In Conclusion...

    We have covered to much this year, but I really feel like it is all becoming united thematically now that I can look back on what we've done. Some of the books I've thoroughly enjoyed, like How the García Girls Lost Their Accents, some I haven't as much, like No Se Lo Trago La Tierra. I have to say, Salt of the Earth was one of my favorite parts of the class. I would encourage more films for the class in the future, then again, I might just be lazy. Looking back, hindsight is 20/20 and I can pick out some aspects of the books I may not have noticed as I should have.

   For example, taken in the context of the title story in Women Hollering Creek, the chapter about Sandra's boyfriend/cousin in How the García Girls Lost Their Accents is somewhat illuminated. So much of Cisneros' book dealt with the gender roles in Chicano communities and misogynistic attitudes towards women. At first, the description of Sandra's boyfriend sounded typical of deadbeat, sexist men (as stereotyped in literature). The actions of the sisters to take offense to his attidues and break the couple up seemed perfectly reasonable and none too remarkable. It is exactly what my friends would do if I started dating someone like that.

  However, after reading Women Hollering Creek, I began to understand how much sexism exists in many Chicano relationships. For the other García girls to notice and act on the situation with Sandra shows that they have become used to the standards in the United States (for better or for worse). 

   The book have enhanced each other, and my understanding of them.

 

and a body to remember with

First of all, I'm quite excited about the prospect of having Carmen Rodriguez into the class to speak to us about her writing. The opportunity to listen to an author talk about their work is one that I always enjoy and is beneficial to my understanding of the piece. 

I read the introduction to the book before the first story, and I must say, it gave me a bit of a negative impression. Did anyone else read the intro first as well? While her discussion of the process was engaging, Rodrigeuz came off a little self-congratulating, I felt. While writing a book, especially one as great as 'and a body to remember with' is a wonderful achievement, if she felt humility, it didn't come across in the introduction. She writes about how she orginally hired professional translators, then decided to do it herself, as she (and others) felt she could do a better job. There is a strong emphasis on the amount of work required to translate the stories back and forth, until she "felt that both the tips of my tongue and my two sets of ears were satisfied with the final product." 

Personally, I guess I like to imagine that brilliant books just flow out of the pens of brilliant authors. Although I know that this untrue, I think that usually pride stops authors from detailing the vicissitudes and work involved in the creation of their pieces. I think of literature like ballet: the beauty comes from a difficult and skillful art appearing effortless.  Is Rodriguez attempting to impress her readers with her description of endless translations and intensive effort?

Given the humility and self-deference she communicates throughout the rest of her stories, I doubt that the introduction was intended to be the  ego-stroke it struck me as. An entirely different interpretation is possible: is Carmen Rodriguez, by detailing the writing process, humanizing herself into a figure the reader can relate to? Perhaps this is a way of showing her audience that she struggles just like they do, and thus her stories are relatable. Thoughts?

The Blood of the Conquistadores

 The first chapter of Part III in How the García Girls Lost Their Accents, entitled 'The Blood of the Conquistadores', is one I find most interesting in the novel.  In this chapter, some agents of Trujillo coming to the García's family home in the Dominican Republic. After some interrogation and a significant tension, a CIA agent neighbor intimidates the agents into leaving. Carlos comes out of hiding and the family realizes they must leave immediately for the United States.

This is my favorite chapter in the novel, and I think the climax of the book. It is narrated by 'Mami, Papi, the Four Girls', and this group voice unites the family against their common enemy, the Trujillo dictatorship. For all of the rest of the book, there is infighting and conflict amongst the members of the family. Of course, this is entirely natural and an honest presentation of life, but I enjoyed reading a chapter that demonstrated why the Garcías were a special family. The individual narration of the other chapters provides insight into each of the characters, but this chapters shows the inner workings of the family unit. 

I asked a question in class on Friday that I had been wondering for quite some time: why did two of the four girls end up being so messed up? I think it was Beth who answered that it was because the family was forced to live in fear their whole live- fear of Trujillo, Americans, rape etc. Upon reflection, I really think Beth was right about that, and this chapter is an explanation for everything that happened before it in the book. It explains why Carlos is so fearful for his daughters: he loves them and has been scared for their safety, and also wants them to connect with their homeland. By taking the risks for revolution like Carlos and Laura did, it demonstrates their deep love for the Dominican Republic. Unfortunately, although they kept their family physically safe, the past took an emotional and psychological toll.

How the García Girls Lost Their Accents

    I'm rather happy that we've moved onto this wonderful book! Not that the others haven't been thought/conversation provoking and enjoyable, but this one is my favorite thus far. It is the topic of my Wikipedi article and I finished reading it a couple of weeks ago. In terms of entertainment I find the book pleasureful and the kind of thing I would enjoy to read independently. This may have to do with the characters and modern setting, as a young woman I can relate to their experiences.  

   This is Julia Alvarez's first novel, and was originally published in individual chapters in magazines before being complied into a book. She recieved significant critical and public acclaimation, which I think she is worthy of. I haven't read any more of her books or poetry, but the book 'Yo' is a sequel to this one, and continues the story of the García family.

   One thing I noticed about this novel in comparison to the others that we've read is the postivity of most of the characters towards the United States. Call me an idealist, but I enjoy reading about a family who immigrates and happily stays in their new country. One can become a bit burned out on books like 'Y no se lo trago...' and the title story in 'Women Hollering Creek'. Of course, those expiriences are just as valid as generally happy ones, but I like to have exposure to a full spectrum of opinions. Having been born and raised in Canada, I cannot personally relate to immigration, which is a reason why this course has been enlightening for me.

   This being said, the path was not entirely smooth. I like the tension between Carlos and Laura and the four girls, the old ways and the new, the Dominican Republic and the United States. Carlos frequently tells the girls how he send them to fancy school so they can learn to speak English without accents, but resists other aspects of their assimilation. The girls reach out for their independence of the stringent social restrictions placed by their parents, yet also pine for guavas from home. 

  This tension makes me think that hybridity is a major theme in How the García Girls Lost Their Accents. None of them desire or are allowed to fully assimilate into American society, but instead must strike a balance between  cultures. This is never more apparant than in the son born to Sofía and her German husband Otto. The baby is Aryan, but the namesake of Carlos and his favorite grandchild. The baby's white skin is prized above the García's darker tones, yet the cultural milieu that produced the baby is vilianized. Is it possible to achieve a perfect hybrid between cultures, or should one simply commit to one side or the other? In any case, these difficulties never ruined the Garcías and their lives in the United States. 

Cisneros: Woman Hollering Creek II

    Sandra's Cisneros' writing style is certainly a unique one. She utilizes a wide variety of techniques to establish her voice, and the individual voice of the characters in each story. I like how the beginning of the book is united with the child-like viewpoint, manifesting in the slant of naivety and honesty. The first sections of stories, including; 'My Lucy Friend Who Smells Like Corn', 'Mericans', and 'Tepeyac' communicate the directness of children, even in their titles.  I really find it wonderful how Cisernos changes her diction and syntax based on the voice she is speaking from, it adds true authenticity to her writing. 

  Her book is structured like a life cycle, with the titles of the section again congruent with the stages of a woman's life. For example, the diction and structure of the opening section, 'My Lucy Friend Who Smells Like Corn' is obviously grammatically incorrect and bears the stamp of a child.

   The mid section, 'One Holy Night', is short in both title and size, but the words each hold gravity and near melodramatic importance. This is very reflective of the emotions associated with adolescence, and the formative events (such as loss of virginity) in the story. Lastly, the section 'There Was a Man, There Was a Woman', is descriptive of the life of a grown woman. Male-Female romantic (or not so much) relationships are the central focus of this section, and the family that form out of them. The importance has shifted from that of the platonic ('My Lucy Friend') to heterosexual partnerships. This is also the longest section of the tale, like adulthood in one's life. 

Woman Hollering Creek

     Sandra Cisnero's collection Woman Hollering Creek: and other stories is, first of all, quite wonderful. I can understand why it is a commonly studied text in universities, and why it was chosen for our class. Other than How the García Girl Lost Their Accents (my wiki article), this is my favorite text thus far. Of course, the English enhances my experience somewhat.

While the topic of feminism and the role of the Chicana has been discussed in relation to almost everything we've studied thus far, Woman Hollering Creek most directly addresses women.  I like how the book is a collection of stories; this literary method allows the reader to identify with more than one or two characters. Also, the commonality of experience between the women makes the issues raised of larger importance. I think that this book is fairly politically charged, and will lead to excellent discussion in class. 

   Cisnero's voice, while varying amongst the individual stories, usually maintains a clear, simplistic tone. I don't mean this as a criticism, in fact I enjoy how openly she explores issues like domestic abuse, class stratification and accidental pregnancy. Too often, in literature and public discourse, these topics are euphemized to nothingness  but Cisneros brings them to the forefront through her many characters and their stories. 

Thus far...

   Firstly, I know I'm publishing this a bit late, but I was ever so busy giving thanks and eating turkey this weekend and simply couldn't tear myself away to blog. Also, I figured everyone else was fairly similarly engaged, and probably wouldn't be lining up to comment. 

   Excuses aside, we have done some thought provoking reading, discussing and viewing which deserves to be commented upon. My personal favorite thus far is the film The Salt of the Earth, which I found enjoyable as a story and interesting snippet of 1950's American cinema. I haven't exposed myself to very much film of that era, and I must say it was better than I expected. Jon mentioned in class that the producers came under fire from the Communist witch-hunting that occurred during the McCarthy Era (Second Red Scare). At first, I didn't notice the distinctly (for the time) Communist flavour of the film, but upon reflection it seems that it would have been fairly radical. 

   Like most of what we've studied so far, The Salt of the Earth is armed with a strong social message championing equality. To me, this begs the question of the ubiquity of the egalitarian theme in all Chicano texts and media, or simply that which we've studied. I think it is an issue which, especially historically, pertains to the lives of Chicano people in North America. The three texts we've studied treat the message fairly differently, but still manage to communicate it effectively.