This thesis takes a feminist and spatial approach to the analysis of ire'ne lara silva's collection of short stories flesh to bone, a continuation of the Anzaldúan body of thought. The thesis introduces two aspects–spiritual and spatial–to the wounds suffered by the Chicana collective Self which can be found within the characters and plotlines of lara silva's stories, and which had previously been outlined by Anzaldúa herself. This thesis also explains in depth the steps necessary to achieving the never-ending Coyolxauhqui Imperative, which is Anzaldúa's idea that to heal the collective Self, individuals must continue to create and tell the stories of our ancestors and ourselves as survivors instead of victims. Throughout this analysis, it is elucidated that lara silva has created herself a new theory to add to the Anzaldúan framework, called Tomiccama Tomiccanacayo, which translates from Nahuatl to mean: "We are protected by the hands and bodies of our ancestors". Thus, this thesis finds that, within flesh to bone, this new theory is asserted as a method of continuous healing and as an addendum to Anzaldúa's Coyolxauhqui Imperative. This study adds lara silva into the Anzaldúan academe and explains her words' significance to Chicana spatiality. My argument for the existence of lara silva's theory is important because of a continued necessity for collective female healing and the creation of art reaffirming the female Self to new generations of daughters becoming women.