Marjorie Becker

Summary Statement of Research Interests

An expert in Latin American history, Professor Becker researches the Mexican Revolution and counter-revolution, issues involving gender, ethnicity and class, and African American slavery in the U.S. South. For many years, she has conducted research into the poetics of Mexican poet Octavio Paz assessing his connections to Mexico’s 1910 revolution.

Detailed Statement of Research Interests

      My decades of research as a historian, innovative writer, and poet focusing on Latin America, particularly modern Mexico’s gendered history enabled me to discover an array of resistance movements to governmental over-reach, movements that, in fact, transformed modern Mexican history.  This research first appeared in my "Black and White and Color," written and published while I was a Yale grad student; then emerged in multiple articles and in Setting the Virgin on Fire: Lazaro Cardenas and the Redemption of the Mexican Revolution which received contract offers from Cambridge, Yale, Duke, Wisconsin and the University of California university presses, has been in press for decades and has sold several thousand copies.  My subsequent and simultanous research on Mexican women’s forms of resistance and communication, emerged in my re-printed article focusing on Frida Kahlo and Maria Enriquez, a Mexican assault victim I discovered through extensive and multi-archival grass roots research.  The sixth of my books, Dancing on the Sun Stone, is also based on extensive original archival and oral historical research, on the longstanding training I  sought out and received as a writer and poet after my life was threatened conducting research. That research emerged in multiple articles and in my sixth book, Dancing on the Sun Stone: Mexican Women and the Gendered Politics of Octavio Paz which emerged in 2022 and whose paperback versions emerged in 2024.

• I have completed three chapter drafts of the four chapter monograph Dancing on the Sun Stone: An Exploration of Mexican Women and the Gendered Politics of Octavio Paz. This monograph enters the gendered realms both of Octavio Paz, most particularly in his signature poem, “Sun Stone,” and those of the Mexican women dancers I discovered in my grass roots Mexican historical research. The monograph enables the women to enabling them to both respond to Paz’s own complex assessment of Mexican gender relations and to reveal the fashions in which their own expansive gendered behavior defined and reconstructed Mexican historical practices.
• Blending my body of research exploring Mexican women’s perspectives on revolutionary and post-revolutionary social orders denying them equality before the law, with Octavio Paz’s ground-breaking Poem “Sun Stone,” I immersed myself in a body of historical research that questions how gendered subjectivities operated in a specifically intriguing post-revolutionary setting; I also explore the fashions in which certain bodies of poetry render the architecture of gendered subjectities. This research enables me to question the fashions in which two highly complex and divergent fields themselves can communicate with one another.
• One of my central, long-standing research projects has focused on the architecture of emotional life experienced by impoverished, frequently illiterate, ethnically divided Mexican women. In particular, my recent articles challenge assumptions about revolutionary approaches to race and ethnic relations. They also ponder the ways in which Mexican women, denied equality before the law, nonetheless challenged both historical and historiographic efforts to silence them.
• My current research project, tentatively entitled “Opening the Eye of Water,” draws on my original researh into the economic and ethno-history of Michoacan’s Tarascan indigenous population. Reconstructing, analyzing, seeking to re-name Tarascans’ modern situations, situations historically based on colonial theft of Tarascan property, on laws and customs denying Tarascan women and many men property ownership and Spanish-language literacy, this work envisions a reclamation of the Tarascan world. This work draws on the documentary and oral research I conducted in multiple Mexican urban, rural, local, and private archives.

  For a number of years I have conducted an oral history project, interviewing a number of Macon, Georgia African Americans, German Jews and Russian Jews. I was able to draw on some of this research for my Rethinking History articles, “A Meta-Reflection on ‘Talking Back to Frida'” and “Talking “Talking Back to Frida: Houses of Emotional Mestizaje” This work is part of a larger project that seeks to reconstruct and analyze the complex communities forged by southern outsiders.

• During my sabbatical leave, I engaged in complex, multi-lingual and multi-disciplinary research, utilizing documents I was fortunate enough to discover, including in Mexican archives I was fortunate enough to have opened. These documents, and my original approach to La Purisima, particular illiterate Mexican women’s complex and vibrant approaches to her, form part of the reseach and writing I have developed. Another crucial element of this research has enabled me to consider potential connections between Mexican women’s literacy and longing during the post-revolutionary period.

Book

• Becker, M. (2020). Dancing on the Sun Stone: Mexican Women and the Gendered Politics of Octavio Paz. Albuquerque, New Mexico: University of New Mexico Press.
• Becker, M. R. (1995). Setting the Virgin on Fire: Lazaro Cardenas, Michoacan Peasants and the Redemption of the Mexican Revolution. Berkeley, CA: University of California Press.

Book Chapters

• Becker, M. (2004). When I was a child, I danced as a child, but now that I am old, I think about salvation: Concepcion Gonzalez and a past that would not stay put. (Vol. Experiments in Rethinking History) New York, New York: Routledge.
• Becker, M. (2004). Afterword to When I was a child, I danced as a child, but now that I am old, I think about salvation: Concepcion Gonzalez and a past that would not stay put. (Vol. Experiments in Rethinking History) New York, New York: Routledge.
• Becker, M. (1996). Black and White and Color: Cardenismo and the Search for a Campesino Ideology in Daniel H. Levine, ed., Constructing Culture and Power in Latin America. Ann Arbor, MI: University of Michigan Press.
• Becker, M. (1994). Torching La Purísima, Dancing at the Altar: The Construction of Revolutionary Hegemony in Michoacán, 1934-1940″, Everyday Forms of State Formation: Revolution and the Negotiation of Rule in Mexico. pp. 247-264. Durham, N.C.: Duke University Press.

Book Review

• Becker, M. R. (2010). Imagining la Chica Moderna. Journal of Social History.
• Becker, M. (2010). Stephanie A. Smith, Gender and the Mexican Revolution: Yucatan, Women, and the Realities of Patriarchy. American Historical Review.
• Becker, M. R. (2008). Book review of Susan Kellogg, Weaving the Past: A History of Latin America’s Indigenous Women from the Prehispanic Period to the Present. The American Historical Review.

Encyclopedia Article

• Becker, M. (2002). “Lazaro Cardenas” in David Carrasco, Oxford Encyclopedia of Mesoamerican Cultures”. (David Carrasco, Ed.). New York, New York: Oxford University Press.

Journal Article

• Becker, M. (2020). “You Grabbed me as though you Owned Me: Notes to the Zamora Sexual Assailant,”. Rethinking History.
• Becker, M. (2019). “Music, Sudden Music: When Mexican Women Altered Space in Time”. Rethinking History. Vol. 23 (1)
• Becker, M. (2016). “Had Pilar Ternera Co-written Cien Anos de Soledad, I’d Never Write you Now: Toward a Letter to the Dead”. pp. 28.
• Becker, M. (2016). “Had Pilar Ternera co-written Cien Anos de Soledad, Gabo, I’d never write you now: toward a letter to the dead”. Rethinking History:The Journal of Theory and Practice. (2 Feb. 2016), pp. 1–13.
• Becker, M. (2012). “Mexican Women and Their Revolutionary Dance in Two Parts: ‘Though It Seemed To Be a Lie, the Women, (even the Shy One,) Danced on the Pulpit that Night: What Mexicans Made of the Revolutionaries among Them, 1934–1940,” and ‘The Most Languid, Untold Pleasure.'”. Rethinking History.
• Becker, M. (2008). As Though They Meant Her No Harm, María Enríquez Remade the Friends Who Abandoned Her-Their Intentions, Their Possibilities, Their Worlds–Inviting Them (Perhaps, It Is True,) To Dance. Rethinking History.
• Becker, M. (2002). Talking Back to Frida: Houses of Emotional Mestizaje. History and Theory. Vol. 41
• Becker, M. (2002). Talking Back to ‘Talking Back to Frida:’ A Meta-reflection. History and Theory. (41)
• Becker, M. (1997). When I was a child, I danced as a child, but now that I am old, I think about salvation: Concepcion Gonzalez and a past that would not stay put. Rethinking History. Vol. 1 (3)
• Becker, M. (1989). Cardenistas, Campesinos and the Weapons of the Weak: The Limits of Everyday Resistance in Michoacan. Mexico, 1934–1940. Peasant Studies. Vol. 16 (4)
• Becker, M. (1987). El cardenismo y la busqueda de una ideologia campesina. Relaciones: Estudios de Historia y Sociedad. (29)
• Becker, M. (1987). Black and White and Color: Cardenismo and the Search for a Campesino Ideology,”. Comparative Studies in Society and History/Cambridge University Press. Vol. 29 (3)

Poem

• Becker, M. (2019). “The day of chance when Carmen”. (Marsha de la O and Phil Taggart, Ed.). Huntington Beach, CA.. Spillway.
• Becker, M. (2019). “When It Felt So Ripe Forever, Open Plum Abiding. (David Dragone, Ed.). Crosswinds Poetry Journal.
• Becker, M. (2019). “Secret Hot Receta. (Jenifer Debelis, Ed.). San Francisco. Pink Panther.
• Becker, M. (2018). “When it Felt So Ripe Forever, Open Plum Abiding,” “Spay of Sugar,” “The Bargain Light of Flavor, Colors, Colors”. Paris. Levure Litteraire.
• Becker, M. (2016). “Whose life in this room”. (Marsha de la O, Phil Taggart, Ed.). Ventura, CA.. Askew.
• Becker, M. (2015). “His Tricks Undid the Inner Light”. Ventura, CA.. Askew.
• Becker, M. (2015). “Notes On Coupling”. (Marsha de la O, Ed.). Ventura, CA.. Askew.
• Becker, M. (2014). “Needs To Cover You”. (Jim Natal, Cathy Sandstrom, Lynne Thompson, Ed.). Huntington Beach, CA.. Tebot Bach.
• Becker, M. (2014). “Respect So Raw, So Real”. Huntington Beach, CA.. Spillway.
• Becker, M. (2014). “Durham, 1980”. (German Munoz, Tammy HO, Juan Jose Morales, Ed.). Hong Kong. Chameleon Press.
• Becker, M. (2013). “Seamstress”. (Susan Terris, Ed.). Huntington Beach, CA.. Spillway.
• Becker, M. (2013). “Train Yard Filled with Song”. (Susan Terris, Ed.). Huntington Beach, CA.. Spillway.
• Becker, M. (2012). “Suddenly the Future,” and “They brought her grapes”. Los Angeles, CA.. Chaparral.
• Becker, M. (2012). “Listening. (In Memory of Salvador Allende””. Ventura, CA.. Askew.
• Becker, M. (2012). “Sea-green Ease,”. The Southern Poetry Anthology, Vol. 5, Georgia.
• Becker, M. (2012). “Capturing Sighs and Gemstones in Bundles, in Baskets”. Southern Poetry Review.
• Becker, M. (2012). “The Most Languid, Untold Pleasure”. New York, New York. Rethinking History.
• Becker, M. (2011). “Open and Early Buttered Biscuits”. (Susan Terris, Ed.). Huntington Beach, CA. Spillway.
• Becker, M. (2010). “Explosion of Gardenia Meat”. (Marsha de la O, Phil Taggart, Ed.). Ventura, CA.. Askew.
• Becker, M. (2010). “Since Anything Can Always Always”. Los Angeles, CA.. Chaparal.

Poetry Collection

• Becker, M. (2020). The Macon Sex School: Songs of Tenderness and Resistance. Huntington Beach, CA.. Tebot Bach.
• Becker, M. (2017). Angle of Reflection. California. Arctos Press.
• Becker, M. (2011). Writing on Napkins at the Sunshine Cafe: An Anthology of Poets Writing in Macon. Macon, Georgia. Mercer University Press.
• Becker, M. (2010). Piano Glass/Glass Piano. Huntington Beach, California. Tebot Bach.
• Becker, M. (2005). Body Bach. Huntington Beach, California. Tebot Bach.

Other

• Becker, M. (2015). Hispanic American Historical Review on line. Hispanic American Historical Review on line.

• Journal article, “When I Was a Child, I Danced as a Child, but Now that I am Old, I Think about Salvation: Concepcion Gonzalez and a Past that Would Not Stay Put,” Rethinking History. Nominated for Conference of Latin American History article prize. This article is one of my collection of innovative dance articles., 1997-1998
• encyclopedia article, “Lazaro Cardenas,” in The Oxford Encyclopedia of Mesoamerican Cultures.”, 2001-2002
• article in edited volume with new afterword, Afterword and selected republication of “When I Was a Child, I Danced as a Child, but Now that I Am Old, I Think about Salvation: Concepcion Gonzalez and a Past that Would Not Stay Put,” (selected commmissioned article from Rethinking History,” in Experiments in Rethinking History, 2004-2005
• Poetry collection, Body Bach, 2005-2006
• Poetry collection, Piano Glass/Glass Piano, 2010-2011
• In collaboration with USC Dornsife English Professor David St. John, I began preparation for the “Drawn to Language” conversation at USC’s Fisher Museum, I turned to my grass roots research and teaching about gender in Bolivia and Peru, about Latin America’s cultural history, and my assessment of St. John’s recent Andean-inflected poems. , Spring 2012
• In order to introduce my Yale mentor Florencia Mallon’s historical, theoretical and literary work at the History Department event for which she read from her novel, assessing links between history and fiction, I entered the scholarly worlds she has pioneered (and those we have together developed,) and created an extensive introduction to her work., Spring 2012

• nominated for USC Mellon Mentoring Award for Graduate Students, 2011-2012
• USC Mellon Mentoring Award for Undergraduate Students, 2012, 2011-2012
• “Listening,” “Suddenly the Future,” and “A Broken Untold World of Dance” named runners up in Second Annual Beyond Baroque Poetry Contest, 2010-2011
• Piano Glass/Glass Piano nominated for California Book Awards, Commonwealth Club of California, 2010, 2010-2011
• Piano Glass/Glass Piano nominated for California Book Awards, Commonwealth Club of California, 2010, 2010-2011
• Piano Glass/Glass Piano nominated for Cleveland Foundation, Anisfield-Wolf Book Award, 2010, 2010-2011
• USC Phi Kappa Phi Faculty Recognition Award, Piano Glass/Glass Piano nominated for USC Phi Kappa Phi Faculty Recognition Award by Professor David St. John, 2010-2011
• Arts and Letters grant to teach ARLT g.e. course, “Magical Realism in Latin American History and Literature”, 2009-2010
• College Faculty Development Award, 2009-2010
• Invited Guest Lecturer for Professor Robert Rosenston’s Post-Structural History course based upon research and narrative innovations displayed in my monograph Setting the Virgin on Fire: Lazaro Cardenas, Michoacan Peasants and the Redemption of the Mexican Revolution and Rethinking History article, “As though they meant her no harm, Maria Enriquez remade the friends who abandoned her–their intentions, their possibilities, their worlds–inviting them (perhaps, it is true) to dance,”, 2009-2010
• nominated for USC Mellon Mentoring Award, 2009-2010
• “As though they meant her no harm, Maria Enriquez remade the friends that abandoned her–their intentions, their possibilities, their worlds–inviting them (perhaps, it is true) to dance,” nominated for Conference of Latin American History article award, 2008-2009
• College Faculty Development Award, 2008-2009
• Arts and Letters Research Grant to Create, Develop and Teach “Magical Realism in Latin American History and Literature”, Spring 2009
• Poetry reading with internationally renowned poet Jane Hirshfield with nationally celebrated poets, U.S.C. students, and the general public, Fall 2008
• Certificate of Appreciation, USC Chapter, Alpha Lambda Delta, exemplary performance for professors, 2007-2008
• College Faculty Development Award, 2007-2008
• Invited guest professor at Cal Tech in Professor Robert Rosenstone’s post-structural and innovatie history course. Invited to teach my Setting the Virgin on Fire and recent Rethinking History article reproducing what I have named “ghost time,” a woman’s courageous generosity in the fact of sexual assault, and revolutionary dance., Spring 2008
• Ahmanson Foundation Award, “The Many Faces of Frida.”, 1998-1999
• nomination, Raubenheimer, Outstanding Junior Faculty Award, 1995-1996
• Phi Kappa Phi recognition, Setting the Virgin on Fire: Lazaro Cardenas, Michoacan Peasants and the Redemption of the Mexican Revolution, 1995-1996
• Invited Visiting Research Fellowship, Center for U.S.-Mexican Studies, University of California, San Diego, 1990-1991
• Fulbright Award, This national dissertation fellowship was awarded in recognition of my original Mexican research project., 1989-1990
• Invited Visiting Scholar-Teacher, Colegio de Michoacan, Zamora, Michoacan, 1989-1990
• American Council of Learned Societies Fellowship Recipient, 1988-1989
• USC Zumberge Research and Innovation Fund Award, 1988-1989
• National Endowment for the Humanities Fellowship Recipient, summer stipend, summer 1989, Spring 1989
• Inter-American Foundation Doctoral Fellowship, extension, 1985-1986
• Woodrow Wilson Foundation, Charlotte Newcombe Doctoral Dissertation, 1985-1986

Other Service to the University

• Guest professor in Prof. Robert Rosenstone’s Post-structural History course, California Institute of Technology. Drawing on expansive historical research tools to excavate elements of Mexico’s buried women’s histories, asking what illiterate women tell us, what physical language reveals, and how., Spring 2012
• Guest professor in Prof. Robert Rosenstone’s Post-structural History course, California Institute of Technology. Drawing on expansive historical research tools to excavate elements of Mexico’s buried women’s histories, asking what illiterate women tell us, what physical language reveals, and how., Spring 2010
• Guest professor in Prof. Robert Rosenstone’s Post-structural History course, California Institute of Technology. Drawing on expansive historical research tools to excavate elements of Mexico’s buried women’s histories, asking what illiterate women tell us, what physical language reveals, and how., Spring 2008
• Developed and Administered grad student training for Teaching assistants for Thematic Options class on comparative racial history, (Race Matters: From Malinche to Cornel West), 1996 – 2005