The Struggle For Identity In The Moths By Elena Viramontes

You can see how Maria’s El Salvador is empty of people, full only of romantic ideas. Jose Luis’s image of El Salvador, in contrast, totally invokes manufactured weapons; violence. Maria’s “self-projection elides Jose Luis’s difference” and illustrates “how easy it is for the North American characters, including the big-hearted María, to consume a sensationalized, romanticized, or demonized version of the Salvadoran or Chicana in their midst” (Lomas 2006, 361). Marta Caminero-Santangelo writes: “The main thrust of the narrative of Mother Tongue ... continually ... destabilize[s] the grounds for ... a fantasy of connectedness by emphasizing the ways in which [Maria’s] experience as a Mexican American and José Luis’s experiences as a Salvadoran have created fundamentally different subjects” (Caminero-Santangelo 2001, 198). Similarly, Dalia Kandiyoti points out how Maria’s interactions with José Luis present her false assumptions concerning the supposed “seamlessness of the Latino-Latin American connection” (Kandiyoti 2004, 422). So the continual misinterpretations of José Luis and who he really is and has been through on Maria’s part really show how very far away her experiences as a middle-class, U.S.-born Chicana are from those of her Salvadoran lover. This tension and resistance continues throughout their relationship.

I, Rigoberta Menchú, is the personal narrative of a Guatemalan Quiché indigenous woman and her experiences as part of a culture and people severely discriminated against. Menchú speaks of life for a vast majority of the indigenous population in Guatemala. She describes a life of extreme poverty plagued by violence, starvation, and socio-economic inequality. Her people have been systematically oppressed since the Spanish conquest of Guatemala and have been forced into a subservient position to an elite minority who controls the means of production. These elitists are a portion of a larger group that Menchú refers to as “ladinos.” A ladino is any Guatemalan who rejects his or her indigenous heritage and who views himself or herself as superior to the Maya people. The death of Menchú’s family prompts her to speak on behalf of all indigenous people and dedicate her life to overthrowing the relation of domination and exclusion that characterizes Guatemalan society. In order to accomplish this, Menchú acts pragmatically and adopts techniques from ladino culture, such as the Spanish language and Christianity, to more effectively protect her own culture.

Young Chicana women typical expectations are to follow the parents’ rules. In the films “Mosquita Y Mari” and “Real Women have curves”, the young Chicana women resist these gender cultural norms. The resistance of these gender norms is not a challenge to others but away to voice the opinion that I am my own person and not somebody else.

As I read “Real Women Have Curves” by Josefina Lopez I was reminded of what it is like to be raised in Chicanx household and the beliefs that come with it . I was touched on a very personal level I felt many of the characters in the play reminded me of my own mother and the older women in my family. In much of the play Josefina Lopez brings to life the issues that Chicanx women face in our everyday lives.

In the short story, The Moths Helena Maria Viramontes uses characterization and symbols to shine light on gender roles and maturity especially for women in the Hispanic culture. This short story was published in 1985 and during this time gender roles were changing. The number of women obtaining a higher education increased, it became more common for women to resist the stay at home and watch the children lifestyle. Hispanics in the US during this time felt like they were losing self-identity due to harsh laws passed by the United States. Knowing this information while I read this story was meaningful because it gave me a better understanding on what the narrator and her family were going through.

Based on Cisneros’ works of literature, gender roles in a Hispanic culture revolves around patriarchal rule. The repercussions of a patriarchal rule includes the limitations of female liberation and development. Cleofilas’ abusive situation exemplifies the limitations of her independence and development as she can not make her own decisions and has to solely depend on her husband. This situation is illustrated when Cleofilas explains that the towns are “built so that you have to depend on husbands... You can drive only if you’re rich enough to own and drive an own car. There is no place to go” (Cisneros 628). Cleofilas reveals that men are the dominant gender and have more authority, and that women are compelled to depend on them in her society. It is an exceptionally rare case that a woman can afford her own car, for the men usually control the finances in a household. Additionally, Cleofilas has nowhere to seek refuge from her husband. Although she yearns to return to her father’s home, she decides not to due to the social standards imposed on her. In her society, the act of returning home after marriage is socially unacceptable. She understands that her family will be viewed in a negative light if she were to return home, as seen when Cleofilas refers to her town as a “town of gossips” (627). Similar to other men in the society, Juan Pedro’s authority is shown through his abuse. Cleofilas recalls, “He slapped her once, and then again, and again; until the lip split and bled an orchid of blood” (626).

Like Water for Chocolate by Laura Esquivel is a powerful novel that serves as a great introductory guide to the Latin-American culture. The novel consists of primarily female characters, the De La Garza family, where each one portrays a female stereotype, or perhaps their role in the society. The setting of the story takes place during arise of the Mexican Revolution in 1910, which helps to further distinguish the roles of the women and how they go about living their everyday life. Like Water for Chocolate can be looked at as a story about two women, a daughter and a mother, Tita and Elena De La Garza. Tita, our protagonist, struggles against her mothers’ tradition, to “serve” her until the day she dies, without having a life of her own.

Women themselves perpetuate their inferiority; the author recounts a moment in her life when her emotional connection with her mother was interrupted abruptly by a telephone call from her brother. In this instance, the mother chose to speak with her son, the Chicano, over her daughter, the Chicana.

Julia Alvarez also uses language to show how the four Garcia girls adjust to living in a new, and to them alien, culture. The protagonist in this novel is the family Garcia de la Torre, a wealthy, aristocratic family from the Santo Domingo, who can trace their genealogy back to the Spanish

With this came a patriarchal movement with the anthem “Yo soy Chicano” and an ideology of “Chicano = Machismo”. Women within the Chicano movement were afforded one of three roles: mothers, nuns or whores. They were not allowed self determination. This stemmed from the idea that men were the ones that were rising against oppression, when in fact women “broke their shackles and stabbed the spirit of injustice when confronted in the fields by a shotgun, when bloodied on the streets”, when constructed under the violence of “Anglo/chauvinism or Chicano machismo.” The transition from Chicano to Chicana was in protest of previous marginalization and a step towards representation and manifestation. (I Throw Punches, Chabram,

Yet Moraga writing style is very difficult to comprehend at first, due to the barrier that she create by using Spanish and English. Moraga’s choice of words force the reader’s flow to be caught off guard and roots it to focus on every details. She blends both languages together that challenge the reader to understand the multiple categories of her. As she write her struggles to define herself in relation to others, (mainly in the Chicana/o community), she also makes it a challenge for the readers to fully access her trials at first read. In the article “Cherríe Moraga’s Loving in the War Years: lo que nunca pasó por sus labios: Auto-ethnography of the “New Mestiza,” Cloud states that “the placement of her own personal experiences within the context of her community enables Moraga to capture successfully the struggle of an entire people for individual and collective autonomy” (86). Clouds argue that Moraga purposely writes for an “all in one” perspective that can be very challenging for reader to understand. She admits that, “Loving in the War Years first part speaks to the confusion and personal struggle that characterized its author’s formative years, no more so than in its poetic parts. Much of the inner turmoil that pervades Moraga’s self-portrayal revolves around the collision course that is the confluence of her two ethnic identities: Chicana and American” (91). With this reason, the only way that Moraga could have directly and explicitly share her

In this article, “The Myth of the Latin Woman” Cofer has talked about many incidents from her life where she was talked about, from a young girl the adult life. Ortiz Cofer is so ardent about this topic of stereotyping Latin women because she was a native women of the Puerto Rico area who really grew up in the United States. There is how she witnessed firsthand how hurtful stereotyping could be. In “The Myth of the Latin Woman”, She has repeated use of Spanish words in the essay to shows her audience how proud she is of the Latin heritage. she continuously uses other words, such as Puerto Rican, and Latina to stress the names she heard growing up. Because she has been brought up to love her Latin culture, she was often stereotyped here in the United States. As you can see, this is why she became so involved with trying to bring people so much awareness to the

Using these traditional images that older Chicana women are familiar with to represent the ideas of younger women can help communication between generations, and narrow the chasm between them. Yolanda Lopez’s depictions of La Virgen de Guadalupe capture the complexity of the different stages a Chicana woman goes through as daughter and mother (Anzaldúa, 2015, 53). The daughter is depicted as an athlete who has the freedom to show her skin for comfort, and not be seen as a whore. The mother is shown as performing the domestic task of sewing. Unlike the traditional Virgen, she is at work, and she is allowed to have wrinkles on her face.

In Sandra Cisneros’ Never Marry a Mexican, Clemencia is a second-generation Chicana who struggles with her identity. She falls in love with Drew, a married Anglo man, and battles with feelings of jealousy and betrayal when he ends the relationship. She has a series of affairs with married men, finding joy in the covert betrayal of their wives. Seeking vengeance for Drew’s betrayal, of the love she believes they had, she takes his teenage son as a lover. The conflict of the story is in Clemencia’s battle with her self-worth as a Mexican-American woman and the desire to feel more powerful through her cruel and vindictive acts. The conflict resolves itself as Clemencia realizes that by harming others, she inadvertently harms herself. In the end, Clemencia begins to see people as “human beings” (Cisneros 83), rather than an ethnicity.

In the short story “The Moths” by Helena Maria Viramontes, the author uses symbolism and characterization to paint the scene of a girl in a literary fiction that has lost her way and ends up finding herself within her Grandmother through the cycles of life. Through the eyes of an unnamed girl we relive a past that has both a traumatic ending and a new leash on life; however, we do not get there without first being shown the way, enter “The Moths”.