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- W2488588439 abstract "Like Cristina Garcia in The Agüero Sisters and Rosario Ferré in Eccentric Neighborhoods, The House on the Lagoon, and Sweet Diamond Dust, the Dominican American writer Loida Maritza Perez sets up an allegory in Geographies of Home (1999), her first novel, in which the parents substitute metaphorically for an origin that is lost or fading quickly Three sisters, as opposed to the two in García’s book, represent the possible hybridized outcomes in the New American Reality The text begins and ends with the point of view of Iliana—the sister who has embarked upon an education at an elite private school and who feels both protective of, yet also repulsed by, her working-class family The most memorable scene in Geographies of Home, however, is a flashback of a ghostly encounter in the Dominican Republic between Ilianas father, Papito, and a dying girl whose own father raped and impregnated her. As a sacrificed mother, this girl Annabelle—like García’s Bianca Agüero and Ferrés Clarissa Vernet—exemplifies how past (patriarchal) violence on the island overshadows life for Latinos in the United States, even though they may not know it, just as Iliana, the assumed protagonist of Geographies of Home, never learns about Annabelle. However, if dead or dying women are metonyms of the dangerous, violent origin, in Geographies of Home we also see that female bodies aggressively engage violence as well as submit to it. In rebelling against patriarchy, Iliana and her sister Marina do not free themselves but, on the contrary, become either more repressed (Iliana) or more violent (Marina)." @default.
- W2488588439 created "2016-08-23" @default.
- W2488588439 creator A5075392061 @default.
- W2488588439 date "2004-01-01" @default.
- W2488588439 modified "2023-09-24" @default.
- W2488588439 title "“That Animals Might Speak”: Doubles and the Uncanny in Loida Maritza Pérez’s Geographies of Home" @default.
- W2488588439 cites W201409168 @default.
- W2488588439 doi "https://doi.org/10.1057/9780230100800_4" @default.
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