separated from her heritage, and has become an outsider in Cuba, further placing her in the category of an outsider and ‘other’.
It is also through Celia that Pilar is able to maintain a connection to her homeland. She mentions how she communicates with Celia in Cuba saying “Abuela Celia and I write to each other sometimes, but mostly I hear her speaking to me at night before I fall asleep” (Garcia, 28). She goes on to mention how her grandmother “tells [Pilar] stories about her life and what the sea was like that day” (Garcia, 29). Suzzane Leonard notes that “Pilar’s longing for her birthplace originates in part from the knowledge of Cuba that her grandmother imparts” (Leonard, 193). This magical communication and understanding between the
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In the beginning of the novel Pilar is a punk music kind of girl. It is after she has purchased her own bass guitar, after she has decided to branch off from painting that her taste in music begins to shift. She recounts how her encounter in a record ship went, saying:
I’m browsing in the remainders bin outside a record shop on Amsterdam…In the last bin, I find an old Beny More album. Two of the cuts are scratched but I buy them anyway… When I thank [the clerk] in Spanish, he’s surprised and wants to chat. We talk about Celia Cruz and how she hasn’t changed a hair or a vocal note in forty years” (GARCIA, 197- 198).
This moving away from her usual taste in music and towards Cuban music, is a step in the bridging of her two halves. Furthermore she once again is able to talk to another person in her native language with ease. Yet she feels as if something inside of her is still “dried up” (Garcia,
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After completing this ritual, Pilar once again has the urge to go to Cuba and this time she succeeds in going, taking Lourdes with her. This return trip for Pilar is vital to do in order to understand who she is. Upon reaching Cuba Pilar realizes that the Cuba she remembers and the ones in her dreams is a reality that no longer exists. Katherine Payant writes that “Pilar had feared the ‘Cuba’ of her dreams might not exist, and not surprisingly, her fears are confirmed” (Payant, 171). Furthermore she claims that Pilar is “like many exiles who search for self by returning to the geographical space of the homeland” (Payant, 172). Pilar is able to understand that while her Cuban heritage is a part of her, she does not belong there. She says that “I love Havana, its noise and decay and painted ladyness. I could happily sit on one of those wrought-iron balconies for days… But sooner or later I’d have to return to New York. I know now it’s where I belong—not instead of here, but more than here. (Garcia, 235-236). She is able to come to turns with both pieces of her identity. She is not just one thing, she is both, and she finally understands her hybrid
In “How to Tame a Wild Tongue,” Gloria Anzaldúa explains the implications of living under the influence of two cultures. She begins with a story of how she was punished by a teacher for correcting the pronunciation of her name. Anzaldúa gives the reader anecdotes about her life in a dual culture society, explaining the trials of accepting her heritage, fighting to find her place in Mexican or American society, and establishing herself as a proud Chicana.
As a young child, Rodriguez finds comfort and safety in his noisy home full of Spanish sounds. Spanish, is his family's' intimate language that comforts Rodriguez by surrounding him in a web built by the family love and security which is conveyed using the Spanish language. "I recognize you as someone close, like no one outside. You belong with us, in the family, Ricardo.? When the nuns came to the Rodriquez?s house one Saturday morning, the nuns informed the parents that it would be best if they spoke English. Torn with a new since of confusion, his home is turned upside down. His sacred family language, now banished from the home, transforms his web into isolation from his parents. "There was a new silence in the home.? Rodriguez is resentful that it is quiet at the dinner table, or that he can't communicate with his parents about his day as clearly as before. He is heartbroken when he overhears his mother and father speaking Spanish together but suddenly stop when they see Rodriguez. Thi...
Upon returning to the Dominican Republic after many years, Yolanda decides to take a trip across the island––something her family views as ridiculous. “‘This is not the states’ . . . ‘A woman just doesn’t travel alone in this country.” (9) This quote highlights the sexism inherent in Dominican society. Yolanda’s family is asserting that women are not individuals capable of taking care of themselves. On another hand, Yolanda’s close friendship with Mundín causes tensions as their mothers confront them about crossing gender lines. “My mother disapproved. The outfit would only encourage my playing with Mundín and the boy cousins. It was high time I got over my tomboy phase and started acting like a young lady señorita. ‘But it is for girls,’ . . . ‘boys don’t wear skirts.’” (228) This is an example of how Dominican societal norms and gender roles have impacted the sisters. Yolanda and Mundín were the only boy-girl playmates out of all the García children, yet this was frowned upon by both of their parents as to not impede the seemingly inevitable growth of Yolanda’s femininity, and conversely, Mundín’s masculinity. Moreover, this shows how societally-prescribed gender roles were instilled in Yolanda at a young age. However, this is not the only way in which women’s freedoms are
In her childhood, Cofer traveled back and forth from Puerto Rico to the United States due to her father’s active military career. This caused her to be entrenched in both worlds, literally and figuratively. She also expresses the issues she faced and experiences due to her dual cultural heritages through her works. In her short story: Not for Sale, Cofer divulges the identity conflict she experiences in having to merge her father’s deeply rooted Puerto Rican traditions with the customs of the new world she was immersed in. She writes “I was being denied everything by my father: no dating like other sixteen-year-olds (I was a decent Puerto Rican senorita, not a wild American teenager); no driver 's license (the streets of Paterson were too dangerous for an inexperienced driver -- he would take me where I needed to go); no end-of-the-school-year weekend trip with my junior class to Seaside Heights (even though three teachers would be chaperoning us). No, no, no, with a short Spanish "o."” (Cofer, 1992. P.1). She points out the challenges of been torn between on culture and the
One of the basic reasons for the Rivera family to emigrate from Mexico to the North is because America is the only as well as the best choice they have. They choose America to bring their daughter, Maribel- who suffered from a brain damage after an unfortunate accident, because as instructed by the doctors, only in America Maribel might have an opportunity of recovering with the right way of education and effective care for her condition. Many families migrate to the United States from a country half a world away with a desire to change their life to the positive situation which meets their expectations of qualified life elements, such as climate, traffic, education policy and safety; while in this novel, the Rivera family decides to emigrate to America, which is not so far from Mexico. Although the distance between the two countries is not great, America is like a new continent to the Rivera family, when they, as well as any other immigrant families, some of whom are at middle age,
Few scholars have attempted to explain Sandi’s complex character in Julia Alvarez’s novel How the Garcia Girls Lost Their Accents. Sandi experiences a sense of unexplainable loss during her early years in the 1950s Rafael Trujillo-led Dominican Republic, and this elusive quality seems to defy interpretation in its foreshadowing of the breakdown that she undergoes as an adult in 1970s America. The focus of my essay is to demystify Sandi’s character through a critical analysis of the consequences that she faces when she learns to overcome the loss of the power to create her identity by allowing others to reduce her to a doll. The doll image figures largely in Sandi’s story, whether it is the static representations of the Virgin Mary statue or
The novel brings to life their struggles, triumphs, and search for self. None of these are more evident than in the character Pilar Puente. Pilar begins the story as simply a child longing for home, but evolves into so much more. From the beginning, Pilar shows to be a girl who simply wants to belong. This desire for belonging is only strengthened by her deep love for her distant grandmother and resentment for her mother. However, by the end of the novel, Pilar is able to find her true self. Through her long sought-after trip to Cuba, Pilar finally realizes her identity. Her entire life had been leading her to the truth; Pilar was an American, one who would never let go of her Cuban
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.
- - -. “When Mr. Pirzada Came to Dine.” Interpreter of Maladies. Boston : Houghton Mifflin, 1999. 23-42. Print.
In essence, the corrido genre is legendary for its hard-bitten lyrics of drug traffickers plus gunfights, and moreover functions as a genus of musical tabloid, singing of regime dishonesty, the lives of émigrés in the United States, in addition to the scuffles of the Zapatista insurgency in Chiapas. Although principally anonymous to English speakers, narco corridos top the leading Latin charts and govern radio playlists equally in the United States as well as points south. Examining diverse recent studies, the authors present in-depth examinations at the songwriters who have changed groups like the trendy Tigres del Norte into permanent celebrities, as well as the upcoming artists who are hauling the narco corrido into the 21st. In proving for the poetry as well as social demonstration at the back the ornate lyrics of in...
Rodriguez’s mother is left in a state of misery and isolation after her family leaves her. Left in Cuba without her children, Rodriguez’s mother has only her mother and husband. However, she suddenly finds a kitchen towel “smeared with another woman’s lipstick” and quickly
Julia Alvarez is a Dominican-American writer and poet, the author of “How the Garcia Girls Lost Their Accent,” a novel that some critics might say is autobiographical opposed by Alvarez’s opinion of it applying to any culture or background. This story narrates the growing-up ventures the Garcia Girls go through as the family abruptly moves from the Dominican Republic to the United States. Julia Alvarez experiences a similar process of a childhood in the Dominican Republic, being an immigrant in the United States, and finding her identity as an adult between two countries.
The frustratingly reminiscent tone encompassed in Julia Alvarez’s “Bilingual Sestina” works to emphasize the author’s difficulties of assimilating into a new culture. When she looks back and reflects on her past memories in her hometown, she yearns for the same simplistic lifestyle. Correspondingly, the constant repetition of the six end words further expresses her conflictions as she must fuse together two different cultures to truly find her identity.
Many reviews have been written on Julia Alvarez since she is a Dominican Diaspora, a Jew who lived outside of Israel, who wrote in a Latina perspective in the country of Uni...