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• W4311354619 abstract "In this groundbreaking study, Milena Rodríguez Gutiérrez brings together twenty-three articles by distinguished scholars examining Latin American women's poetry. Exploring the works of celebrated poets, such as Gabriela Mistral and Alfonsina Storni, as well as obscure ones, Casa en que nunca he sido extraña offers readers a detailed look into some of Latin America's most influential female literary voices. The result of several years of collaboration among researchers at the University of Granada and other academic institutions, this study's aim is twofold. One the one hand, it seeks to introduce readers to some of Latin America's most significant female poets from the nineteenth century to today, on the other, to pay them homage. Despite several shortcomings, the volume's contribution to Latin American literary studies cannot be underestimated. First, despite the increased number of publications on Latin American women writers in the last two decades, most have centered on narrators. Second, for the most part, publications on Latin American women's poetry have consisted of either individual collections, or literary anthologies (e.g., Marjorie Agosín's These Are Not Sweet Girls; Milena Rodríguez Gutiérrez's Otra Cuba secreta: Antología de poetas cubanas del XIX y del XX; Loretta Collins Klobah and Maria Grau-Perejoan's The Sea Needs No Ornament / El mar no necesita ornamento: A Bilingual Anthology of Contemporary Caribbean Women Poets). That is, cross-generational and/or pan-national comparative critical analyses focusing strictly on Latin American women's poetry are virtually non-existent. Casa en que nunca he sido extraña is, therefore, indispensable as it is the first edited volume that brings together scholarly articles centering exclusively on Latin American women poets from across the Americas.The study opens with an introduction describing the history behind the publication, its theoretical framework and organization. Divided into three sections, “Identidades,” “Feminismos,” “Poéticas,” each encompassing research articles on poets from various periods and backgrounds. Additionally, the volume includes “Pequeñas memorias,” an unedited text by Fina García Marruz, with an analysis and comments from the late Cuban author's daughter, Josefina de Diego. Casa en que nunca he sido extraña closes with poems by six award-winning contemporary Latin American women.“Identidades” delves into national identity, gender, and associated concepts including independence, exile, migration, dictatorship, and the construction of feminine subjectivity within Latin American women's poetry. The section opens with Luisa Campuzano's exhaustive essay “Nación y representación en las poetas cubanas del XIX” which traces the poetry of Cuban women during the island's struggle for independence. As in other studies, e.g., Las muchachas de La Habana no tienen temor de Dios (2004), Campuzano examines various writers, in this case poets, who strove, in their works, to reimagine the nation, as well as the role of women in (re)imagined space(s). She analyzes poems by Beatriz de Justiz y Zayas and Gertrudis Gómez de Avellaneda, among others, to elucidate the ways Cuban women from the colonial period participated in national debates about identity through their poetry. This discerning essay serves as a reminder of the importance of continuing to unearth the literature of earlier women writers.Other significant essays in this section include Olga Muñóz Carrasco's “Encender el silencio: Poetas peruanas frente a la Guerra Civil Española,” which explores the overlooked and extraordinary role Peruvian women poets played in supporting the Spanish Republic despite the repression of the Benavides military dictatorship, and Naín Nómez's “Poesía de mujeres en Chile: Voces del simulacro entre la dictadura y la transición.” Nómez offers a detailed look at Chilean women's poetry from the early twentieth century through the Pinochet dictatorship and beyond, concluding with in-depth analyses of Elvira Hernández and Eugenia Brito's feminist, anti-patriarchal works.“Feminismos” encompasses essays that delve into the transgressive and subversive nature of Latin American women's poetry, in particular the ways in which various poets have defied the patriarchy from within marginal spaces. Beatriz Ferrús’ “Y ves palidecer tu luz hermosa . . . La poesía de Laura Méndez de Cuenca,” for instance, explores an important, albeit forgotten nineteenth-century Mexican poet. In her poetry, Méndez de Cuenca subverts the social conventions of the period, including gender roles, bourgeois morality, and the institution of marriage. A constant theme in her poems is motherhood. Yet, as Ferrús explains, unlike other representations of the period which centered on the social function of motherhood, in Méndez de Cuenca, maternity is tied to love, pleasure, and carnality.Finally, Poéticas incorporates analyses centering on language and structure in poetic works by such diverse writers as Juana de Ibarbourou and Piedad Bonnett, but as the editor emphasizes, “Identidades y Feminismos están también presentes, o se entrecruzan o interfieren . . . ” (xviii). One particularly riveting essay is Ottmar Ette's “Juana Borrero: Convivencia y transvivencia.” Referencing Barthes and Butler, Ette asserts that Borrero's desire for independence was not solely political, but rather gendered/corporeal. Through literary and artistic creations, this nineteenth-century Cuban modernist poet sought to subvert and breakout from the constrained, sexist colonial society in which she lived, or in Ette's words: “Su creatividad artística le permitía ampliar su propia vida, más allá de lo que hubiera sido posible en las situaciones concretas de su vida” (291).Clearly, the preparation of any edited volume requires the selection and rejection of certain texts. In this volume, poets from certain countries are over-represented (Cuba, Chile, and Argentina), while those from others (Puerto Rico, Dominican Republic) are absent. The volume fails to include articles on Afro-Latin American or indigenous women poets, as well, for instance Georgina Herrera, Mayra Santos Febres and Maya Cú, who similarly tackle issues of identity. Readers would no doubt welcome the publication of a second volume with scholarship on women poets from under-represented areas and groups in Latin America. Despite these omissions, however, Casa en que nunca he sido extraña is a vital and welcome contribution to the fields of Latin American Literature and Gender and Women's Studies." @default.
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• W4311354619 title "Casa en que nunca he sido extraña: Las poetas hispanoamericanas: identidades, feminismos, poéticas (Siglos XIX-XXI)" @default.
• W4311354619 doi "https://doi.org/10.14321/jgendsexustud.48.2.0187" @default.
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