Easy Women: Sex and Gender in Modern Mexican Fiction by Debra A. Castillo

By Debra A. Castillo

Addresses the subject of prostitution and "easy girls" in Mexican literature.

The determine of the prostitute or sexually liberated girl not just permeates Mexican people songs and well known video clips yet stands on the crossroads of its nationwide literary tradition. In effortless ladies, Debra A. Castillo makes a speciality of the prostitute, or the lady perceived as such, for you to ask why this personality exerts this type of carry at the Mexican imagination.

Combining early twentieth-century novels, present best-selling pulp fiction, and testimonial narratives, Castillo explores how Mexican writers have situated the "easy girl" of their works. In each one instance the transgressive girl -- marked via an energetic sexuality -- serves a vital narrative functionality, person who either promotes and demanding situations myths approximately ladies at the continuum of sexual promiscuity. finishing with a dialogue according to a chain of in-depth interviews with intercourse staff in Tijuana, Castillo highlights the complexities and ambiguities of those women's specialist and private lives.

Bridging Latin American literary and cultural feedback, gender reviews, and reviews of Mexican society, effortless ladies offers a worldly and groundbreaking exam of where of the sexually liberated lady in modern Mexican culture.

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The brothel is the central metaphor of female consumption, but since other industrial-age institutions also function in a similar manner, Gamboa's social critique is extended to a critique of modern dehumanized industrial practices. It is, furthermore, in Gamboa's repeated evocation of the meat shop that his aesthetic aims begin to merge with the novel's implicit and explicit ideological agendas. Both of the authors studied in the third chapter, Juan Rulfo and Elena Garro, cede narrative point of view to a sexually transgressive woman.

Ultimately, the mother in this masculinist system is "nothing" precisely to the degree in which she is conceived of as pure and unprofaned. At the same time, the profaned female is also "nothing," not even a woman, and certainly not la mujer. The ultimate insult — chinga tu madre [motherfucker] — substitutes one nothing for another, and is directed not at the woman but at what is supposedly a man's most vulnerable spot, the institutionalized myth of motherhood, a myth in which the saintly mother exists only as the function by which the son takes cognizance of himself.

The transa [sting or con operation] is, as Blanco notes, also a trenza [a weaving together] of disparate elements of society, with the common ground of a supervivencia ilusionada [an illusionary survival] based on the con-artist's confidence in his own cleverness. S. model of the confidence game, the Mexican transa is less focused on the individual doing the manipulating, more on the action as transaction between two individuals, each of whom knows that a transa is taking place, each of whom thinks he (it is usually a "he") has the advantage.

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