00:58 - 2:00 expresses the feeling of validity and inclusivity students at UTPA endure while reading Borderlands.

Though it's not her first published piece of work, Gloria Anzaldua began her revolution in 1987 by recalling, questioning, and documenting what she saw happening within her community and communities close by. In the video, many students relinquish the fact that everything covered in the book is still reflected in their society and is more of an unfortunate norm rather than unethical treatment towards women with the labor force being highlighted dramatically. Other main key points include cultural rebellion, gender roles, and feeling native, yet foreign all together at once (Huang 2015).

Published in 1981, The Bridge was created with the intention of being used in a womens studies course. The creation of this book began to revolutionize education in ways no one has before as this is the first piece of writing explicitly made by feminists for feminists. The Bridge is a collaborative piece of work manufactured from stories, poems, and and other forms of writing from feminist near to Gloria Anzaldua. It's noted that this books publication kept being brushed off in hopes of another person publishing their own version of similar events, seemly because the feminist movement was in it's prime and a controversial topic. Despite the sensitivity around the topic, the book had one more issue: although popular, it was a one sided story, primarily addressed to white feminists, rather than an engaging conversation discussing developments within all aspects of the feminists society including feminists of color (Anzaldua, Keating, 2000).

Feeding off of The Bridge, Gloria Anzaldua come to the revelation that while it was well known, she couldn't use that book for a new course she was bound to teach, henceforth the publication of Haciendo Caras. This new literary work included pieces of writings from primarily women of color and was fabricated in such ways that allowed for the stories to coincide with one another as if they were in conversation. With a 10 year gap between the two books, controversy has seemingly died down a bit thus alotting Haciendo Caras the ability to finally reach its' targeted audience: feminists belonging to minority groups (Anzaldua, Keating, 2000).