La Llorona, or the weeping woman, is a folkloric ghost who drowns her children to punish her cheating husband, but immediately regrets it, and wails to express that emotion. This story of regret is exemplified twice in Cisneros’ story, first with the mention of La Llorona and also with Juan Pedro. The actions of Juan Pedro following the first time he hurts Cleófilas, with his “tears of repentance and shame” showcase a similar reaction to La Llorona (Cisneros 223). This connection creates a parallel between Juan Pedro and La Llorona. They both commit acts of violence, feel a sense of shame, yet continue to hurt others. The connection between these two illustrates the perpetuation of violence, especially gendered violence. The vicious cycle of violence is further enforced by the cyclical nature of the stream. Always moving, never changing.
These stories and images are the tools that Cisneros uses to critique the entrenched nature of domestic violence. It is interesting to note that at the end of the story when Felice breaks Cleófilas out of the her violent home, she screams when they cross the bridge over the creek. Felice exemplifies the hollering woman, but this time, it is a cry of freedom and power. The cycle of violence and damage and regret is broken by a women who screams of power and liberty. The screams begin as pain, and end as hope. This cycle becomes something different, it transitions from a cycle of violence to one of new beginnings. This showcases how women can break cycles of violence, and can help others do the same.
I really like your point about how the cycle can be morphed into a positive cycle that aids and uplifts victims of domestic violence. Furthermore, I think it is interesting to think of the two verbs, to wail and to holler, as both outcries, but one is from pain and suffering and the other as an expression of excitement and freedom. To change form wailing to hollering suggests an appropriation of the pain and power; a refusal to be acted upon, but rather, to be the one that acts. I think this is perfectly demonstrated by the contrast between the two times that Cleófilas crosses the creek. The first time by the agency of Juan and also physically by Juan. However, the second time, it’s her own agency that ultimately mobilizes Felice to drive her over the creek.
Hi Julia, the point you made with the “vicious cycles” is very interesting. I liked your analysis of the broken cycle and how this could be an example of empowering women to do so. I totally agree how violence could end up being an endless cycle until someone decides to be part of the change. Therefore, the link you mention of tCleófilas being the one breaking this toxic cycle represents a change and an example of how violence can have an end if one fights for it.
Your analysis of the two different ways in which La Llorona is alluded to in the text really speaks to the story’s development. I think that Juan Pedro’s own reaction to him hitting his wife is very similar to what happens in “Widows on Thursdays” after Gustavo hits Carla. The manipulation that comes with the men breaking down is very telling of just how toxic these relationships are. It’s surprising for these men to cry after such an angry and explosive moment, that even the women must feel like they should take care of them. It’s also interesting to have two examples of how the women react to these forms of violence, where Carla feels like she must take care of Gustavo and stay with him but Cleofilas is set on leaving him.