By Phillipa Kafka
Because in their ethnic identification, Latinas occasionally face discrimination within the usa. Latinas are also oppressed as a result of their gender―because they're girls, they carry a subordinate place in patriarchal Latino tradition. The oppression of Latinas is maintained via a number of cultural mechanisms, which maintain strength family in accordance with gender. This publication provides distinctive awareness to the position of woman cultural gatekeepers in novels by way of modern Latina writers.
These gatekeepers implement and perpetuate patriarchal cultural constraints onto destiny generations of Latinas. They build and police woman identification, together with their very own, by using idiomatic expressions, epithets, jokes, morality stories, and myths. the amount starts through reading Judith Ortiz Cofer's Silent Dancing, a piece that basically illustrates the position of gatekeepers in perpetuating gendered energy kin. It then turns to the writings of Christina García, Julia Alvarez, Rosario Ferre, and Magali Garcia Ramis. via their hugely serious but loving characterizations of woman gatekeepers, those Latina writers recommend a distinct lifestyle for Latinas, a feminist way.
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Additional resources for Saddling La Gringa. Gatekeeping in Literature by Contemporary Latina Writers
Example text
No female child hearing these cuentos would want to live her life out as a chicken killer in lieu of avenging herself against a false suitor. Nor would any female child want to live her life out like Maria Sabida, forever on her guard against her mate's perfidy, forever worrying about his getting the best of her, his potential treachery. Certainly, Cofer does not paint pretty alternatives for future Puerto Rican women. This is because the foolish woman and the prevailing woman both lose within the rules of a system that ordains precisely how women prevail and precisely how they are foolish.
Cofer does not regard Fulana as sunk in mud, nor as fallen. Instead her wings get pulled off brutally. Why else would she be left only with jagged scars of wings on her back? This is because she has attempted free flight, the expression of sexuality and a desire to move around, a thirst for the unknown, for travel, over and above and beyond the leading institutions of her imprisoning culture-marriage, motherhood, education, religion. Fulana is described as a bird, as having once flown (the coop), and therefore having a perspective (still) above land animals, earthbound mothers.
Nevertheless, she ended up doing almost all the work in the home, as well as all the "emotional mending and ironing" (1981, 121). Cofer's endpoem about Maria La Loca gives an added feminist dimension to the cuento about her. Written in the voice and from the perspective of the outcast woman, as well as that of the author herself, Cofer makes a moving statement from within Maria La Loca's jilted psyche. "3 This means that "the text is structured out of a multiplicity of voices. Polyphony, though not specifically feminist, has been usefully appropriated by feminist writers, as they write into their texts the voices of those who have been traditionally suppressed, 'raising' these voices, at times, to the level of narrator" (Velez 1988, 13-14).
