Initially, Cleofilas perceives herself in relation to men. Her identity is forged through labels patriarchal structures assigned upon her: a daughter, a wife, a sister, a mother. Yet, we know she loves sewing and loves telenovelas and is captivated by the arroyo behind her house. But these aspects of her individuality are only narrated, never validated by other characters. Additionally, she does not hold control over her desires and ambitions. Her father, Don Serafin, permits her husband, Juan Pedro, to take her away and move to el otro lado without seeming input of what she wants (p. 219). And later, we know she is not happy with the forced move and her marriage. She constantly yearns to return to her family and move away from Juan Pedro, who is abusive and unappreciative of Cleofilas (p. 222-223). Yet, she initially submitted to his ‘love’ because she felt it was her duty to go from being a daughter to a wife and soon a mother. She was not given options, her role as a ‘good’ woman was preassigned, and a good woman does as the men in her life desire.

Yet, when Cleofilas’ husband physically abuses her, further robbing her of her emotional and physical integrity, she is ultimately pushed to separate herself from him. Primarily as means of survival, but also with great bravery and confidence, which I think come from her desire for autonomy. During the escapade, she meets Felice, the antithesis of a ‘good’ woman within the era. Felice curses, screams, owns a car, and ultimately exudes freedom, something Cleofilas appears to long for. I believe this is when Cleofilas sees her potential to live a fulfilling life in which she does not have to suffer and lose her individuality to appease the men in her life. Felice mirrors what Cleofilas can be. Although the story ends right after their meeting, one can assume that now that Cleofilas has escaped domestic abuse, she sees herself ready to be assertive in her decisions, even if there is gossip or disappointment projected upon her. She values her freedom and safety above others’ patriarchal expectations. And she understood that staying dormant to abuse would lead to a similar path to Soledad and Dolores, whose names mean loneliness and pain, as both characters are in sorrow because of the men in their lives. Yet, instead, Cleofilas chose Felice’s path, whose name sounds like feliz, meaning happy in Spanish. Thus, although the effects and projections of the patriarchy will be there as they are structural, Cleofilas, by actively challenging these predisposed notions, has higher chances of finding happiness and a more fulfilling path, rather than allowing cycles of violence to continue.