Author Archives: julia norris

11/18/21

Fathers and Daughters

In Díaz’s story, we see the effects of masculinity and sexuality on the childhood of our narrator Yunior. Yunior’s papi, Rámon, showcases an interesting stereotype among some men. There is a commonality among some men to create a standardized sort of dealing with women, where all women are objects, or subjects of desire, and therefore deserve to be treated poorly, or just treated as less. A sort of contradiction to this behaviour, is exemplified in these men’s actions towards their daughters. There is a common practice amongst fathers to treat their daughters with care and protect them, yet treat other women differently. This is exemplified in Rámon’s treatment of his wife, his mistress, and his countering treatment of his daughter. He shows care for his daughter when he collects the coins from the toll booth for the amusement of Madai (page 28). This is one of the only moments we see him act in a non violent way.

Ultimately Rámon’s actions towards his daughter work to end the violence against women, but his treatment of his sons works to enforce it. In his blatant expression of infidelity which he readily shares with his sons, Rámon sets an example for a patriarchal expression of relationships for his sons. These actions are further highlighted in his violence towards his children, in which he hits his sons, Yunior especially. In this we see him pass along his negative identity to his sons, yet refrains from giving it to his daughter. In these separate treatments, there is much to be understood in regards to men’s own realization of the discrimination against women to desire to protect their daughters from the same thing, yet not to stop such destructive actions in themselves or other men.

11/4/21

No More Fairy Godmother

In Ena Lucia Portela’s story, there is a simultaneous representation of and divergence from the norms of fairy tale story telling. The deviation from the norms ultimately works to tell a story of female empowerment.  The big division from norms of fairy tales that we see in this telling of Cinderella, is the absence of the fairy godmother character. In this version of the story, Cleis is the one who provides the means for herself to attend the party, by buying her own dress (page 3). The absence of a magical character that solves all the problems of the heroine is a clear choice in displaying the capability of Cleis, and places more responsibility on her choices and actions. Further representing this independence and power in Cleis free will comes her ending. She accomplishes her initial dream of being an actress, and play the role of the villainess (page 2). This too diverges from genre norms, in the desire of the main character to be bad instead of good.
Both of these help to create a new kind of heroine, if we can even call her that. This new kind of character abides by her own free will, apart from the stepmothers control – but even then is still acting in accordance with her own agency, but now walks the line between hero and villain. This transition creates an idea that in order to be an independent woman, you must be a little bit of a villain. All villains work for their own motive and end goal, in order to be a strong willed woman, you too must be just a little bit of a villain inside.

10/28/21

Vicious Cycles

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.

10/14/21

Escape from Death

In the theatrical depiction of Claudia Piñeiro’s Thursday’s Widows we are invited to view the dynamic between four men as they gather each Thursday. These men hold a position of power in relation to their perceived wealth and status of their jobs. One of the members of this group is not like the others. Ronnie stands out from his peers, as he doesn’t have a job at any point in the film. However, while this is viewed within the society depicted in the film as a negative thing, or perhaps a failure on Ronnie’s part, I argue that this saves him.

Around the 1:40 mark, after Tano’s idea of dying, Ronnie gives a moving speech on his life, showcasing the love he has for his wife and son, we as viewers can compare this to how none of the other men can claim to have the same family dynamic as this. How Ronnie and Mavy and Juan are the only family depicted with any sort of relationship. One that doesn’t revolve around money, or lying, or sex. Rather their family relationship showcases what some would consider “normal” challenges, like a troubled child. This is an active critique of the upper class issues we see depicted in Tano and Teresa’s marriage, as well as Lala and Martin’s family. As the only one of the four men who doesn’t kill himself at the end of the movie, we see his separation from the capitalist ways of the others.

Ronnie’s absence from the world that killed his friends, and then his and his family’s escape from that world at the end of the movie showcases the negative connection to capitalism and the high paying jobs of the upper class.

10/7/21

All Is Not As It Seems

This weeks introduction to detective fiction brought our attention to critical writings of María Elvira Bermúdez. “The Puzzle of the Broken Watch” offers a critical view of the state, and more importantly one that criticized the deception of true intentions. This is exemplified through the character of Ismael Flores. The first mention of him is not by name, but rather is referred to as a friend that is part of the police force, who allowed the Garcías family to keep Rosa’s watch (page 8). He is then called by name when Lupe describes the confrontation at the market place, where Ismael responds to the scene, and then buys ice cream for Lupe’s daughter (page 9). He appears to be the only character not immediately singled out as a suspect for the murder. Juan, Lupe, and the boyfriend Tomás are all singled out as suspects, yet he is not. Some even has some suspicion of the child Rosita. His role as a police man leads to this early deception and facade of a good, kind, law enforcer. The status of police man grants him the ability to get away with his crime, but also grants him the aversion of suspicion from the reader’s eyes.

This aversion to suspicion showcases a critique of the same sort of corruption that is possible in not only police forces, but state power as well. This goes along with our discussions of the critique of sympathy to the state that is represented in English language detective fiction. Here Bermúdez, relies on this critique of the police to critique the genre norms of detective fiction and the presence of deception.

09/23/21

A Hopeful Ending

In Ak’abal’s collection of poems, the section entitled “500 años” or “500 years” offers readers a complete storyline through a number of poems. Ak’abal introduces us to this story with the poem titled the same as the section, “500 years”. This poem gives us a context for the section, one critical of the treatment and status of Indigenous peoples. “500 years”, “pain”, and “holes” work together to paint a picture of the injustice (p 155, line 5), misery (p 157, line 1), and poverty (p 162, line 4) experienced by Indigenous people, and by Ak’abal. The poem titled “paradise” enlightens us to the cause of this mistreatment of Indigenous people, colonization. This particular poem begins with a description of a world of paradise, without sin, but soon transitions to a world of violence where the powerful enforce their will on others (page 159).

These poems give us the beginning and the middle of a story of colonization and oppression. However, the final poem of the section “the lamb” leaves me thinking there is hope for this story. This final poem speaks of a lamb and a shepherdess, as the shepherdess licks the lambs wound (page 163). As Ak’abal ended this section with this poem, I am left thinking that the lamb represents the oppressed Indigenous people, and the shepherdess represents a more abstract idea of hope, or freedom, or justice. His choice of finishing this section that is filled with a depiction of the creation and perpetuation of the minority status of Indigenous people with a poem of healing and comfort reveals an intent to rewrite the end of a story of oppression and change it into one of hope.

09/16/21

Confronting Realities

In class we spoke about the significance of the difference in the title of Aria’s work between the English and Spanish versions. The English version offers a prelude of “Guatemala 1954” giving the reader a direct context for the events of the short story. I believe the significance of this relates to the extent of American intervention in Latin America and the Guatemalan conflict expressed in the story.

I propose that the specifics of the setting of the story are made to call the people of English speaking countries directly to the content of the story, without any room for misinterpretation, and without offering space for denial of the content of this story. Far too often in American media, issues are offered in a palatable way. Offering the American audience a choice in whether they consume the media, or live in their ignorant bliss. This title does not offer that bliss. It directs the reader to a specific moment with a specific history. This call out could be more dangerous in the context of Spanish speaking and Latin American countries, so the addition of the pretext in the English version leads me to the conclusion, that it is there for a reason, and that reason is for the benefit of English readers. The critical nature of the texts leads me to the conclusion that the title offers a critical address to the interventional tactics, and forces its readers to confront the severity of their country’s actions, and further perpetuation of interventional ideals in American culture and legislation.

The title offers English readers space to confront the realities of their county’s international affairs, and extends the teachings of revolution to an American front.