Oye, you. Yes, tú. ¿Have you ever alguna vez mordido your lengua? Duele like una mierda fucker. El impaling de tu tongue on your diente stings like una picadura de un maldito escorpión del infierno. ¡Madre mía! I did it el otro día while I was comiendo rice, totalmente oblivious to el hecho que mis dientes wanted to amputar my lengua from my head. Durante unos seconds I didn’t realise lo que había pasado: sentí solo una tender carne entre mis teeth—like un buen rare steak.
But then, de pronto, I tasted el ferrous sabor feroz of sangre y empezó el pain insoportable. I spat, y salió un mixture de arroz con blood. Pensaba que había sliced mi lengua en dos e iba a fall out of my cara y aterrizar on the floor, mojado y slimy como un toad muerto. Un bastard lengua severed de sus raíces, cortado from the cords que lo atan to the veins, a las amígdalas, to the throat. Pensaba que I would quedarme muda con solo un stump sangroso bloqueando my palabras, filling my boca con un fleshy muñón de frustración.
O quizás que había bifurcated my tongue y yo tendría la lengua bífida de un serpiente for the rest of my vida like esas personas obsesionadas con weird body modifications to look like un gato con whiskers y tatuajes oculares o los goats with cuernos under the skin. Iba a ser un freak sin querer. Un misfit. Un bicho raro. Solo capable de sisear, hissing my words como un snake.
Gracias a Dios, this didn’t happen. My tongue estaba intacto—just herido.
For days después, I couldn’t comer, I couldn’t hablar, sin un strong dolor in the boca. Cuando hablaba, salían my words as if tuviera la boca stuffed with algodón, like when te han sacado dientes y el anaesthetic still hasn’t worn off. Saliendo de mi flat el next day me encontré with the landlady hoovereando el hallway y cuando I told her “Good morning” sonó like “Go mono” y me miró the same way me miraba cuando we met la primera vez y ella vió en los papers que my name is Maria-José Gutiérrez y esperaba que I would be a narco indocumentado que no hablaba inglés and that I would pay la renta con housing benefit y several semanas de atraso.
«ARE. YOU. MA-REE-AH. HO-ZAY. GOO-TEE-AIR-EYZ?» me preguntó, hablando slowly y loudísimo like todos los ingleses when they meet un extranjero.
Salvo que I was not an extranjero: I was una británica documentada, pasaporteada—pues, admittedly I was an anglo-peruana, but criada in los Midlands (precisamente between los campos ondulantes of yellow rape and golden corn y el depresivo shroud gris de la ciudad de Coventry con su arquitectura brutalista de los sixties with which trataron de recoverear in vain el city aniquilado por los Nazis) titulada de Oxford and me moveaba a London para estudiar mi Master’s y quería rentar un flat in Elefán and Castle. Pero for Cynthia Wells yo era foreign, because no me llamaba Sarah or Eleanor or Clare. So me hablaba like that: slowísimo y recontraLOUD.
Ahora she knows: entiende que I speak mejor ingles que her. In fact, enseño ESOL en la uni and a veces la landlady asks me chequear sus letters—su syntax, su gramática, su spelling. I try to explicarle what is a comma splice, una cláusula subordinada, a fragment sentence. But me dice “Just correct it for me, Maria. Don’t explain the grammar. Just correct it.”
But ese día that I said «Go mono» instead of “Good morning” she looked at me como si yo hubiera forgotten all my English, as if the peruana part in me fuera embriagante, like a poison en mis venas to give me lingual dementia. Y me miró and replied, muy loud y pronunciado cada phoneme clarísimo: “GOOD. MOR. NING. MA-REE-AH.”
It was la misma condescendencia of the MFL teacher when mis padres querían that I take the GCSE examen in Español when I was eleven. He looked at me down his nose with desprecio y le dijó a mi madre, right in front of me, “There is no way that a child of this age could pass a GCSE in Spanish.” Y ajustó sus glasses en su nose.
My madre was furiosa. Y para ella, el asunto became a point of principle, because who did he think he was, ese fulano nosequién maestro Don Nadie de nowhere, que pretendía to be el judge de la castellanohablancia with his Bachelor’s degree in nosequé from el politécnico de nosedonde y nisiquiera can he even roll his r’s so when he tries to say perro or even pero it comes out sin trino in the voice of un gringo sounding like pedo—like fart Dios mío—hijita, ¡fíjate!, he’s teaching esos kids a decir fart instead of but y se cree un gran polyglot juez of linguistic aptitude. Lo mejor que le podría pasar es to have you in his class to teach those children como hablar el castellano como se debe hablar.
Y entonces, I don’t know como lo hizo my mother, but la próxima semana I was in his clase de español, conjugando verbos—«O AS A AMOS ÁIS AN» Again!—discussing my pasatiempos and describing las habitaciones de mi casa with teenagers ingleses five years mayores than me.
Ese teacher derivaba un triumph sádico de encontrar las cosas that I did not know, like esa vez that he asked me for the second person plural del verbo hablar, y I told him «HABLAN» y el smirkió and he said “Nooooo” de una forma que elongó el vowel so that it sounded muy, muy patronisante.
Esa noche I asked my mother and ella me explicó que en Perú we do not use the vosotros conjugation like in Spain y yo me sentí cheateada, like ella should have told me para que yo no hubiera tenido que lose face in frente de los older kids.
Igual como that time que el me preguntó what does azafata mean en inglés, y yo no sabía porque we always decimos hostess, y me puse a pensar, «how many other anglicismos have I been using sin saber all this time?» Y, pues, I started to worry that I would fallar el examen and all the ingleses would pass, pero mami insisted que para mí—una muchacha bilingüe—it would be un piece of pancake comido pasar el examen.
Y claro she had toda la razón porque durante the oral exam, la examinadora me preguntó just one question y, al oir my respuesta totalmente fluent, she put aside her papeles con las questions pre-escritas y she just asked me about my opinions, de mis experiencias, about como es ser una young girl con un mixed patrimonio cultural en los deepest, darkest Midlands del United Kingdom, y yo le dije que sometimes me sentía como Paddington Bear, un poco lost y very sola . . . y así chateamos las dos until the exam terminó.
Y unos meses later me mandaron un papel with the grade A* junto a mi nombre pero el exam board se olvidó to add los acentos agudos to my name: Maria-Jose Gutierrez. Pero, bueno, de todas maneras, it was an A* and that showed ese Señor nosequién y nosecuantos quien can really speak español.
Nevertheless, a veces las personas te juzcan when you speak Spanglish. Like esos teachers que le dijeron a mis parents, “Don’t speak two languages in the home: you will confuse the child,” profetizando that I would tanglear los dos languages en mi cabeza like un knotted rollo que nunca would become desatado again. La niña will be slow, decían. Será bruta. Dumb. Tonta like una mula. La van a confusear.
Never me confundí. Claro que I can speak espanglés all enredado like los tallarines speaking recontrafast para que solo los other bilinguals me puedan understand porque ustedes, los monoglots, sus brains no pueden workear rápido enough para desentanglear los clauses and the sintaxis y todos los mixed-up verbs cruzados, gringeados y calqueados mientras que you reach back al GCSE Spanish que you memorisaste hace mil years atrás . . .
Sí, I can speak el tangled Spanglish.
But I am also capable—more than capable, of speaking either/or as well . . . Of isolating one tongue, reigning it in, and communicating unilingually with the other, without aphasia, without grappling around in the dark recesses of my brain desperately clutching for whatisthatword, trying to translate from Spanish to English, from English to Spanish, trying to remember which is which is which, without the first tongue—the temporarily quiet tongue—atrophying or shrivelling in my face, without it slipping backwards down my throat, without having to stick my fingers down my gullet and wrench it out lest I swallow it or shit it out, God forbid, like some vile excreta to be flushed away.
Or am I worried about relexification? Does it not keep me up at night: relexification?
Perhaps I should have started speaking to you with, “Hwæt! Mínne gehýrað ánfealdne geþóht”?
¿Pero, en serio, no me preocupa que el castellano sea engullido por el inglés? ¿Qué Shakespeare devore a Cervantes? ¿Qué el español sea chaucereantizado? ¿Qué dirían mis antepasados de mi traición contra la Real Academia Española?
Pues, no sé. Lo único que sé yo es que tengo dos lenguas, y a veces bailan solos y otras veces bailan juntos, danzando una marinera coqueta, cada uno cumpliendo sus pasos, pirueteando, saltando, subiendo y bajando, sincronizados ambos en una coreografía meticulosamente pintada en los colores de mi inconsciente.
Bueno, te cuento.
Me mordí, the other day, my lengua. Y, te lo juro, dolió como un shit jodido. I thought that me había tajado el tongue en dos and it would caer out of my face and land baboso y bloody al suelo. I thought que sería muda, palabraless, totalmente mute para el resto de mi vida, solo murmureando, babeando con el stump of flesh restante, gesticulando with my hands, haciendo muecas, miming para expresarme.
Thankfully, eso no pasó. La mordida left only a hole, un pequeño crater sangriento and un swelling doloroso que ya se me pasó.
Durante esos días, con mi swollen lengua and my silencio efímera, se me occurred to me that ese pain that I nursed en my tongue con hielitos and cold gelatina fue una reflection del dolor interior of queriendo speakear Spanglish when nadie te understands you.
Spanglish
Karina Lickorish Quinn
The status of Spanglish is a matter of significant academic debate in the USA at present. In the UK, where there are far fewer Latinxs and where we are largely ignored as an ethnic and cultural group, Spanglish is not on anyone’s agenda.
Choosing to write in Spanglish was not an intentionally political act on my part, though I recognise that writing in a voice that lies outside the privileged social centre is a type of activism, even if unintentionally so. Nevertheless, my writing in Spanglish was simply a matter of the heart. As an Anglo-Peruvian, Spanglish gives me a voice to capture the hybridity of my cultural identity. It is a voice I get to use very rarely, but it is the voice in which I feel most myself.
Ana Celia Zentella once suggested that bilinguals are treated as if they were “two monolinguals stuck at the neck, that is, with one tongue in control of two inviolably separate systems”. Ilan Stavans found this to be a “haunting, beautiful image” reminiscent of The Strange Case of Dr. Jekyll and Mr. Hyde, evoking “one body, two selves.” I resist these suggestions that I am binary, that I embody two identities separately. Certainly I can, with effort, be either/or. However, I would rather be both at once. I would rather be allowed to be a syncretistic, kaleidoscopic whole.
Choosing to write in Spanglish was not an intentionally political act on my part, though I recognise that writing in a voice that lies outside the privileged social centre is a type of activism, even if unintentionally so. Nevertheless, my writing in Spanglish was simply a matter of the heart. As an Anglo-Peruvian, Spanglish gives me a voice to capture the hybridity of my cultural identity. It is a voice I get to use very rarely, but it is the voice in which I feel most myself.
Ana Celia Zentella once suggested that bilinguals are treated as if they were “two monolinguals stuck at the neck, that is, with one tongue in control of two inviolably separate systems”. Ilan Stavans found this to be a “haunting, beautiful image” reminiscent of The Strange Case of Dr. Jekyll and Mr. Hyde, evoking “one body, two selves.” I resist these suggestions that I am binary, that I embody two identities separately. Certainly I can, with effort, be either/or. However, I would rather be both at once. I would rather be allowed to be a syncretistic, kaleidoscopic whole.
Karina Lickorish Quinn is a writer and teacher, currently pursuing her Ph.D. in creative writing at the University of Reading. With a Peruvian mother and an English father, Karina is bilingual in Spanish and English and is fascinated by questions of cultural identity. Most recently, her short story "Öogenesis" was highly commended for the Manchester Fiction Prize 2015 and short-listed for "The White Review Short Story Prize 2016."