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Double‐edged poetry: From sexual longings to a Filipina American politics of writing in Virginia Cerenio's trespassing innocence

Using her writing as a means of negotiating family, sexuality, and ethnic and cultural identity in her collection of poetry, Trespassing Innocence, Virginia Cerenio articulates a Filipina American poetics that is grounded in the Third World strikes of the 1960s and 1970s, a series of political movements which signified the "convergence of struggles—civil rights, anti-war, women, student and oppressed nationality [movements]" (Umemoto 4) and led to the creation of Asian American cultural nationalism (Wong "Denationalization"). Oscar Campomanes ("Filipinos in the U.S.") and Jean Gier identify Cerenio as one of the "Flip" writers, a group comprised of mostly second-generation Filipino Americans who came of age during the Third World strikes and either embroiled themselves directly in the political movements or were deeply affected by the politics that was constructed during that time. The fact that the poetry collection was published by the Kearny Street Workshop, an Asian American community arts organization that also emerged from the same time period, further supports this claim. Given the historical emphasis in Asian American literary criticism on issues of cultural nationalism, which has marginalized feminist literary approaches through its masculinist formulation of "the antiracist critical project of Asian American cultural studies" (Lee 8), Cerenio's work is an important contribution to Asian American and Filipina/o American poetics as a subject of study. But substantial secondary criticism does not yet exist on her poetry, despite the fact