Wednesday, November 11, 2009

Contradictions in Sense of Place in !Caramba!

Place is the setting in which the events of a story and the actions of its characters take place. In the final scene of !Caramba!, the songs “Red Hot” and “La Cigarra” exhibit the contradictions at work in the sense of place manifested in Lava Landing, represented in the Annual Lava County Labor Day Parade.
In the final scene, the sense of place is defined by those characters and events that inhabit the setting as well as by the things that are absent from it. The most conspicuous characters at the site of the Annual Lava County Labor Day Parade are Lucha and Fabiola (along with their kilo of heroine), April May, and the Volcano, whose lingering threat has lurked through much of the novel. Conspicuously absent are the majority of our other main characters: Consuelo, Natalie, Lulabelle, and Javier, who have all embarked on a journey outside of Lava Landing for the first time in the novel. These are the defining elements of the final scene; each of them, in their own way, interacts with the aural elements of the scene, or what may be called the soundtrack to the events in these characters’ lives. The playlist on this soundtrack consists of “Red Hot”, “La Cigarra”, and also, arguably, April May’s scream and the rumble of the earth’s quaking, as described in the final paragraph of the novel: “April May fills her large lungs with air. She screams…and the Earth responds in kind.”
“Red Hot” and “La Cigarra” inform the sense of place by working in opposition to each other, thus revealing some of the paradoxes in Lava Landing. In so far as it is a mass public gathering that celebrates the town, the Labor Day Parade may be said to represent Lava Landing. Therefore, exploring the contradictions at work in the parade’s “soundtrack” may provide important insights into the sense of place evoked by Lava Landing at large. The Labor Day Parade also happens to be the climax of the novel. Therefore, we expect these contradictions to resolve themselves, or, on the other hand, to explode from the pressure created by their opposition. Of course, we find the latter to be the case, as the final page explains: “Area rocked by 5.9 Quake; County wakes up without queen.”
The opposition between “Red Hot” and “La Cigarra” is most prevalent in their shared subject, which is, very generally speaking, love and/or romantic relationships. While this is readily apparent from “Red Hot’s” chorus, which features the narrator boasting about the superiority of his “gal” over any other, (“My gal is red hot – Your gal ain’t doodley squat”) “La Cigarra” requires some closer reading to identify its subject. The greater part of the song is devoted to a description of the narrator’s great sorrow. It is not until the third stanza that the source of this despair is revealed, which is none other than unrequited or painful love.

Un palomito al volar
Que llevaba el pecho herido
Ya casi para llorar
Me digo muy afligido
Ya me canso a buscar
Un amor correspondido

A little dove upon flying
Bearing a wounded breast
Was about to cry
And told me very afflicted
I’m tired of searching for
A mutual love

(translation: http://www.lyricstime.com/ronstadt-linda-la-cigarra-lyrics.html)

The paradox between the two songs revolves around the fact that while they share a general subject, their attitudes are in complete discord with each other. “Red Hot” is fun-loving, self-assured, even flippant. The narrator’s descriptions of the “gal” in question are limited to shallow expressions of her physical characteristics (“six feet four”), behavior, (“Well she walks all night, talks all day”) and the like. Meanwhile, “La Cigarra” is mournful, tragic, and deadly serious. Although the object of affection is not described, his/her impact is very tangible in the life of the narrator:

Y quiero morir cantando
Como muere la cigarra

And I want to die singing
Like the cicada dies

Likewise, the sound of “Red Hot” and “La Cigarra” are at odds. “Red Hot” is an upbeat rockabilly tune; “La Cigarra” is a sorrowful ranchera song. As suggested by their association with each of the characters, “Red Hot” and “La Cigarra” may be said to be the theme songs of April May and Fabiola, respectively.
In the final scene, the sense of place derives from the tension in identity between these two characters. April May goes to great efforts to win over the judges on the Miss Magma panel, and for nine years her efforts have proved fruitful. However, some discontent is growing in the ranks of the judges, a sentiment expressed in the observation, “APRIL MAY MIGHT REPRESENT OUR VOLCANO, BUT SHE DOES NOT REPRESENT US.” April May also happens to be ugly, Anglo (if we can judge by the description that she was “so pale her veins showed through her skin”), and apparently biologically male. Fabiola is beautiful, Mexican-American, and, of course, female. She isn’t interested in the prestige of Miss Magma—in fact, she’s not even registered as a contestant, and casts off the Miss Magma crown after it is placed on her head.
April May and Fabiola reflect on the oppositions at play in Lava Landing. Although located in California, the city—or at least the part of it the reader sees—is thoroughly Mexican-American, and Mexican culture permeates the pages of the novel. Earlier in its history it was devastated by a volcano eruption, and yet the lava flow ultimately became a boon for the city’s inhabitants: it made the soil especially fertile, resulting in a mass migration of Mexican laborers every harvest season. Brujeria, loosely translated as witchcraft, plays a major role in the story, and yet the same characters who ply its trade exhibit religious devotion, or exhibited it at one time (Lullabelle and the brujo that Fabiola and Lucha visit). Thus, the sense of place is ultimately one made deeply familiar through the characters we are introduced to, yet rife with contradictions that complicate the sense of place and push the community to the point of explosion, in the form of the earthquake. When the earthquake does occur, it signals the climax of some of the characters’ narratives, namely, the characters present in Lava Landing when the earthquake strikes. Fabiola and Lucha are arrested; jail will likely prevent them from enjoying their newfound riches or avenging Fabiola any time in the foreseeable future. And April May is deprived of a tenth consecutive Miss Magma title. However, Natalie, Consuelo, Lullabelle, and Javier are not present during the climactic earthquake. Will Javier learn to balance the demands of mariachi masculinity with his devotion to missionary religiousness? Will Lullabelle finally decide who is the real keeper of her soul: God or the Devil? Will Natalie and Consuelo come to terms with the tension between their regular dancing and flirting with boys on the one hand, and their deep commitment to one another on the other hand? These contradictions are not resolved.

Monday, November 9, 2009

Memory and Place

Music is very powerful in that it can trigger and influence our emotions. A simple tune or melody can send someone back to the past of a happy memory or a sad time in their life. This either happens because they can relate to song, perhaps due to the lyrics, or because music was playing during that memory they created. When the elements of tone, tempo and rhythm come together, they perform a powerful spell that can induce deep feelings and a whole range of emotions.
In analyzing one of the final scenes in Caramba, we can denote how music has a powerful effect on the characters participating at the Lava County Labor Day Parade. April-May was the same-old same-old. After winning for nine years in a row and skating to the same song every year, I bet the public was tired and bored of the performance which they observed many times. Also, I feel like the brief moment where we get to see her character, she is portrayed as someone who is a bit of a crab. Now on the other hand we have sweet little Favy. She starts out timid but in the end she has drawn all eyes on the parade on her and is stealing the show.
I think that April-May's performance had become associated with a bad feeling in the eyes and ears of her public. Billy Lee Riley's "Red Hot" was the same piece she performed to every year and I bet when the song started playing, everyone was taken back to the same performance which they new all to well. Favy offered something new, and the way in which she started off slow and gradually increased her momentum drew the attention of the crowd. They were able to create a new happy memory which trumps April-May's same-old same-old.

Songs Setting the Mood

In my opinion, music is a very good tool for setting moods. I also believe that "sense of place" goes a bit further than just a geographical location in this book. The songs “Hey Baby, ¿Qué Pasó?", and "Wasted Days and Wasted Nights" not only give us an idea of what kind of physical place the story is taking place in, but also dictate in a way how the characters interact with each other.

"Hey Baby,
¿Qué Pasó?" is the first song that is brought to our attention in the chapter, The Big Five-Four. Just the title of this song does a good job at setting up the mood and what is happening. With Nat just leaving the bathroom, she finds that Consuelo is dancing with sid in a very fun a lighthearted way. Listening to "Hey Baby, ¿Qué Pasó?" makes it very clear that fun and lighthearted is exactly what the author is trying to convey here. As we know, Cid has been interested in Consuelo for almost 10 years but Consuelo has no interest in him. For Consuelo, this is just a fun lighthearted dance with a friend.

The song "Wasted Days and Wasted Nights," is the second song that is brought to our attention and i believe this song, in a way, sums up Consuelo's and Nat's fun nights out. I believe this song is important because it makes the reader realize that what Consuelo and Nat are doing is really just wasting their days and nights. We get a sense that they have been coming to this place for a long time and every night they come, they have drinks, dance with guys then go home. They never really meet anyone new and often end up dancing with the same people that they have no interest in. A good example of this is when Consuelo dances again with Cid, instead of find a new dance partner and meeting a new person. Conseulo and Nat are just wasting their days and nights.

As we have seen, these songs do more than just gives a visual on where the story is taking place. The songs actually set the mood and tone of how things are happening in the story and even sum up what is actually taking place at the time.

Cancion del caballo Blanco

The term sense of place has been defined and utilized in different ways by different people. To some, it is a characteristic that some geographic places have and some do not, while to others it is a feeling or perception held by people (not by the place itself). It is often used in relation to those characteristics that make a place special or unique, as well as to those that foster a sense of authentic human attachment and belonging. Sense of place gives a reader a sense of nostalgia when he/she stumbles upon something they can relate with, such as a song.
In Caramaba, Don Pancho is singing La Cancion del caballo Blanco while intoxicated and on the railroad tracks. The lyrics in the corrido give you an idea of what's going to happen to Don Pancho and the journey he is about to be in.

Cancion del Caballo Blanco
Este es el corrido del caballo blanco
que en un dia Domingo feliz arrancara,
iba con la mira de llegar al Norte,
habiendo salido de Guadalajara.

Su noble jinete le quito las riendas
le quito la silla y se fue 'a puro pelo'
cruzo como rayo tierras Nayaritas
entre cerros verdes y el azul del cielo.

A paso mas lento llego hasta Escuinapa
y por Culiacan ya se andaba quedando
dicen que en Los Mochis ya se iba cayendo
que llevaba todo el hocico sangrando.

Pero lo miraron pasar por Sonora
y el Valle del Yaqui le dio su ternura
dicen que cojeaba de la pata izquierda
y a pesar de todo siguio en su aventura.

Llego hasta Hermosillo, siguio pa Caborca
y por Mexicali sintio que moria,
subio paso a paso por la Rumorosa
llegando a Tijuana con la luz del dia.

Cumplida su hazana se fue a Rosarito
y no quiso echarse hasta ver Ensenada,
este es el corrido del caballo blanco
que salio un Domingo de Guadalajara.

After listening to the song and reading the book, I could see that Nina martinez is trying hint that Don Pancho is about to venture on this journey once he is dead. In a way, Don Pancho is much like the horse in that it is in search of something and won't stop until reaching its destination. Don Pancho's destination in the story is leaving purgatory. Don Pancho feels trapped in purgatory and finds himself haunting everyone in the story because of his sufferings. In the end he finds a way to leave purgatory and become a saint.

Songs as Setting

From personal experience, we know that songs or musical background can really dictate the mood or feeling in the room - especially at a dance or a party. Not only does music contribute greatly to the atmosphere, but it identifies us with those around us as we can't help but listen to, sway to, or react to a piece of culture together. While music sets a physical, audible place in the Big Five Four for the club-like atmosphere Sway and Natalie enjoy every weekend, it also contextualizes the character in a certain culture, spirit, and perceived time frame for this scene.

Natalie"two-steps" out of the bathroom to the sound of "Hey Baby Que Paso," which the book describes as a "Tex-Mex" song she was particularly fond of. The song is playful, upbeat, and sung in Spanglish by the band Texas Tornados, many of whom are Anglo musicians. The accordion and steady drum beats are characteristic of some mariachi music but the keyboarding and slide guitar also give the tune a characteristic Texas ring.

Though the song sends a very different sentiment, "Wasted Days and Wasted Nights," is similar in it's Tex-Mex-ness in the sense that it is a slow, bluesy country ballad sung by a Tejano - Freddy Fender - in the typical style of a song-bird cantador. The song plays while Sway dances with Cal (who has always been sweet on her - in vain). This is an appropriate setting of place for this older, smokey dance hall full of younger women and older men who are looking for a good time on the weekend but not necessarily serious relationships. It also seems to place the Big-Five-Four in a bygone era - the song feels very much like a 50's country song even though it was sung in the 70's. freddy-fender.jpg

I think both songs communicate Natalie and Sway's "place" in they country/Tex-Mex, borderland of Lava Landing. The songs paint an audible picture of towns stuck in a time past and people stuck "wasting days and nights" intentionally. They are rather playful songs, but they also communicate the sense of longing that Martinez will continue to communicate throughout the novel for commitment and love.
Song does more than provide a strong sense of place in "Caramba;" It also puts words to the emotions that each woman is feeling in the story. On page 49, the reader is provided with the back story to April May and her long reign as Miss Magma. Although most people have the perception that beauty queens are beautiful creatures, April May is described as ugly with her freckles, large teeth, pimple-ridden skin and her large feet. For her performance, she roller skates to "Red Hot," which, to me is a tribute to her hair. The song lyrics say,"
My gal is red hot
(Your gal ain't doodly-squat)
Yeah, my gal is red hot
(Your gal ain't doodly-squat)
Well, she ain't got no money
But man, she's a-really got a lot.

In the context, "money," could symbolize good looks, but "she's a-really got a lot" symbolizes the power of her hair, which the author says made her so hot when she said, "She had the brightest, reddest hair in all of Lava County....there was something about all that red hair spilling out of the crater and onto the side of the volcano float." When the song says "Well, she walks all night, talks all day
She's the kinda woman who'll have her way," this could illustrate her determination to stay queen and her way of getting what she wants. The author mentions that "April May was always last to exhibit her talent" during the competition. Her determination is also seen when her hair refuses to abdicate the crown.




Lucha tells Favy,"life gives out very few good opportunities, so when one comes along, a girl's got to make the best of it." Lucha and Favy were on their way to a drug deal, but, when the opportunity presented itself for Favy to find her voice, they pounced on it. The author says that Fabiola, "takes a big, deep breath, as if trying to make up for more than just lost time." Throughout the work, Fabiola seems to be trapped in the time that the "susto" was done to her. By singing, her voice draws in power and transports her out of that time and into the present. No longer is she, as the song calls it, a

"A little dove upon flying
Bearing a wounded breast."

Through her singing, she moves from darkness into light and, seemingly, away from the ocean of despair that she seems to be drowning in, as in "Cigarra" when it makes reference to there being,"another color blacker
Than the color of my sorrows."

April May and Fabiola give sense of place because they are also representations of a volcano about to errupt. When the author writes, "At first, she sings slowly and softly, all the while gathering momentum and volume," it's as if she's describing the moments before a volcano blows and, when she says,"Fabiola sings slowly, and surely, but moreover inevitably, so that by the second verse her voice is as loud and sure of itself," this is representative of the flow of magma boiling over and conquering everything in its path. After Favy destroys the crown, the people expect April May to ride in and save the day, but she chooses to finish her performance. When she falls, her hair described as "long fiery hair has never been longer, has never been thicker, has never been fierier," alludes to the magma that will cover the town. When she screams a scream that is "full of everything that screams are made of," she becomes the voice of the volcano that, like her, has been complacent and and,in essence, her rage and fury at being supplanted become the impetus that causes the volcano to blow.











Sunday, November 8, 2009


“Sense of place” can either be described as a physical geographical location or the meaning people, in this case the characters, give to a specific location, person or object. In my opinion, I think Nina Marie Martinez refers to “sense of place” to describe the emotional and physical place each character has on each other’s life. In the Big Five-Four scene on page 13, and the one on page 250, Martinez associates the song “Hey baby, ¿Qué pasó?” with Natalie “a text-mex tune she was particularly fond of” (14) while the song “Wasted Days and Wasted Nights” is associated with Consuelo. Not only do the songs describe the girl’s personalities but it also serves as a revelation of their intimate love they have for each other.

“Hey Baby, ¿Qué Pasó?” is a danceable song, with an up beat whose lyrics both in English and Spanish are magically interwoven to compose the best declaration of love. Natalie’s personality, just like the rhythm of the song, is adventurous and fun, and who is more likely to take initiative on things. Consuelo, on the other hand, is best described by the rhythm of “Wasted Days and Wasted Nights” whose slow beat and romantic tone, describes her shyness and hesitation to take the lead.
Most importantly, this song not only describes Consuelo’s and Natalie’s personalities, but I believe is a revelation of their intimate “love” for each other. In “Hey Baby, ¿Qué Pasó?” the verse:

Come on, baby, turn around
Let me see your pretty blue eyes
Don't you know that I love you
Please don't leave me de ese modo.


This verse made me think of Consuelo (who in fact have colored eyes)when she accepts to dance with Cal, making Natalie jealous causing her to respond with that verse.

On the other hand, “Wasted Days and Wasted Nights” Consuelo responds to Natalie with the following verse:

Don't you remember the day.
That you went away and left me
I was so lonely
Prayed for you only, my love.


Is this Consuelo reminding Natalie of the time she went to Mexico and left her all lonely in Lava Landing?

Even though Martinez never establishes the sexuality of Consuelo and Nathalie, I think she gives us a clue on page 343 when Javier goes to Consuelo’s house to declare his love for Nathalie. Martinez writes “When it comes to Natalie, jealously has always been an issue for Consuelo. Its one thing to watch Nat kickin up her heels dancing the night away with some stray cute thang on Saturday night, but to have a young man in her very own livin room declaring long-felt feeling for her best friend is another thing entirely.” I believe Natalie and Consuelo are afraid of accepting their love not only as “best friends” but a more intimate love, that usually happens between a man and a woman. Therefore, their only way of expressing their love is through these two songs: “Hey baby, ¿Qué Pasó?” and “Wasted Days and Wasted Nights”.

THE BIG FIVE-FOUR *sense of place




Examining one of these two scenes and listening to the attendant songs, explain how the songs either provide a sense of place or complicate the reader's sense of place. You will need first to describe what "sense of place" means in the scene in particular: what defines the place in question. Then, think about the nature of the songs, how they interact with the "place" you have described/defined, and what that suggests about "place" in general in the novel.

Define the term of sense of place.- I was not sure what it means exactly. So when I looked it up online, I found out how place doesn't always describe itself geographically but it could describe by people's feeling or perception. "It is often used in relation to those characteristics that make a place special or unique, as well as to those that foster a sense of authentic human attachment and belonging." (wikipedia)

According to the book- When Natalie came out from the bathroom, she was going to the place, the song Hey baby Que Paso was playing. When I listen to that song in the classroom on friday and read it again, the sense of place felt different. It was different than reading book when I never head the song. I could feel that place with the music. The song itself is really upbeat. Joyful and light. Especially Natalie character an the song just match and perfect for that place for the story I think.


"Hey Baby, ¿Qué Pasó?"

Hey, baby, que paso?
Thought I was your only vato
Hey, baby, que paso?
Please don't leave me de ese modo

Come on, baby, turn around
Let me show you how I feel
Don't you that I love you
And my corazón is real

For the lyrics, I have to translate them first to understand every sentence.
Que paso? = What's up baby?
de ese modo= please don't leave me like this
corazon= And my heart is real

When I heard the music I thought it's just fun and light music but the lyrics are kind of sad and heavy. However Natalie is not a serious woman like music lyrics. I believe that music describe the place and Natalie with the beat only not with lyrics. I don't think Natalie would get moody and heavy serious heart like the lyrics when she listen to that song. She was just ready to enjoy that place I think.

and later when the song "Wasted Day and Wasted Nights" plays and Cal and Consuelo are dancing. and Also Javier leaned toward Natalie. I think this song is really romantic and sweet. LIke the rhythm is slow but fast and the tone is good music for man and woman to dance and talk. Great ambience for that place and scene.


"Wasted Days and Wasted Nights"

Wasted days and wasted nights,
I have left for you Behind
for you don't belong to me
your heart belongs to someone else.

Why should I keep loving you,
when I know that you're Not true?
And why should I call your name,
when you're to blame
for making me Blue?

First of all, the title fits perfect for those meeting between man and woman in that scene.
That night in that place, it was not serious meeting for marriage or anything.
People can meet and leave each other. The time can be wasted for day or night. The song is not describing perfect love, woman heart went to other guy and the guy who loves her think about to not keep love her anymore. That place is not holy and faithful I think. More like having fun dancing and talking in the place in that night.

The songs fit on that place and people in the story I believe and listening to the music for the blog discussion, helped me to catch and see more for the sense of place.

canciones


Luis Montes

Examining one of these two scenes and listening to the attendant songs, explain how the songs either provide a sense of place or complicate the reader's sense of place. You will need first to describe what "sense of place" means in the scene in particular: what defines the place in question. Then, think about the nature of the songs, how they interact with the "place" you have described/defined, and what that suggests about "place" in general in the novel.

Sense of place is a characteristic people adjoin to a place giving it feeling or perception, which means that it is a human development of what a place should feel like or mean. Sense of place is a human interaction that allows a place to become special or unique. It also plays an important role in authentic human attachment and belonging. What would be a church without a human’s “sense of place”? would it be solemn, peaceful, and warm or just another building. If we did not develop a sense of place how would it feel to visit grandma on the weekend where you spent many days as a child. I believe it would not be the same it would not feel the same. I think people do things in relation to where their at which plays into what they feel at that place.

The scene I chose is the one were Don Pancho is singing “la cansion del caballo blanco” on the railroad track of his town in Mexico. This song sets up the location by showing you tradition, warmth, and nostalgia things that to an old Mexican town would convey. It is as if the town is still stuck in an older era and this song is a reflection of that sense of place. Don Pancho being an old school cat as he is that song would be the most logical song he would sing. You can expect him to sing a new age song like “Elvis Preasly’s – Can’t help falling in love” as he drink his tequila in his truck. Signing something other that an old corridor would take away that sense of place that the town has and with it the value of what that scene is trying to convey, which is a midlife crossroads of life and death purpose and accomplishment with Don Pancho at the center.

A Sense of Place

The "sense of place" Martínez talks about builds upon the literary term "setting"; the "sense" of place is more than simply describing when and where the action is taking place. It gives the reader a better idea of the characters in the book and what's going on around them. In ¡Caramba!, where Natalie and Consuelo are at the Big Five-Four, "Hey Baby, ¿Qué Pasó?" and "Wasted Days and Wasted Nights" are playing from the jukebox. But why are those songs playing in the background? Even more, why should the song titles be mentioned in the first place? Upon further investigation, that's where the "sense of place" comes in.

A sampling of "Hey Baby, ¿Qué Pasó?":
Hey, baby, que paso?
Thought I was your only vato
Hey, baby, que paso?
Please don't leave me de ese modo

Come on, baby, turn around
Let me show you how I feel
Don't you that I love you
And my corazón is real
Based upon the Texas Tornadoes' rendition, "Hey Baby" is a fun, light-hearted song. It's supposed to be something catchy, crowd-pleasing, and danceable, even though the lyrics sing about a man longing for her lover to come back. The reason why this song plays as Natalie walks out of the bathroom is because it acts as her theme song: she likes to have fun, and she's not looking for a serious relationship.

"Wasted Days and Wasted Nights" (again, a sample):
Wasted days and wasted nights,
I have left for you Behind
for you don't belong to me,
your heart belongs to someone else.

Why should I keep loving you,
when I know that you're Not true?
And why should I call your name,
when you're to blame
for making me Blue?
This song starts playing when Cid is rejected by Consuelo. According to the book, he's had a crush on Consuelo "since the day he made her acquaintance, roughly ten years ago." Upon listening to Freddy Fender's performance, it's a slow, but very sentimental song. After reading the lyrics, the reader can conclude that Cid really likes Consuelo, but after ten years of rejection, he's not sure if he should keep pursuing her.

Despite their significance in the story, they're not very deep or introspective songs; they're simple to understand. Even while digging through YouTube, there aren't numerous "versions" or "interpretations" than some of the other songs mentioned in this class. Nonetheless, they are important in character development.

However, this scene's "sense of place" may confuse the reader more than it clarifies. Normally, the character developments are all in the book, and it shouldn't require outside research to get a sense of what's going on. But Martínez inserts these songs assuming the reader knows what she is alluding to. So for those who aren't familiar with mariachi or rockabilly music, they're just titles to a song.

Saturday, November 7, 2009

Big Five-Four jukebox


In the Big Five-Four, the songs "Hey Baby, Que Paso?" and "Wasted Days and Wasted Nights" are heard by protagonists Natalie and Sway. Every weekend the girls put on their best outfits and head to the dance hall to flirt with the men and dance the night away. The song "Hey Baby, Que Paso?" is mentioned when Natalie is coming out of the bathroom in the Big Five-Four. After listening to the song, I view it as a very upbeat, flirtatious dancing song. Natalie's character is much like the song; she is a very outgoing person and although she tends to flirt with many men at the Big Five-Four, she is not looking for a serious relationship. When "Wasted Days and Wasted Nights" is heard on the jukebox, we have Consuelo being asked to dance by Cal, who "had been sweet on her ever since the day he made her aquaintance". Consuelo plays hard to get and asks him that if she dances with him be better promise that he will enjoy it real well. Consuelo has a very flirtatious personality with men and loves having all of them focus on her. I believe that both of the songs provide a strong sense of place for both characters and show why the girls pick that place to hang out on the weekends. Natalie and Sway are best friends and love to have a good time. The songs that are played at the Big Five-Four somewhat describe the type of place it is. Both songs are dancing songs, and are more flirtatious songs than serious romantic songs. I think that the songs that are played at the Big Five-Four really connect with Natalie and Sway. I think they find a sense of belonging there, they are not looking for serious relationships but do want to have fun with men. However, at the end of the night, they go home with each other. The song "Wasted Days and Wasted Nights" really seems to describe Natalie and Sway's friendship, they spend pretty much all day with each other and then "waste" the night together as well. I think the songs provide a sense of place for both characters because they are comfortable with their lifestyle and enjoy flirting with guys, but would rather spend most of their time with each other.

Monday, November 2, 2009

Caramba!

In an interview with Random House, Nina Marie Martinez claims that the songs on the jukebox at the Big Five-Four provide the reader with "a better sense of place." She goes on to say that as she was writing there was always either mariachi or rockabilly playing in the background. In one early scene at the Big Five-Four, Texas Tornados' "Hey Baby, Que Paso?" plays, followed by Freddy Fender's "Wasted Days and Wasted Nights" (pp. 14-15).


Later (p. 49), we learn that April May performs her skating act to Billy Lee Riley's rockabilly hit, "Red Hot," the song actually playing as the Queen begins her routine only to be interrupted by Favy's award-winning rendition of "La Cigarra" (p. 358).


Examining one of these two scenes and listening to the attendant songs, explain how the songs either provide a sense of place or complicate the reader's sense of place. You will need first to describe what "sense of place" means in the scene in particular: what defines the place in question. Then, think about the nature of the songs, how they interact with the "place" you have described/defined, and what that suggests about "place" in general in the novel.

Friday, October 30, 2009

Loteria


Type: That by which something is symbolized or figured; anything having a symbolic signification; a symbol, emblem

Prototype: The first or primary type of a person or thing; an original on which something is modelled or from which it is derived; an exemplar, an archetype

Archetype: In the psychology of C. G. Jung: a pervasive idea, image, or symbol that forms part of the collective unconscious.

(from the Oxford English

Dictionary Online)

“To us the images of Loteria cards and boards weren’t types but prototypes and archetypes in the nation’s psyche. To play a single game was to traverse the inner chambers of la mexicanidad” (Stavans 27).

It is reported that the game Loteria first gained widespread popularity in Mexico after a shrewd French entrepeneur, Don Clemente Jacques, began distributing boards for the game alongside the canned foods that his company provided for soldiers during the Mexican Revolution. When the dust from the war settled, the soldiers had not forgotten about the game that they had played to while away the hours on the lines of battle, and Jacques had to use “the same press he used to create food labels” (26) just to keep up with demand. And so it is that one of Mexico’s national pastimes grew up alongside one of the most important events in her history.

Appropriately so, I think.

For one thing, the game carries immense social significance: one form of the game, La Loteria Nacional, offers the chance to win riches for the cost of a single peso. The competitive form of the game, meanwhile, acts as a meeting place for family, friends, and neighbors to gather around and socialize while coming up with clever riddles and poetic nuggets to outwit the other players.

However, one of the most profound aspects of the game may be in the images themselves. Each of the cards depicts a vivid illustration of an object or person taken out of Mexican culture. But these pictures can’t be reduced to mere cultural artifacts. They’re not simply representations of what people think of when they think of Mexico. In one interpretation, they are symbols taken out of the Mexican consciousness, ripe with varied signs as to what it means to be Mexican.

Works Cited

Stavans, Ilan "Mexico's Ritual of Chance." Americas 57.1 (2005): 22-27. Academic Search Complete. EBSCO. Web. 30 Oct. 2009.

La Loteria


La Loteria is much like the game called "Bingo" popular in America. Unlike bingo, where one has to fill up their tablets according to the random numbers called out, Loteria has cards with illustrations that have different meanings. The illustrations on the cards are of everyday characters (el boracho, el catrin) as well as natural elements (la luna, el perico) and mythical beings (el diablo, la muerte), these illustrations vary from one another.

I remember playing loteria when I was about ten years old. At times I would have to ask my mom what certain cards were and if I could place maize on my card because I didn't know exactly what they meant. Loteria is a game that the whole family can enjoy. I used to play with my grandparents and my parents all the time. We would fill up our cards with maize. We would play during birthday parties or late in the evenings after dinner. At the time when I was playing I would only use one card to fill up with maize while my parents and grandparents paid an extra peso for another card. I was always very competitive when I played because the winner got to keep the money that was placed in a pot before the start of the game. I don't recall winning much, but I always looked forward to the next game.

Thursday, October 29, 2009


Since I was little I can recall playing Lotería around our dinning table after supper. This was truly my favorite time of the day, as friends and family came together creating a small stack of pesos in the middle of the table. Everyone gather, my tíos and tías, cousins, our abuelitos and all the small children in the neighborhood. As long as you had a peso to start with, everybody was welcomed to play. Lotería was an important part of the day, where the women cached up on gossip, men created rivalry, and children lost their yearly savings.

Lotería was first brought to Mexico from Spain in the early 18th century. It was originally played by the wealthy and upper classes but as time progress Lotería evolved into a game played at the traditional fairs and by the upper classes. Loteria is not only a traditional game but a part our culture.

La lotería not only consists of pictures depicting our culture, but it also embraces the dichos and refranes which help us understand how we think and behave within our culture. “Calaquita, sé lo mucho que te gusta bailar, escúchame atenta, un secreto te voy a dar” is the dicho on the number 7 card of the Lotería, which is the one I’ve been playing with since I was 7 years old. This dicho along with the ones embedded on the back of each image and card can be a very valuable source of advice for both young and old. They often reflect the values of a society and record cultural history.

Lotería

Lotería is a traditional Mexican board game played similarly to Bingo, with beans used as place markers. One person calls out the card (but has to come up with a creative rhyme for the players to figure out), and whoever fills in the spaces on the playing cards first wins.

The images on lotería cards are also considered folk art, depicting popular Mexican figures such as "El Borracho" (The drunkard), "La Calavera" (The skeleton), and "La Chalupa" (The flower boat). Other images on traditional lotería game cards can also include fruits, vegetables, world flags, etc. Nowadays, modern lotería game cards don't show as many Mexican fixtures, but can be a tool to teach Spanish in American schools.

http://www.festivalofmexico.com/loterias.html

Monday, October 26, 2009

Reflection of Culture

I chose to speak on the daydreaming scene in the banana grove. I also find this one to be particular for two reasons. One i feel he is at the height of his malleability mentally and it is the only one where he is fully conscious throughout his entire daydream.
This part of the book is interesting because i feel it reflects the mentality and historical relationship between Mexicotexans and Anglos. Children at this age do not come up with these specific concepts by themselves, they take in influences from their surroundings. The history of the family that he has been brought up in takes root in a revolutionary ideology. He is being raised by man who participated in this and many men of his community very likely follow the same ideology because of the abuse the endure at the hands of anglos. I think this is an important reflection because at this point we don't see a novel solution or a great leader, we see a repeated process of unsuccessful attempts at destroying an enemy side.
A technique that Peredes uses he is important to understanding the scene as well, he starts to take on almost a first person view to embody the imagination of Gualinto, to make it real. At first Paredes shows us the reality of a boy playing in the banana grove,"The banana trunk was silent, but it seemed to cringe with the passing of a gust of wind," and " perhaps the switching of the last name confounded the banana trunk." Then we see a shift in perspective and enter Gualinto's mind, "...the champion turned to leave the treacherous rinche went for his 44. Gualinto spun around and burried his dagger into the rinche's side..." Here we see the banana tree really come to life and leave the imaginiary status.

George Washington Gomez

I had no clue this is how this would end. I was disappointed on how Gualinito soon turned to George Washington Gomez a "Gringo" instead of the leader of his race like I envisioned the story to end.

He battled all his life with a checkerboard life and seemed more and more as the story continued that he found his identity "Mexican" and that was where he felt he belonged. I am not sure how this changed because I could not see it coming? It made me think, is this how the Mexican race is now? Do we change our lives because we want a better life than our parents, or do we do it because we are ashamed of what our culture was like? Are we trying to make our parents proud, or do we have a mentality if you can't beat them join them? These are questions I am struggling with after reading this book. Gualinito showed heart and character for all the abuse he took during his school years. His confidence was unbelievable and I admired him in the beginning. The thing I noticed was that he had confidence when it came to him but when his family was being talked about he changed. He could not take that pain that his family was not perfect and started to become ashamed of his life. Why? How can someone be so strong when it came to physical and mental abuse towards himself be so weak to his family's verbal abuse? This is what confuses me about this whole book, that he could not overcome something I saw as trivial versus the difficult obstacles he faced earlier in his life.

I was very disappointed with the end of the book, I had hoped it turned out different. Felicano and his mother did so much for him and this how they were repaid? I was with Felicano on this "Then I could look forward to seeing you father in purgatory or limbo or wherever it is that Mexican yokels go. We could sit down and have a good long talk about you."

George Washington Gomez: Destiny or Doomed Despair

The passage that struck me the most in the dreaming scene wasn't what he was dreaming about, but his initial thoughts when he woke up. Guanlinto thought, "Goddam ridiculous, having the daydreams of his boyhood come back to him in his sleep. They had helped relieve his bitterness and frustration when he was a boy, those daydreams. " This passage was significant because it seemed like he was still experiencing frustration in his life and his old dreams came back to bring him comfort. As in childhood, he reverted to a fantasy land to make sense of what was going on around him and, in fantasies, he could control his own destiny and make decisions that led to victory. His dreams also seem to be a manifestation of the frustration he still feels in his adult life. He has this name, George Washington Gomez, and this destiny to live up to and to become a great man, but his name is derrided by his father in law when he says, "You look white but you're a goddam Meskin. And what does your mother do but give you a nigger name. George Washington Go-maize." When Ellen goes on to say his father gave it to him in honor of our country’s founding father, and a supposed great leader, his father in law negates Guanlito’s father and, seemingly, his destiny, when he says, “it don't sound right.” I found it very telling that “it was then that he decided to legally change his name to George G. Gómez, the middle G for Garcia, his mother's maiden name.” I think, at that moment, Guanlito decided to cast off the “destiny” cloak that was associated with the “Washington” in his name and embrace who he really is.


The shifts in perspective made the reading more interesting. During the intital battle of San Jacinto, I didn't know at first if Guanlito was fighting on the Mexican side or the American side. I also had a hard time trying to figure out if Guanlito was inside his own head or the head of Santa Ana. Also, when he spoke of living during his great-grandfather's time and organizing fighting militias, making the Colt revolver, hand grenades, and portable mortar, I had a hard time diffrentiating if this was his childhood fantasy speaking, or him reflecting in adulthood. The lack of definitive perspective, the seeking and soul-searching for who he is, and what he is to become, seems to be a recurrent dream that has woven itself through his life. His recurrent dreams of Mexican defeat at the hand of the Gringos indicates some repressed feeling that he and his people have been wronged in the past and that it is still going on in his present.


One of the most powerful passages in the story was, “Why do I keep on fighting battles that were won and lost a long time ago? Lost by me and won by me too? They have no meaning now.” It seems that, even though he is, as he stated, “a grown man, married and with a successful career before him,” the dreams of his youth still haunt him. In his dream, he gathered other repressed people, the Irish and the escaped Negro slaves, and they defeated the American army like David taking down Goliath. Even though he has cast off all aspirations to be a great leader and a powerful commander, even though it would appear that he is done with living up to his great destiny and is ready to live a normal life, his destiny is not done with him.

Analyze through close-reading one of two dreaming scenes: either Guálinto's daydreaming in the banana tree grove (pp. 66-69) Then select one historical event woven into the scene and explain how that history enables us to make sense of Guálinto/George as a character.
You will need to complete the following steps:
  1. Explicate the scene with careful attention to the movement of the language. Select, for example, a recurring figure, use of punctuation, etc. OR select one or two representative sentences and explain their significance for the passage as a whole
  2. Identify the historical content of that scene (you may want to reference outside sources here; if so, be sure that you either cite or hyperlink them)
  3. Identify what characterizes Guálinto at the respective stages of his emerging identity
  4. Explain how all of these factors coincide to make Guálinto's choices and actions meaningful in the context of the narrative.

"Why don't you try to kill me, eh? Because you shoot people in the back. Because you kill unarmed men and little children. Go back to your camp and tell old man Keene that Guálinto Gómez doesn't kill men who won't fight." He was very brave and fair. He was not afraid to fight and generous to wait for other to fight. He was angry because "

You have killed another Mexican who never hurt you." He heard the story about rinches from family. So that he didn't think they were right and wanted to fight for injustice

and heart for revenge. But in his daydream, at first, he did not start to just fight or kill others."

Guálinto Gómez doesn't kill men who won't fight."

And later he was killing that shows how much he wanted to be stand up for right thing and revenge on rinches for killing Mexicans.

I believe that this scene of daydream is foreshadowing that he will be a big person who would fight for justice like his daydreaming.

Sunday, October 25, 2009

Banana Grove Fight


The scene with Gualinto brutally attacking the banana tree shows much of Gualinto's developing character. When we, as Americans, thing of battles our country fought, we tend to think of two armies marching, with their weapons at their sides, towards the other. Once they reach a meeting point, they acknowledge each other and the person in charge yells "charge". Each army gives it all that they have and the best side wins. From the scene with Gualinto and the banana tree, the Mexican way of fighting is revealed. It seems as though it is more of a guerilla warfare type fight. Throughout the passage the reader gets plenty of imagery, intense action verbs, and similies that give us a clear description of how Gualinto feels. The sentence "He held the killer's gun arm powerless with his left hand as he stabbed sharply, viciously, while his adversary spent his strength in the most titanic but unavailing struggles" helps us see the character of Gualinto and how his experiences or lack thereof have shaped him.

Gualinto refers to two names during his battle with the rinche-tree, he asks for a Apolonio Gonzalez and a Apolonio Rodriguez. From this the reader knows that there are not two Apolonio's, but rather that Gualinto is still a child and innocent. He hears from his family incidents of what rinches have done, but he does not know the facts or the background. It is clear to see that in Gualinto's free time he obsesses with revenge on the rinches for what he thinks they have done, "killed unarmed men and little children". When he finally snaps out of his dream he is frightened at what he has done. He not only worries about getting caught by his mother, but he is also mad at himself for even doing something like that. This shows that he is still child-like even though he has a rage like a vengeful Mexican.

At this point in the novel, the reader may assume that scene forshadows Gualinto's future character. However, it is unclear whether his fear of authority or his vengeance will take over in his character.

Friday, October 23, 2009

Men Between Banana Trees

In ancient epic warfare, the heroes of two opposing armies would face each other in an open plane, fighting to the death in hand to hand combat surrounded by their respective armies. Though brutal, these fights were public, honorable, vicious, but respectful in that both men acknowledged their war and their weapons up front.

Not so between rinches and vengeful Mexican fighters in banana groves or the chaparral. Guálinto's battle against the rinche/tree on p. 68, however imaginary, childish, and surreptitious is written in the style of an epic battle with vivid, successive action verbs, similes, alliteration contribute to Guálinto's status as "champion" (68) here and make his pretend struggle all the more foreboding.

Though reminiscent of the ancient heroes of Troy, our new hero fights in typical Western/corrido fashion. Paredes writes, "G spun around and burried his daggger into the wretch's side before the gun was half-drawn. Crackslich! The blade sank deep into his pulpy flesh." Not only the verbal imagery clear and concise, the personification of the tree, "a once smooth stalk...[now] a pulpy oozing mess, scratched, stabbed, and cut, with patches of the skin-like bark hanging loose" (68). Not only does this vivid action sequence paint an almost empirical picture of the "fight," but the treatment of the tree as a true rinche who has killed "unarmed men and children" and who will now die at the hands of a fighter defending his people transforms the playtime of a 6-year-old in his backyard into a potential scene of sobering reality and probability.

Surrounding and during the killing scene, Guálinto references three names and two specific crimes that help us locate the historical context of the banana-grove episode. He asks the rinche-tree twice where Apolonio Gonzalez and then Apolonio Rodriguez are. This apparent slip-up by G in identifying their last names is intentional work on Paredes' part - revealing G's innocence and childlike understanding/memory of the specific event. Though he cannot remember the facts perfectly, however, G knows the most pertinent information--a Mexican (or multiple Mexicans) was "shot in the back," killed while unarmed.

Guálinto's apparent ignorance of the historical but acute awareness of the principle (i.e. cold-blooded, racially motivated murder) is crucial in understanding his development as a character. This scene, paradoxically playful and brutal, hopeful and tragic, reveals in part the mind of 6-year-old G. In his play time, Guálinto is obsessed with thoughts of vengeful murder and his inner dialogue about his stained shirt resembles that of a murderer caught with the blood of his victim on his clothes (68). Still, though the boy explodes in a violent range with this historical crime in mind, his age and his timid spirit have not vanished: after "almost killing the plant" he is frightened about more than just getting caught. The very sensation and experience was, somehow, terrifying.

While this murder scene, it would seem, foreshadows G's future work in revenge, it is still unclear at this point in the story whether his sense of vengeance or sense of fear will dominate his psyche in the (likely) chance that he comes upon a rinche who's skin cuts much more easily than bark.


Monday, October 19, 2009

George Washington Gomez: History and Character


This week we're beginning Paredes' novel, George Washington Gómez, originally written in the 1930s but not published until 1990. Though the novel itself has a very interesting publication history, we will be focusing in this discussion on the relationship between "history"--the narrative's historical context--and the novel form, specifically the Bildungsroman or novel of maturation. In other words, we will examine how history informs Paredes' characterization of George/Guálinto as the novel's hero.
Initiated in Guálinto's naming ceremony and carried throughout George Washington Gómez historical events interweave with narrative events to inform the direction that Guálinto's life will take. In particular, the scenes of Guálinto's daydreams indicate his ever-developing sense of himself in relation to the world around him. Analyze through close-reading one of two dreaming scenes: either Guálinto's daydreaming in the banana tree grove (pp. 66-69) or that in his sleep beginning in Part V (pp. 281-2). Then select one historical event woven into the scene and explain how that history enables us to make sense of Guálinto/George as a character.
You will need to complete the following steps:
  1. Explicate the scene with careful attention to the movement of the language. Select, for example, a recurring figure, use of punctuation, etc. OR select one or two representative sentences and explain their significance for the passage as a whole
  2. Identify the historical content of that scene (you may want to reference outside sources here; if so, be sure that you either cite or hyperlink them)
  3. Identify what characterizes Guálinto at the respective stages of his emerging identity
  4. Explain how all of these factors coincide to make Guálinto's choices and actions meaningful in the context of the narrative.

Friday, October 9, 2009

woman hollering creek

Saldívar-Hull's Argument: "Woman Hollering Creek" fictionally articulates a Chicana feminism that simultaneously decenters predominantly white feminisms and destabilizes class assumptions.

Saldívar-Hull's Argument does not completely capture what women hollering creek is all about. It does emphasize the social stigma attached to how women are treated it mostly focuses on the bad side of the book. The stories are all different they offer an insight into the author’s soul. Not all the experiences in the book were about women being mistreated. The book personally took me back to my child hood i mean who doesn’t remember as a child being at the church with their grandma that is just something that takes me back. The book talk about Mexican folklore some of their believes such as santito and milagros brujos and hechiceria that is just simply how Mexican live under superstition and to take this and impose it to tie it into feminism and machismo is just not correct. Although she does write about female situation that denote their subjugation to another person by physically or emotionally this should not be assigned to all Mexican women. That type of machista behavior should not be assigned to Mexican men only and cause the assumption that they all are the same because it is not true.
I believe this book goes way beyond creating a strong female image because it relates those life situations that shape you into who you are, which should emphasize that one shouldn’t settle for what they have but go look for their dreams and their happiness.

Cleofila's dream life



Saldívar-Hull's Argument: "Woman Hollering Creek" fictionally articulates a Chicana feminism that simultaneously decenters predominantly white feminisms and destabilizes class assumptions.
Cleofila is a typical woman who dreams about her marriage, husband, and romantic life. Cleofia is a chicana woman and she came to Seguin, Texas with her husbnad. She was going for romantic marriage life like other white woman there. But her husband abuse her.

"He slapped her once, and then again, and again; until lip split and bled an orchid of blood, she didn't fight bak, she didn't break into tears, she didn't run away as she imagined she might when she saw such things in the telenovelas"

She held it herself. She didn't want to break the marriage although it was not right. She tries to make it better.

"Not that he isn't a good man. She has to remind herself why she loves him when she changes the baby's papers, or when she mops the bathroom floor, or tries to make the curtain for the doorways without doors, or whiten the linen."

She doesn't give up her wife role. She does house work at home, tries to remind herself why she loves him. She knows that this life wouldn't change to life she dreamed. But she keeps her white feminisms and endure the life. She always think back the life before marriage but she can't leave her husband because her husband helps support their child. She struggles like other woman in America.

"Woman Hollering Creek" fictionally articulates a Chicana feminism that simultaneously decenters predominantly white feminisms and destabilizes class assumptions.

Saldivar's Argument


Saldívar-Hull's Argument: "Woman Hollering Creek" fictionally articulates a Chicana feminism that simultaneously decenters predominantly white feminisms and destabilizes class assumptions.

I would have to agree with Hull's argument in that all the elements shown above can be seen throughout the book. The sexual, racial, geopolitical emerge from the characters own experiences, which are based on Cisneros's own experiences as a working class woman of color from the borderlands of greater Mexico. The text problematize dichotomy between gender conditions in the US and those in Mexico by combinding the two cultures and countries in the rural Texas town of Seguin.

WHC is one outcome of Cisneros commitment to popular feminism. The story ideological manipulation through mass media, such as telenovelas, collude to keep women submissive.

Saldívar-Hull's Argument

I think Saldívar-Hull's Argument is a good summary for what “Women Hollering Creek” is about as a whole. Particularly the claim that it “decenters white feminism and destabilized class assumptions”. In the story we see how Cleofilas is completely worn down and subjugated by the abusive relationship she is in. We get a first hand account of the struggles that a typical Mexican-American women would have to face, and this kind of perspective was drowned out by white feminism or simply overlooked due to racism. Sandra Cisneros attempts to bring to light the domestic plight that Mexican-American women had to face, perhaps to provide them a voice, or show that the Mexican and White women had to face the same kind of struggles. Because white feminism overshadowed minority womens rights, I think the piece “decenters” the white feminism dominance and shows Mexican-American women perhaps had it even harder, considering they were not only fighting against sexism, but racism as well.
Also, the claim that it destabilized class assumptions is expressed when we consider that situation that Cleofilas and her husband are in. Living in the border region of the United States which was ripe with racism and inequality. In my opinion, Cisneros is trying to show how Mexican couples and White couples are similar in that they both must work and raise children, but in the details we also note the air of racism that they must live under. I think that because Mexican-Americans were regarded as second class citizens, perhaps the dominant class did not really take notice at the wide array of relationship problems and abuse that is not just a thorn in White society, but something that is prevalent in all societies.

Chicana Feminism Within Woman Hollering Creek


In Saldívar-Hull's Argument: "Woman Hollering Creek" she "fictionally articulates a Chicana feminism that simultaneously decenters predominantly white feminisms and destabilizes class assumptions." Within the argument, she states that, "Cisneros makes it clear that Cleófilas' migration to patriarchal domesticity and the north is not the product of a singular engagement with "romantic" constructions of marriage, but of a lifelong engagement with media representations (the books, the songs and the telenovelas) that define and ultimately discipline women's passions." I don't particularly agree with the assertion that she makes, though. Cleófilas goes north for practical reasons: her husband works and lives there. I also believe that Cleófilas goes into marriage with a both a dreamer's and a pragmatist's attitude about marriage. She understands the domesticity of it: she's been carrying out the functions of "wifely" duties for many years now. She understands the tradition of maintaining home and hearth as they have been drummed into her, even without a mother figure to teach her.

While, I support Saldívar-Hull's assertion that Cleófilas has been surrounded by images of what love is on the telenovelas and in magazines, I also believe that she romanticizes love in that manner because didn't have a loving relationship to learn and grow from. Her mother died and there is no mention of a stepmother, so she doesn't have a real life, practical model to learn the ways of what happens between a woman and a man, so she gleans this "knowledge" of all encompassing, all consuming love from the examples that she does have: fiction. Like any young woman, she has an idealistic view of what marriage will be like and, like each person that goes into the unknown, there is always the possibility that your expectations of a situation will not live up to the reality.

When the blinders are removed and Cleófilas sees her circumstance for what it is, she goes along with the only other option that presents itself and returns home. She has no money or home in the U.S. without her husband, she doesn’t have any training or prospects to get a job, and she has two children to provide for. I support Cleófilas' decision to return home. Yes, it is returning to a "patriarchal domesticity" as Saldívar-Hull puts it, but at least in her father's house she won't be physically abused.

Telenovelas





In this article, one of the arguments that Saldivar makes is that mass media, such as telenovelas shape women's conciousness and delimit their knowledge of the world. She uses several example from the short story Woman Hollering Creek to support her. Cleofilas does indeed compare her life a few time to telenovelas, but she is struck by reality when she realizes that her marriage will not have a happy ending. I do agree that women, not only Mexican women are influenced very much by stories such as telenovelas. Many american women grow up listening to fairy tales where young girls are rescued from their awful lives by Prince Charming. These fairy tales and telenovelas do impact us a lot, but I don't believe that they "shape our conciousness." Cleofilas did wish for her life to be like the telenovelas, but don't we all at some point expect a Prince Charmig? Telenovelas are simply made for enternainment, and I do not believe they delimit Mexican's women,or Cleofilas knowledge of the world. Cleofilas simply expected a happy marriage and was let down, just like all the other divorced women all over the world.












Thursday, October 8, 2009

Chicana feminism on Woman Hollering Creek


Sonia Saldívar makes the argument that “Woman Hollering Creek” “fictionally articulates feminism [which] simultaneously decenters predominantly white feminisms and destabilizes class assumptions.” To support her argument she infers that after Cleófilas leaves her husband and returns to Mexico, she has transformed into a new woman, “the agent of alternative visions” thus converting her into the new Chicana feminist pioneer. Saldívar assumes that Cleófilas will liberate herself from the oppressive world of men by telling her family the story of Felice, the story of a new type of woman.


In my opinion, I believe it will take more than Cleófilas “hollering” her story, to liberate her. Returning to Mexico, positions her back to the role she had before, the role she wanted to escape when she got married and moved north. Instead of staying in the United States and establishing herself as an independent woman, with the help of Felice of course, Cleófilas decides to move back, to run away, defenseless to the Third World, a place known for its exploitation and dominance on women.

This inevitable cycle presented by Cisneros, does not show a woman who can stand up for herself, who dares to shout instead of hollering. With this is mind, Cleófilas can not be a symbol of Chicana feminism, but another victim in a patriarchal society.