By Odile Ferly (auth.)
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Extra info for A Poetics of Relation: Caribbean Women Writing at the Millennium
In contemporary female narratives from predominantly rural areas, as was the Francophone region as a whole well up to the 1980s, images of liberated women are still relatively rare. Condé’s protagonists, who are for the most part urban or diasporic, constitute a notable exception.
De la Grifa negra,” for example, the mixed-raced woman no longer connotes sensuality but is invoked to recall a past of exploitation and slavery. In this respect, Burgos’s verse contrasts with that of her counterpart Luis Palés Matos, for instance “Mulata Antilla,” which reappraises 24 O A Poetics of Relation the African legacy of Puerto Rico but nonetheless perpetuates the trope of the over sexualized mulatto female. ” (El cuerpo correcto, 1998). Here the eponymous character is endowed with charms that prove to be so potent that they perdure long after her death.
In the sequel to the novel ¡Yo! (1997), Yolanda’s cousin Lucinda is sent to the United States at sixteen lest she should “go behind the palm trees and ruin her chances of a good marriage” by staying in the Dominican Republic (¡Yo! 38–39). S. high school romance, Lucinda is immediately summoned back home. This control of female sexuality reaches the extreme when middle-aged Yolanda, twice married and divorced, cannot disclose her relationship with her partner to her island relatives because “down there women don’t have lovers out in the open” ( ¡Yo!
A Poetics of Relation: Caribbean Women Writing at the Millennium by Odile Ferly (auth.)