Contemporary Spanish American Novels by Women: Mapping the Narrative (Monografias A) (Monografias A)

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Masculinity grants him as much power as does his status as a government official, and both of these identities take precedence over his role as physician. Nonetheless, the medical clinic of La Catunga does not retain its dominant position. Sayonara succeeds in transforming the medical clinic into a site of resistance, when her newness to the degradation, combined with the sense of untouchability that will become her trademark, leads her to organize an uprising that culminates in the torching of the clinic.

The clinic is eventually replaced by a new medical center, operated by a doctor who brings humane care to the prostitutes. As she moves unspoiled through the streets of La Catunga and through the hands of her customers, she retains this powerful aura, despite the degradation implied by her chosen profession. These mysteries are repeatedly articulated in spatial terms.

Contemporary Spanish American Novels by Women

The reporter is mesmerized by the impression, captured in the photo and echoed by those who knew her, that Sayonara walks within a solitary space, holding at bay her lovers, her fellow prostitutes, and her friends. In order to convey this characterization, the narrator constructs her verbal portrait around spatial metaphors of separateness. All of these concrete images are articulated by different characters, who converge in their attempts to verbalize the intangible through spatial imagery, as they note the perceived distance between Sayonara and her physical environs.

They function to represent her as the authority over her own created space, which protects her from the grasping hands of those who desire her. Her legendary desirability is ironically rooted in this very ability to define and take her place, and to hold them at a distance. But this hungry gaze has no effect on Sayonara, and the reporter hypothesizes that therein lies the secret of her power and, at the same time, her tragedy.

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To depict all of this mystery, Restrepo harnesses the connotations of space and movement to represent the negotiation of power. Yet in a masterfully ambiguous passage, the narrator writes both that they go off together, and that she leaves alone. However, the inherent contradiction, which only the now-blind Todos los Santos sees, is that this image of shared space does not fit the restless and solitary spirit of Sayonara. Instead, Sayonara disappears into an unknowable future. Instead of settling into a prescribed social role, she opts to prolong her identity play, taking on new exteriors in an attempt to protect her innermost space.

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Thus she makes her final pilgrimage, alone, into a no-place which might allow her to construct herself. If indeed she does disappear alone into the future, following the river towards true oblivion, then she succeeds in her quest; for even the resources 11 As Sayonara herself points out to the doctor, being possessed by many is like not being possessed at all, because she is incapable of holding, or being held in, the love of one man p. She has successfully disappeared from the landscape, and has taken her place somewhere else.

Sayonara first appears by the river, having allowed it to lead her from her place of origin Ambalema to her new identity in Tora. The threshold to her new life is marked by her encounter with Sacramento, who waits by a dock in order to earn his living transporting people and their goods to the town. The young girl does not arrive on the raft, but rather appears as if from nowhere, as if evoked by his own wandering thoughts or by the flow of the water itself p. And when she returns home the next morning, Todos los Santos notes that like a snake, Sayonara has shed her own skin by the side of the river, leaving behind her adolescence and entering the next phase of her life p.

Faithful to her vow to him, and trusting in the rumors that — la flaca Emilia having been dismantled — he is seeking new employment via the network of oil pipelines p. The activity ostensibly viewed as both primitive and destabilizing by the controlling forces of Church and state is nonetheless tolerated as long as it is useful; and it is regarded in a much more natural way by the prostitutes themselves, as they retrospectively explain their vocation to the reporter.

Their sovereignty is based both on the admission of female sexual pleasure and on the sensations of diversion, beauty, and autonomy in which they flourish within their world. There is no social structure outside the corporate enterprise, and within it she is forced to offer her body as the only commodity she possesses. The power she later exerts, as the legendary queen of her position, should still be viewed as limited — she rules only the space which was allotted to her.

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For this reason, her eventual rejection of the role should be seen as a spatial transgression, a crossing of the river, that represents a declaration of independence from the society that la Troco had built. While la Troco tacitly fosters the prostitution enterprise as a constitutive element to a happy workforce, the medical clinic mentioned above and the Church serve as the controlling sites, which unite in their desire to contain the disorder implied by free sexuality.

Of the two, the Church is of course more powerful, since it wields the constant vigilance of the eye of a condemning God. For example, as a boy Sacramento, guilt-ridden about his illegitimate birth to an anonymous prostitute, is interned in a religious boarding school, and recalls 56 SUSAN E. Thus despite their flagrant transgressions, they expose themselves willingly to the condemnation of Church society by participating in the penance rituals of Holy Week; barefoot and penitent, they make their own pilgrimage — not to the church building from which they have been banned, but to the movie theater, where Jesus of Nazareth, a film in Technicolor, is being shown for their exclusive viewing and edification.

Their access to the celluloid savior, a Hollywood film with Spanish subtitles, is granted by the state, in no less than the Cine Patria.

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This place, theirs for a day, functions as a counter-site to the Church, one which demands penitence yet keeps the prostitutes from contaminating the space of the pious. The statesponsored and Church-condoned ritual provides emotional cleansing, but its most significant lesson is resignation; the prostitutes should continue working, but submissively and with relative invisibility, not in a way that challenges the dominant order. Me hizo gracia saber que para ellas el cuerpo masculino estaba compuesto por cabeza, brazos, piernas, tronco y tronquito, y el femenino por cabeza, brazos, piernas, tronco y para-el-tronquito.

These women live so far beneath the gaze of la Troco and its reproductive structure that they are undamaged by its power to control and compartmentalize. The pipatonas do not hesitate to admit the reality of their own female bodies. From the outset, this settlement within Tora is set apart, in terms of both class and lifestyle; while its inhabitants are forbidden to enter the church15 or to be buried in its graveyard, they have constructed their own gynocentric social order within the confines of their barrio. Instead, they value their freedom, their easy access to men and affection, the prosperity that comes from their indirect dealings with the Tropical Oil Company, and the festive weekend atmosphere.

Las mujeres de la vida. De la vida mala. De la peor.

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Voy a ser puta. La Catunga appears as the refuge for abused and abandoned women, a safe haven which offers not only financial security but also protection from the hostile forces of the larger Colombian society. La Catunga has its own palpable atmosphere, in this town where the Troco headquarters, military personnel, the officially sanctioned class systems, and the whores, live side by side, albeit in distinctly zoned areas.

Inhabitants are listed, in order, as animals, boys who dream of working in the oil industry, girls who dream of being teachers, and women in house slippers. De la grande, insondable diferencia. The invisible wall contains a refuge, but also serves to entrap the prostitutes. Of course, the wall is maintained not by the women themselves but by the forces of social reproduction — in this case the condemnation of Church and society — that allow the women entrance but not exit.

This plumbing system pollutes the air of La Catunga, but notably, the waste that it carries comes from all of Tora. The prostitutes move up and down this social ladder, according to the stature which their professional success brings them. Both are of course false, since few Americans are in attendance and the ocean is nowhere to be seen.

As la Negra Florecida explains to the prostitute, all of the phases of life are contained within this one microcosm, for she has rooms especially designed for birth, for making love, and for dying.

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Within the figurative walls of La Catunga, the women have thus constructed a physical space which suits the flow of their social structure. While the prostitutes of Dancing Miramar seek the spotlight, La Copa Rota offers invisibility to its residents and clients p. In other words, the distance between Dancing Miramar and La Copa Rota represents the distance between triumph and surrender, between a locus of privileged empowerment and one of submission and survival. The contemplative reporter, rendering explicit the symbolism of her real-and-imagined spatial imagery, theorizes that La Copa Rota, representing naked truth, lies at the heart of Dancing Miramar, and indeed at the heart of all human activity; but daily life, like the Dancing Miramar, is more or less covered over by velvet disguises p.

It is also a comment about the power dynamic that links both together in the Magdalena River region. Todos los Santos takes young Sayonara and her four little sisters, as part of their education, to a fence that divides Tora from the sheltered North American-style community in which the Troco staff lives. In ironic inverted interpretations, the children suppose that the purpose of door and window screens is to keep people caged in, that American dogs must smell worse than theirs if they need such frequent washing, and that Americans must be cold-blooded like lizards if they need to sunbathe.

This is but one of many instances where Restrepo implies a parallel between la Troco and an occupying military force. The industrial conglomerate invades with a strategy, and leaves a wake of devastation, occupying territory and erecting defensive boundaries to mark it.

At early points, the characters seem to be exercising their own will. Work in the oil camps is highly coveted as a ticket to prosperity, and the women of La Catunga enjoy the autonomy of their weeks and the festive atmosphere of the paydays. As Lefebvre noted in The Production of Space, hegemonic structures continually erase and rebuild the physical environment as a way of consolidating power. Rather than maintaining the all-male barracks, they decide instead to promote the social institutions of marriage and family, using the army as well as the Church to further this social engineering, in the hopes that it will lead to greater stability — read docility — for the workers.

The corporation naturally employs both the army and the Church as allies, using a concurrent outbreak of syphilis as the justification for the new social plan. Replicating on a smaller scale the design of North American suburbia, they offer a physical symbol, a house, as a lure to each of the striking workers, knowing that this new spatial arrangement will bring with it domestic coupling, stability, indebtedness; in short, a social structure modeled more closely on the North American image. En cambio un hombre con casa, esposa e hijos, al que la empresa le ayudara a sostener esa desmedida carga, se la piensa dos veces antes de arriesgar su trabajo para lanzarse a luchar.

He will then own her exclusively. Thus the idea of capitalist hegemony is translated to the individual level, and class oppression translated to gender-based oppression. He notes that these housing plans involve seeking the lowest threshold of tolerability rather than any kind of individual satisfaction p.

Again the authorities thus brand the bodies of their subjects, inscribing identity by forcibly marking their corporeal surfaces. This generation of prostitutes is in a sense fired by la Troco, and the women who knew Sayonara now live their lives on a subsistence basis, spending much of their time recalling the festive heyday of their youth. However, the sex industry itself, minus its spaces of celebration, survives, albeit under a cloak of greater secrecy and in spaces of greater marginalization.