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Claims by Judith Ortiz
Judith Ortiz Cofer is a Puerto Rican whose writing often examines the conflict and the beauty of cultures mixing together, as people immigrate to America. Though she exhibits a strong connection to her Latin heritage, she often seems to also resent that part of her life. There are many standards and expectations in the Puerto Rican society which Cofer writes to subvert, viewing them negatively. As a Puerto Rican woman, Cofer often disagrees with the limits and expectations placed on a woman in Puerto Rican society, and this attitude is the subject of much of her work. In “Claims,” the speaker describes “Grandmother.” Cofer uses this poem to illustrate a family and describe an individual, as well as telling the reader about parts of Puerto Rican culture, such as its views on women’s roles and on sexuality.
On the surface, “Claims” is a poem about a Grandmother’s life. She has grown old, like a used, weathered “Bedouin tent.” After spending her life as a wife and mother, “Grandmother” finally has a chance to reclaim her own life. “Grandmother” seems to have been submissive, accepting her role throughout life to sacrifice herself for others, while all along wishing for her freedom. She considered each of her children a burden, but an acceptable one. She “had made a pact / with man and nature” to live as a wife and bear and raise children. She kept her pact, waiting for the day when her children would leave the nest and her husband would pass away. In “Claims,” Grandmother’s time has come and her real self, the person she wants to be, is returning, like the sea rising with the tide. One can imagine the sand when the tide is out, as it is claimed by people and animals. The sea seems to be...
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...poem, completely separated from the rest of the thought— “she is claiming back her territory.” One can find several emotions in that one line, from hostility about the time she sacrificed to relief that she can finally claim her time back.
In her work, Cofer presents many issues of Puerto Rican society. She challenges gender roles and takes steps to unite the two cultures she lives in without losing either one. “Claims” tells several stories—the story of an old woman’s life and of a female’s place in Puerto Rican society, for example. It has vivid imagery of the old woman, of the ocean, and of shipwrecks. “Claims” defends a woman’s right to be herself, rather than a slave of society and of her family. In this poem, Cofer once again challenges the expectations and limitations placed on women by society. It is a complicated work with many layers of meaning.
Westport, Connecticut: Greenwood Press, 1978. De la Cruz, Sor Juana Ines. Poems, Protest, and a Dream: Selected Writings. Edited by Ilan Stavans, 2007-2019. Translated by Margaret Sayers.
Sandra Cisneros “Never Marry a Mexican” and Junot Diaz’s The Brief Wondrous Life of Oscar Wao are stories that reflect on the cultures in which the characters grew up in. In Never Marry, Clemencia, the narrator, reflects on her past sexual relations as well as her childhood. She speaks of her parents’ marriage and then transitions into her relationship with college professor and his son. In Oscar Wao, Yunior, the narrator, gives a second-hand retelling of Oscar’s experiences in New Jersey growing up as well as in the Dominican Republic. A person’s identity is largely influenced by their culture, this is especially the case in Hispanic cultures. The social constraints that these cultures place on social class, sexuality, and gender norms can be very detrimental to a person’s self-esteem.
The poet uses four line stanzas or quatrains, and this is a narrative poem because the speaker tells a story. The speaker seems a little odd in a way because she does not know what is happening; “Worried whispers” (6) is an alliteration, and it also symbolizes the speaker’s anxiety. Both her uncle and father do not tell the truth to the speaker, instead they “Sugarcoat” it. This is similar to Emily Dickinson’s poem “Tell all the truth but tell it slant” because the children might get scared if they learn the truth right away. In the line “What a good time she’ll have learning to swim,” (11) the poet again emphasizes how adults lie to children so they do not hurt them. The speaker feels as though her parents are lying to her; however, she just trusts them because she believes that what adults do cannot go wrong. Also, “A week at the beach so papi get some rest” (15) sounds as if the speaker’s father has to leave the Dominican Republic because he is some kind of danger.
#1.The thesis in “A Partial Remembrance of a Puerto Rican Childhood” by Judith Ortiz Cofer is that because of the stories her grandmother told every afternoon when she was a child, her writing was heavily influenced and she learned what it was like to be a ‘Puerto Rican woman’. The thesis of the selection is stated in the first and last sentence of the second paragraph: “It was on these rockers that my mother, her sisters, and my grandmother sat on these afternoons of my childhood to tell their stories, teaching each other, and my cousin and me, what it was like to be a woman, more specifically, a Puerto Rican woman . . . And they told cuentos, the morality and cautionary tales told by the women in our family for generations: stories that became
The prose poem “Quinceanera” by Judith Ortiz Cofer can be characterized as being free verse as the poet talks about a young girl’s rite of passage into womanhood. By using a series of various figurative language devices such as diction, imagery, and similes the writer is capable of portraying her observations of people’s despondent feelings towards adulthood which have transcendent upon her poem as she projects the negative essence behind the young girl growing up as she comes in touch with the responsibilities that she will carry with her after she celebrates her Quinceanera.
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
The popular revolutionary poem “I am Joaquin” by Rodolfo Corky Gonzales influenced many Chicana/os to embrace their heritage in the Chicano Movement in the 1960s. The poem created psychological work for the Chicano identity. Moreover, this poem developed and promoted social consciousness, commitment to activism, and cultural pride for many Chicanos. However, Gonzales primarily focuses on the identity and struggles of a Mexican-American male which excludes other narratives. Thus, the lack of inclusivity influenced me to recreate the popular poem, which centers on women from Central America who are rarely acknowledged in Chicano Studies. Therefore, our poem “I am Dolores” is focused on these three main themes: empowerment of women of color, resistance
Due to the colonial ideas of heteronormativity and traditional family roles, Caribbean people, much like Chandin, forced themselves to embody these ideals (Rosenthal 3/20/17). “But evenings, sitting quietly in the living room with his new family, he had a very definite place. The Reverend had a chair that he alone sat in, as did Mrs. Thoroughly, and Lavinia invariably lay on her back or stomach on the very same portion of rug… near her mother. Chandin found that… [his] chair became an antidote to the chaos of his uprootedness” (Mootoo 31). With this depiction of the family member’s place in their living room, Mootoo suggests that European family’s heteronormativity places family members in ridged and fixed locations in the family hierarchy. As Chandin feels that he is integrated into this family system, he feels more accepted into the European way of life. Because of this acceptance, he further distances himself from the society in which he formerly belonged. With the acknowledgement of the changes caused by the heteronormative family roles, one sees that the family roles reinforce European images of how society should look (Rosenthal 3/20/17). This reconfiguration of the home makes it a more disputed and contentious place for those that do not parallel with the roles of heteronormative families (Rosenthal 3/22/17). Because the home becomes a disputed place, it
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
La autora Puertoriqueña Rosario Ferré sin duda pertence a ese grupo the escritores que critícan la sociedad en la que les tocó vivír en sus creaciónes literárias. Ferré nació en Ponce, Puerto Rico la ciudad mas grande y poderosa del sur de la isla. Su familia es una de las mas importante economicamente y politicamente poderosa. Su padre fue gobernador de la isla durante los años del 1968 al 1972. Como todas las mujeres en esa época se casó y comenzó una familia, destinada a una vida como dama elegante y ociosa. Pero se dió cuenta que su vida pertenecía a la literatura. Ella rompió un taboo y molde cultural, que convertía a las mujeres de clase media alta, en muñecas. Esa generación de mujeres exigiendo cambios en la sociedad se encontraban en el medio de la revolución femenina. Cualquier mujer que quisiera cambiar su vida o trabajar era considerada extraña o loca. Esta opreción se convirtió en su inspiración. Ferré nos comunica a travez de esta novela, la realidad de la mujer puertoriqueña a mediados de siglo. En La Bella Durmiente, Rosario Ferré muestra la mujer como sujeto y objeto. Esta obra es un manisfiesto de los derechos de la mujer y del inconformismo femenino que eventualmente lleva a la mujer a rechazar la realidad. Analizare y demonstrare por medio de este ensayo, los papeles que le toca jugar (a la mujer) en esta sociedad, la corrupcion moral y social que le rodea y su reacción ante todo esto resultando en un trágico final.
For a first example of stereotypes, In “The Myth of the Latin Woman,” Judith Ortiz Cofer writes about the many stereotypes that she, as a Puerto Rican woman, has endured. She opens with a tale of how she had been publicly serenaded—on a London bus, of all places—by, as Cofer puts it, “a young man, obviously fresh from a pub” (187). Later on, she mentions a second random serenade of sorts, this time from a older man in a classy metropolitan hotel. The young man sang “Maria” from West Side Story, the older man first chose a song from Evita, then encored with a crudely-worded song to the tune of “La Bamba.” In both situations, whether it was their intention or not, their actions resulted in alienation of the author, singling her out and thrusting the stereotypes of her lineage in her face. The men may have meant well; they may have felt that what they were doing was good-hearted fun. They may have even been trying to...
In this poem, there is a young woman and her loving mother discussing their heritage through their matrilineal side. The poem itself begins with what she will inherit from each family member starting with her mother. After discussing what she will inherit from each of her family members, the final lines of the poem reflect back to her mother in which she gave her advice on constantly moving and never having a home to call hers. For example, the woman describes how her father will give her “his brown eyes” (Line 7) and how her mother advised her to eat raw deer (Line 40). Perhaps the reader is suggesting that she is the only survivor of a tragedy and it is her heritage that keeps her going to keep safe. In the first two lines of the poem, she explains how the young woman will be taking the lines of her mother’s (Lines 1-2). This demonstrates further that she is physically worried about her features and emotionally worried about taking on the lineage of her heritage. Later, she remembered the years of when her mother baked the most wonderful food and did not want to forget the “smell of baking bread [that warmed] fined hairs in my nostrils” (Lines 3-4). Perhaps the young woman implies that she is restrained through her heritage to effectively move forward and become who she would like to be. When reading this poem, Native American heritage is an apparent theme through the lifestyle examples, the fact lineage is passed through woman, and problems Native Americans had faced while trying to be conquested by Americans. Overall, this poem portrays a confined, young woman trying to overcome her current obstacles in life by accepting her heritage and pursuing through her
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
The contrast between the Mexican world versus the Anglo world has led Anzaldua to a new form of self and consciousness in which she calls the “New Mestiza” (one that recognizes and understands her duality of race). Anzaldua lives in a constant place of duality where she is on the opposite end of a border that is home to those that are considered “the queer, the troublesome, the mongrel and the mulato” (25). It is the inevitable and grueling clash of two very distinct cultures that produces the fear of the “unknown”; ultimately resulting in alienation and social hierarchy. Anzaldua, as an undocumented woman, is at the bottom of the hierarchy. Not only is she a woman that is openly queer, she is also carrying the burden of being “undocumented”. Women of the borderlands are forced to carry two degrading labels: their gender that makes them seem nothing more than a body and their “legal” status in this world. Many of these women only have two options due to their lack of English speaking abilities: either leave their homeland – or submit themselves to the constant objectification and oppression. According to Anzaldua, Mestizo culture was created by men because many of its traditions encourage women to become “subservient to males” (39). Although Coatlicue is a powerful Aztec figure, in a male-dominated society, she was still seen