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sends the setting oc Casas' hometown, El Paso del Norte, the pass to the north, the exit from Mexico translated into the imagery of American popular culture [[scratched out/]] which [[/scratched out]] there tends to portray the American landscape in terms of a recumbent fertile white woman from "the moon on the breast of the new-fallen" to its "purple mountain majesties above the fruited plain."  It is a convention borrowed from 18th- century English landscape literature [[scratched out/ which [[/scratched out ]] that also provides the central joke of England's most famous dirty book Fanny Hill (i.e. fannny = hill), in which the convention of the "humans cape" is pursued with t a good deal of antic vitality. Casas, of course, employs this powerful, yet all but invisible cultural stereotype to dramatize the daunting prospect of brown-skinned immigrants who can only escape from the south by being. in effect, reborn into a white mother culture. 
Again and again in the early paintings we are given examples of the extent to which generalized popular imagery and language imposes itself on our everyday day life. In Humanscape 70: Comic White-wash a veritable squadron of white, costumed, authoritarian superheroes come flying out of the symbolic Fram to infect the dreams and, by implication, the self image of a young Chicano; in Humanscape: 68: Kitchen Spanish the reference of the term is expanded from its casual association with a pidgin language to encompass a while race of people, the "kitchen Spanish," who are regarded by the dominant white culture as cartoon stereotypes as standardized and interchangeable as any other "kitchen appliance." 
The blame for these cultural aberrations is not laid solely at the feet of the white culture and its media manipulators, however. The