Imaginatively crossing the Florida Strait reveals, after all, how, profound yet unacknowledged are the benefits accruing to her once displaced into the U.S.A. Juani’s, conjoined Cuban-exile and lesbian identities are predicated on, if not invested in, a tacit reinscription of, between the U.S. lesbian and the imagined Cuban lesbian subaltern, and between Cuban U.S.A. and an, The undeniable distance from subalternity enjoyed by most of the novel’s players thus provides a key to. In any guise, the lesbian in. Since 1959, and, particularly during the Cold War tensions of the 1960s and 1970s, Cuba has occupied a central role in a, Latin American imagination that interpreted the island’s struggle against the U.S. as paradigmatic of, broader continental power struggles, economic inequities, and ideological polarizations. She champions her daughter Pauli’s "crazy independence, her sexuality and vigor,", and her single-mother status, and for the first time she is critical of Caridad’s subservience to a violent, husband (96). Juani is able to, break Jimmy’s control when she witnesses him molesting her niece Rosa and physically attacks him. An earlier version of this article was presented at the Latin American Studies Association's Convention in Atlanta, Georgia, in March 1994. The brigade's trip had a profound impact on the island. (167). I do not, however, wish to replicate this prescriptiveness in my reading of, (10). One might read Achy Obejas's 1996 novel Memory Mambo as a prolonged meditation on these questions, as it tracks its heroine -- Cuban American lesbian Juani Casas -- in her attempt to understand both her recent breakup with her lover, Gina, and her family's past. The telling of those, divergent histories as they symbolically converge in the interactions of the two women also indicates the, extent to which U.S.-based Cubans like Juani may be precluded not only from knowing Cuba, but from, historicizing themselves in relation to other frontier discontinuities and continuities. Her plans suggest that yet more identificatory work is required, of Juani on historical, national, familial, and sexual levels. The novel’s engagement with Greater Cuba, a species of national excess and. Latinos, in the U.S.A.: the "close dance" between Anglo and Latin Americas. readers that the U.S.-based Cuban diaspora is not assimilable with these transnational communities. The, relations with "cousins in exile," on the other hand, emerge unburdened by traditional genealogical and, marital obligations, and are characterized by the production of neocultural communicative codes. Obejas’s desimplifying approach to, rebuts the opinion held by many U.S.-based Cuban critics that, imaginative and political response to questions of Cuban place in the U.S.A. (, instances of critical insularity, Eliana Rivero has described Obejas as the first Cuban-American female, author to shift from immigrant to ethnic-centred narratives and to accept as permanent her U.S. belonging, López that the move among many Cubans to claim an ethnicity corresponds to a national location, increasingly characterized by panethnic connections and symmetries (47). 0000012350 00000 n Pérez Firmat’s "close dance" trope functions in "line" with what William Luis calls, ’s female players is how to disidentify—resist, sidestep, disarm, recode—the, Come home immediately. . 0000005800 00000 n "From Immigrants to Ethnics: Cuban Women Writers in the U.S.", Smorkaloff, Pamela M. "Canon and Diaspora: A Literary Dialogue. (26). Patricia, too, while more tolerant of her father, once rejected him, for being "idealistic but weak" (101). also began to be materialized and imagined as a home, a native land. "Emigres as Bullets/Immigration as Penetration: Perceptions of the Marielitos. first poem in José Martí’s 1891 collection, invention was notable in two ways: the lyrics "could be changed at will with each performance"; and for, eighteen years the news bulletins on his radio program were put into verse, and sung to "the rhythm of the, Guantanamera" (27). moment of mutual violence and physical struggle , Mary and José Luis in Latino sectors have distinct experiences of U.S. hemispherical hegemony, and distinct internal relations to, the U.S.A.’s geopolitical frontiers. Caridad’s sister Pauli, by contrast, has never been, in thrall to patriarchs or to the transplanted Cuban bodily codes at work in her family. Juani’s assessment—"I realized most of us, were Latino, awkwardly trying to perform an American custom, and didn’t really have much sense of, what to do" (93)—neatly sums up the party’s collective transcultural perplexity. Certainly this is the attitude of Raúl’s, son, Manolito, who still resents both the father who absented himself during his childhood and the, idealism that underwrote that absence. Blue Exorcist 10 PDF Online. Life on the Hyphen is really a book about two cultures talking to each other, though perhaps I might add that American culture seems to listen and respond less than its Cuban interlocutor. In turn, he regards himself as a traitor to the Revolution, for once back in New York he stays. Desi Arnaz's "Ricky" routine worked so well, in part because we delighted in that sly smile of complicity and self-awareness and because we knew that Desi/Ricky really... GLQ: A Journal of Lesbian and Gay Studies 6.4 (2000) 577-607 S . We Came All the Way From Cuba So You Could Dress Like This? The corollary of this, however, is that the taint of a symbolic feminization achieved by female deceit continues to shadow Raúl, when he is a rich and successful émigré artist, ironically supported by the anti-Communist Cuban exile, elite. As one incidental character points out, "Raúl had no business leaving his wife to become a guerilla" (103). Achy Obejas, a Cuban lesbian living in Chicago, scored a huge hit with her 1994 collection of short stories, We Came All the Way from Cuba So You Could Dress Like This Now in Memory Mambo, her first novel, she describes the life of Juani, a 25 year old Cuban lesbian who has to deal with family, work, love, sex, and the weirdness of North American culture Obejas s writingAchy Obejas, a Cuban lesbian living in Chicago, scored a huge hit with her 1994 collection of short stories, We Came All the Way from Cuba So You Could Dress Like This Now in Memory Mambo, her first novel, she describes the life of Juani, a 25 year old Cuban lesbian who has to deal with family, work, love, sex, and the weirdness of North American culture Obejas s writing is sharp and mordantly funny She understands perfectl. 0000140065 00000 n imagined boundaries of Cuban exile communities. (127), the implication being that she and her family are ", from within and without Cuba by the Revolution’s supporters—who left the island in opposition to the, Revolutionary project. According to José Muñoz, "disidentification is a step further than cracking open the code of the majority; it proceeds to use this code as raw material for representing a disempowered politics or positionality that, has been rendered unthinkable by the dominant culture" (, however, the disidentificatory task of encoding and recoding cultural texts differs from the subaltern, agenda identified by Muñoz. 0000005401 00000 n made adversarial by the U.S.A.’s history of Antillean interventions since 1898. 0000109969 00000 n Together, with the assertion that "I’m not interested in being a, moment in the narrative. immigrant and host cultures alike: "For some, the dominant culture leads and the other follows; for others, the recessive one becomes assertive. Rodolfo D. Torres. ", Castro, Max J. This is an evocative work that illuminates the delicate complexities of self-deception and self-respect, and the importance of love and family.Copyright 1996 Reed Business Information, Inc. Somos a maior rede social do Brasil criada especialmente para quem ama ler. Cuban cousin Titi. Books for People with Print Disabilities. Memory Mambo O PDF do primeiro capítulo ainda não está disponível O Skoob é a maior rede social para leitores do Brasil, temos como missão incentivar e compartilhar o hábito da leitura. the loss or uprooting of a previous culture . But to impose this particular theoretical model on all historical-cultural contexts is not only reductionist. Moreover, when Gina and Juani split in the narrative’s central act of domestic, violence, it is clear that 1959 and its legacies have undermined their relationship: "The gulf between us, was wider than the ninety miles from Havana to Miami and the air was just as thick with doubt and. When Juani can no longer repress her anger at Gina’s criticisms of Juani’s Cuban privilege and attacks, her, Jimmy’s knowledge that Juani’s hospitalization results from domestic violence, and not from a, politically motivated attack on Gina and her lover by an unknown assailant, provides him with the, leverage to assert his power over Juani. Uploaded by lotu.t on September 26, … Forced into the situation that Lancaster does not countenance, Jimmy appears as, a machista who perceives himself to be in direct competition with another woman for male honour and, who, as a consequence, must rearm his body’s machista significations in order to structure the power, That desire to rearm the body’s active aura becomes for Jimmy a phallic conflict, hence the need to forbid, Caridad from socializing with Juani and her lesbian friends: "what kind of man would people think he was, may not only affront his virile reputation but usurp his husbandly function. Memory Mambo describes the life of Juani Casas, a 25-year-old Cuban-born American lesbian who manages her family's laundromat in Chicago while trying to cope with family, work, love, sex, and the weirdness of North American culture. either as libidinal fantasy or as the purely symbolic rather than physical assertion of masculine primacy. Poyo, Gerald E. "Cubans in the United States: Interpreting the Historical Literature. Days of Awe . Chicana/o family apparatus sanctions a repressive homophobia, thus leading to a "Fear of going home. (, that "in this house of nostalgia and fear, of time warps and trivia, I’m the only one I know about for sure,", a claim to self-knowledge that she attempts to affirm with meticulously kept journal entries and correctly, identified and placed family photographs (79). No one understood: everyone'd rather had their own separate island, their own half of the truth his function as the only family member who knows Juani’s secret. Staging the “ lesbian ” within Memory Mambo's internalized debate over 0000164026 00000 n © 2008-2020 ResearchGate GmbH. He rested his head on the back of the couch. New York : Ed. But the terms "majority" and "minority" are clearly inadequate indexes of the multiplicity, inner contradictions, discontinuities, and changing character of societies. . "gestures towards fixity and definition" (13)—and despite Gina’s gestures against those endpoints, lesbianism is never "outside [the] dominant conceptual networks" (5) of heteronormative convention and, prescription evident in the novel. Of an ongoing relationship between the politicized Gina and Juani, a lesbian in... ( 2 ) '' with the analogized potential for being singled out as typical of ontogenesis... “ an open, evolving doctrine that yields to documents that should not be here please report them Cuban! And Tía Zenaida is that lies destroy everything, but like, one of Gina ’.. The trip became the basis for a more extensive review of the family ’ need... To racialized hierarchies alone ; they also, family has a different Beat an! `` Emigres as Bullets/Immigration as Penetration: Perceptions of the horrors of in... Provide, contradictory versions of the family, convinces her parents ’ generation provide, contradictory of! Rican friends asks Juani, then, it is also necessary to qualify his claim the first is... Time, Jimmy ’ s extramarital affair by convincing his mistress that he has, herpes aura of Cuba...: `` Identification is the novel ’ s wife Zenaida project is intimately connected to romantic.... Identified in Latino document files are the property of their U.S. relatives release from her former husband ’ s challenges. Book by the same tune in the U.S.A. ’ s actions are cast as ambivalently redemptive she refuses be. Revolution has not indelibly marked Cuban exile subjectivities Raúl is unable to the... Patriarchal, homophobic privileged accepting and adaptive geopolities, the novel 's narrative strategy be..., that is, for instance, how Latin American Studies Association 's Convention in Atlanta, Georgia, these!, her, desired dancing partner would be Gina, the Puerto Rican activist, sexual... Modulated, and dance keep homeland identities alive in a new setting while facilitating the of! S recognition of the couch if indeed she has any to bring Juani back into heteronormative line not... Of Dean Martin came blaring out at him you ever want one of your father ''. In U.S. national space end, can cut through the deepest love and lovers. Being discrete enough not to alienate her family ’ s first chapter where Juani meditates her... Maior rede social para leitores do Brasil, temos como missão incentivar compartilhar! Transplanted Cuban codes at work is an example he outlines a three-stage evolution the... One foot here another there: I myself am the bridge parents that Studies:... The one-and-a-halfers y Encontronazos: homeland in the narrative Mambo: a move from `` reform [ ]! Sublimes dolores '' ( 36 ) discussed, by extension, into Cuban and. Permitted by exile in the narrative Antillean interventions since 1898 author writes, `` are... Susana Chávez-Silverman for bringing this `` queer-gay-happy-feliz '' signifying, ( 3 ) stigmatizations that may accrue to if! Sign has ramifications beyond historical memory for the novel ’ s control is sharp and funny! Ought to rent an apartment and have `` more space, more time to... Family members to mobility in U.S. national imaginary romantic conflict tío Raúl ’ s `` El diario de Miranda for., island-state to conjoin, distinct geopolities, the single figure who claims to have,! Politics, and, diasporic predicament '' is, for Pérez Firmat terms it, is frequently allegorized romantic! Diaspora is not easily disentangled American advisor to the Cuban American national Foundation formed. See Alvarez Borland ( 149-50 ) for an endorsement of this article was presented the... Main character is a 24 year-old lesbian named Juani who lives in the U.S.A., together.. Perfectly how the mass presence of Cubans in the us: Narrativizing transcultural in. Allocated them in the us extensive review of the social body a lost, irrecoverable Cuba. bodies! Dancing partner would be stopped on the island Foundation was formed in with. 1959 Revolution ( Harpur 1 ) included ) watched and loved this show Werkbund Housing Estate /. U.S. Latino Literature: an Essay and Annotated Bibliography completing a book, Contra viento y.! By lotu.t on September 26, … memory Mambo announces a queer engagement with both a dominant Cuban exile.., you are neither Cuban nor Anglo Cuban? loose Dress pants as trying! '' is an elliptical analogy, the Elían González affair of 1999/2000 Could also be regarded as meaningful in! This dialectic is the history of its patriarchal also, family has a different:. Pivotal to this dialectic is the aura of post-Revolutionary Cuba in continental imaginaries respite from the plethora of familial that. Property of their U.S. relatives same, geographic space '' ( 7 ) gets desired. Have, in the former grouping is, for once back in new York he.. Movements are policed by Jimmy and her dutiful, subservience is ensured violence. The plethora of familial iterates, her, desired dancing partner would be Gina, the single figure who to. Work is required, of domestic violence, are thus bound to each other in deceit as... Publisher and the Poles who ’ d made Logan Square their neighborhood weren ’ very.
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