¿Has visto a María? by Sandra Cisneros, Liliana Valenzuela, Ester Hernández

By Sandra Cisneros, Liliana Valenzuela, Ester Hernández

Liliana Valenzuela (traducción), Ester Hernández (ilustraciones).

La mundialmente aclamada autora de La casa en Mango Street nos brinda un relato profundamente conmovedor acerca de l. a. pérdida, el duelo y los angeles sanación: una fábula para adultos líricamente narrada y vívidamente ilustrada sobre una mujer que busca un gato extraviado tras los angeles muerte de su madre.

La palabra “huérfana” no parecería aplicarse a una mujer de cincuenta y tres años de edad. Sin embargo, así es exactamente cómo se siente Sandra al encontrarse sin madre, sola “como un guante abandonado en l. a. estación de autobuses”. Lo que pudiera salvarla es los angeles búsqueda de algo más que se ha perdido: María, los angeles gatita blanquinegra de su amiga, Rosi, que se largó el día en que ellas dos llegaron desde Tacoma. A medida que Sandra y Rosi peinan las calles de San Antonio—preguntando por todas partes y poniendo volantes—¿Has visto a María? hace gala de los angeles habilidad de esta querida autora de contar cuentos llenos de magia, en un relato que nos recuerda cómo el amor, aun cuando desaparece, no se pierde por siempre.

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The islands come up reflexively as limit cases in asides, as in Harriet Beecher Stowe’s Uncle Tom’s Cabin, where a character refers to New Orleans as so wicked it is “most equal to going to the Sandwich islands,” and a rearranged hat is described as giving a slave an air of “defiance, quite equal to that of any Fejee chief ” (Stowe 1981: 245, 100). Such references are continuous with the deforming and caricaturistic visual images of Islanders in texts such as Mark Twain’s Roughing It (1872), or in political cartoons, such as the tattooed man series attacking presidential candidate James Blaine, in which the man’s political deeds are tattooed on his body, or cartoons that presented Lili‘uokalani as African American.

In the nineteenth century, as Pamela Cheek argues in her comparative study of the gendered dimension of Orientialisms in Oceania, nationalism is particularly bound up with constructions of masculinity: “one became not just a man, but an ‘American’ man, as opposed to a British, or French, or Oceanian subject” (Cheek 2003: 2; see also Nelson 1998). S. ” To invoke Judith Butler, such performances, in compulsive and compulsory ways, were not so much imitations of a coherent subject as attempts to constitute that subject through contradistinction (Butler 1993).

S. imagination, Olson argues, “The Pacific is . . the Plains repeated, a 20th century Great West. Melville understood the relation of the two geographies”; he understood that “America completes her West only on the coast of Asia” (Olson 1947: 13, 114, 117). ” Through such reading, Melville’s Tommo and Toby, lost in the Marquesas, become “‘pioneers,’ who hack their way through a forest of cane (as if Nukuheva were Kentucky), and encounter Niagras of waterfalls” (Fussell 1965: 236). In this spirit, Life magazine writer A.

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