I thought it would be interesting as we are discussing the literary technique of the uncanny and The Hungry Woman,which partially stems from the Mexican urban legend of La Llorona, as a springboard to compare it to another American folklore legend of “Bloody Mary”. There are many similarities to both stories and their ultimate cultural admonition but what I found in each was their use of mirrors as a reflection of something supernaturally skewed from reality.
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- THE HUNGRY WOMAN: A MEXICAN MEDEA. It's telling that playwright Cherrie Moraga. The hungry woman Download the hungry woman or read online here in PDF or EPUB. Cherrie Moraga, Djanet Sears, Guillermo Verdecchia, August Wilson. Virtual Dj Le Crack Ddj Ergo. The Arizona setting makes this film a companion piece to Cherrie Moraga's The Hungry Woman.
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There are many different variations of the story of La Llorona but one in particular has become one that stands out above the rest. A young Indian woman becomes infatuated with a Spaniard who is a part of higher society. His opinion of her lower status becomes a reason he won’t marry her. She births three children by him but he still cuts all ties. In order to win his affection, she drowns the three children one by one in the lake but he still refuses her. Her actions lead her to madness and her spirit is said to represent “death and misfortune”.
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The most popular version of the legend of “Bloody Mary” is said to have stemmed from Queen Mary I of England who was cursed from numerous miscarriages and false pregnancies. The legend says that people stand in front of a mirror and chant the name “Bloody Mary” numerous times until she appears behind covered in blood.
One of the main things I took from both legends is the identity of women in both stories. They are represented as destructible, vengeful, and temperamental women who should be feared and avoided. With the discussion of doubling in the uncanny in literature, I found it noteworthy that this author made the connection between mirrors in connection to Bloody Mary, and the reflective nature of the lake to La Llorona. Both have the supernatural feeling of gloom and perpetual dread. They also both share a connection with eyes, which are also a form of reflection. La Llorona’s eyes, in some versions of the legend are deformed because of all the crying she has endured over the loss of her children and the loss of her lover. In the case of Bloody Mary, she has been said to scratch the eyes out of anyone who dares look directly at her.
In The Hungry Woman, we are first introduced to the character of Medea in a psychiatric ward. She is driven to madness after her exile for being a lesbian and an ex Revolutionary in a dystopian society. The very first introduction has the stage directions including a mirror: “MEDEA is downstage, looking directly into a one-way mirror through which all activities in the psychiatric ward can be observed” (Moraga 10). The mirror represents a glimpse into her soul and as a literal representation of the actions she has taken and the consequences of those choices. Mirrors are described again as a mediatory of her past and present: “She abandons the breakfast, crosses back to the wall of mirror, examines her face” (Moraga 11). Mirrors are in the middle of her present conditions in the ward and her past reflections in Arizona. These stage directions are pivotal and can be easily passed over if not examined closely. Medea is in a state of self-reflection in her time in the ward. She has nothing to do except sit with her choices in life and deal with them in her own way. That’s why a mirror literally and figuratively separates her past and her present situation: “(At the mirror) My chin is dropping … One morning I’ll open my eyes and the shades will be drawn permanently” (Moraga 12). Mirrors offer her a glimpse into the woman she has become.
All of these women act out of pure emotion and suffer the consequences of their actions. The reflective nature of a mirror plays a huge part in all their stories and add an uncanny element of distortion.
The Hungry Woman (2001). Cherrie Moraga sparked a controversy over her discussion of transgender people in queer communities. Women Studies 2. Moraga who was struggling to have a. Chicana lesbian. Moraga a new outlook. Moraga is an Artist in Residence in the Department of.
Works Cited:
“Bloody Mary and La Llorona”. California Folklore. N.p. 1 Aug. 2007. Web. 23 Feb. 2014.
Moraga, Cherrie L. The Hungry Woman. Albuquerque: West End Press, 2001. Print.
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In “The Hungry Woman”, author Cherrie Moraga daringly explores the classical story of Medea through the devastating experiences of a Chicana activist. Although set in different scenarios, the chicana version borrows greatly from Euripides’ play and manages to truthfully depict the feelings of otherness, isolation and almost justifiable revenge that inhabit this famous myth. Through Medea’s unfortunate journey, the author addresses issues that are inherent to Chicana culture by utilizing characteristic elements of the Gothic literary tradition.
Moreover, Moraga allows the masculine anxiety and need for control to emerge naturally through Medea’s sad story. In this way, the author creates a strong connection between the gothic and the suppression of women which places “The Hungry Woman” in the company of other celebrated gothic narratives like Frankenstein, where abhorrence and dread for the mysteriously powerful feminine realm inspires men to commit devilish acts, worthy of the genre. Our Mexican Medea becomes the target of the despotic male quest for unquestioned sovereignty, however, she responds in a violent fashion which defies the expectations of her gender. Moraga’s Medea fights her victimization fiercely. Although her actions grant her a place in an asylum, her attack on the patriarchy, symbolized by Jason, gives her momentary independence and lasting dignity. By examining Medea’s rebellion, I would argue that this haunting play can also be interpreted as a feminist work that shows the desperate attempts of women to reclaim their rightful freedom.
Moraga’s protagonists inhabits a post-apocalypse wasteland, “where yerbas grow bitter for a lack of water”. The aridness of her home mirrors the hopelessness of her situation. Medea tries to survive in a world severely governed by patriarchical notions of righteousness and decorum. This asphyxiating societal control clashes with Medea, especially after this independent intellectual expresses romantic feelings for another woman. Morega shows us the perversity of this system through the persecution of this affair; Medea is not even allow to exercise her selfhood within the confinements of her intimate life.
Medea’s love for Luna culminates in a forced, humiliating exile from his native town of Aztlan. Her divorce renders her useless and homeless in the city she bravely fought to establish; it prevents her from living in a place she created based on principles of liberty and acceptance. Medea feels like a “huerfana abandonada” in her exile, deprived of her deserved role as a successful activist. As Medea explains to her son, once the women were no longer needed for the revolutionary effort, they were forced back into their “natural” state of subjection. Although land was an important factor inspiring this suppression of female agency, the masculine obsession with power definitely played a decisive part in this political move. Through this unnecessary omission of female civic participation, the men forced women to lurk in the shadows of their domesticity, creating a distinctive line between the male and female worlds. This separation established women as the tamed but still feared other and made their independence an always menacing monster, waiting to emerge.
Medea’s involuntary migration cements her otherness , which had been already establish through her lesbian relationship. It is important to notice that “The Hungry Woman” is set in a futuristic time and therefore, one would expect such a relationship to be viewed with kinder eyes. However, Medea and Luna’s love threatens the traditional role of women as vigilant and submissive beings who live in permanent accordance with their dominant men. The “joteria” is viewed as a toxic and essential aspect of otherness, which defies normalcy and deserves to be suppressed. This is one of the instances when the overwhelming authority of men disrupts Medea’s serenity and the possibility of a happy life.
In the classical version, Medea is feared and despised for her foreignness-which makes her an unworthy, brutish outsider in the xenophobic eyes of the Greeks-and her known supernatural powers. The full extent of her might is only seen at the end, when she flies off in a golden chariot. This hated foreigner is deft in the way of politics and magic and her potential scandalizes the Greek elite who were accustomed to more conventional, less threatening women.
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In Moraga’s play, Medea’s efforts to strengthen her supernatural powers possess a distinctive feminine quality. The characters speak of a Madre Coaticue,a great source of power, capable of creating deities. Similarly to Bless Me, Ultima, Medea’s temporal world is populated by strong males but the supernatural realm can be accessed through feminine figures. This element of female power links the play with the traditional gothic treatment of the fantastical- witches working in the darkness and the like- and also further emphasizes the subtly feminist character of this work. Unable to use her political skills, Medea finds an unorthodox, mighty and strongly feminine way of regaining her authority by making use of the ancestral magic of indigenous people.
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The moment when Jason becomes interested in his long forgotten son is also essential to understand the gender conflict of this play. Medea’s son is thirteen, an age where childhood and adolescence coexist within the developing boy. He is far from being a man but he begins to learn the ways of the world and consequently, the ways of his father and the patriarchy. Medea teaches her son about the reality of life and the treacherous ways of his father. She bluntly tells him of the injustice of men and the cruelly exclusionary nature of normalcy. Through these lessons, Medea hopes that her son will become a better men than those she has known. However, when she sees that Jason is trying to interfere in this process by entering his life (with complete disregard for the child’s well-being), she can predict the kind of men Chac-Mool could potentially be. Moreover, Jason’s intrusion would also mean a return to the evil town that rejected her. Fearing for her son, Medea commits a grave crime. To save the integrity of her son’s soul, still uncorrupted and ignorant of the ways of men, she murders him. She stops her son’s journey to manhood, leaving him with an incomplete gender forever. With this tragic action, Medea prevents the patriarchy from taking the innocence of another young boy and turning them into agents of suppression and violence. Although unquestionably immoral, her decision to kill her son possesses a redemptive quality; she murdered to maintain her integrity and her son’s purity. The apparition of her son’s ghost strengthens the gothicness of the work and also blesses Medea with forgiveness and understanding. After so many tormenting memories and delirious scenes from her past, her actions become partially justifiable through his comforting presence.