. Do you think
the critics of illegal immigration in the
19. According to
Troncoso in “Finding our
Voice: From Literacy to Literature,” what
family practices will help Latinos succeed in the world? Do you agree? Why or
why not? What family practices might hinder Latinos?
20. In “Why Should Latinos Write Their Own
Stories?” the author argues that Latinos
should write stories to define themselves, but also to challenge themselves.
Think about what these dual reasons imply: believing in yourself and bolstering
your confidence through self-definition; yet also questioning that definition,
and so changing it for the better. Why do you think the author has set up this
tension between these two reasons for Latinos writing their stories?
Read three essays in Crossing Borders: Personal Essays:
Why Should Latinos
Write Their Own Stories?, A Day Without Ideas, and Fresh Challah.
Short stories: Angie Luna, The Snake, A Rock Trying to be a
Stone, and Espíritu Santo.
Read an
excerpt from Troncoso’s novel From
This Wicked Patch of Dust.