By Angela Carter

A stunning meditation on women's sexual freedom

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Additional info for The Sadeian Woman: An Exercise in Cultural History

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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).

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