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(Ebook) Intersections of Harm: Narratives of Latina Deviance and Defiance by Laura Halperin ISBN 9780813570389, 9780813570365, 9780813570372, 0813570387, 0813570360, 0813570379 Instant Access 2025

Intersections of Harm: Narratives of Latina Deviance and Defiance by Laura Halperin explores the themes of harm and resistance within Latina literature. The book analyzes various works by Latina authors, focusing on topics such as sexual violence, identity, and expression. It is part of the American Literatures Initiative and includes critical insights into the experiences of Hispanic American women in literature.

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9 views162 pages

(Ebook) Intersections of Harm: Narratives of Latina Deviance and Defiance by Laura Halperin ISBN 9780813570389, 9780813570365, 9780813570372, 0813570387, 0813570360, 0813570379 Instant Access 2025

Intersections of Harm: Narratives of Latina Deviance and Defiance by Laura Halperin explores the themes of harm and resistance within Latina literature. The book analyzes various works by Latina authors, focusing on topics such as sexual violence, identity, and expression. It is part of the American Literatures Initiative and includes critical insights into the experiences of Hispanic American women in literature.

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Intersections of Harm
Intersections of Harm
Narratives of Latina Deviance and Defiance

laura halperin

Rutgers University Press


new brunswick, new jersey, and london
library of congress cataloging-in-publication data

Halperin, Laura, 1974–


Intersections of harm : narratives of Latina deviance and defiance / Laura Halperin.
pages cm. — (American literatures initiative)
Includes bibliographical references and index.
ISBN 978-0-8135-7037-2 (hardback)
ISBN 978-0-8135-7036-5 (pbk.)
ISBN 978-0-8135-7038-9 (e-book (web pdf))
1. American literature—Hispanic American authors—History and criticism.
2. American literature—Women authors—History and criticism. 3. Hispanic American
women in literature. I. Title.
PS153.H56H35 2015
810.9’928708968—dc23
2014040946

A British Cataloging-in-Publication record for this book is available


from the British Library.

Copyright © 2015 by Laura Halperin

All rights reserved

No part of this book may be reproduced or utilized in any form or by any means, elec-
tronic or mechanical, or by any information storage and retrieval system, without writ-
ten permission from the publisher. Please contact Rutgers University Press, 106 Somerset
Street, New Brunswick, NJ 08901. The only exception to this prohibition is “fair use” as
defined by U.S. copyright law.

Visit our website: http://rutgerspress.rutgers.edu

Manufactured in the United States of America

A book in the American Literatures Initiative (ALI), a collaborative


publishing project of NYU Press, Fordham University Press, Rutgers
University Press, Temple University Press, and the University of Virginia
Press. The Initiative is supported by The Andrew W. Mellon Foundation.
For more information, please visit www.americanliteratures.org.
Para mi familia
Contents

Acknowledgments ix

Introduction: Contextualizing Harm 1


1 Rape’s Shadow: Seized Freedoms in Irene Vilar’s
The Ladies’ Gallery and Impossible Motherhood 25
2 Violated Bodies and Assaulting Landscapes in
Loida Maritza Pérez’s Geographies of Home 57
3 Madness’s Material Consequences in Ana Castillo’s
So Far from God 91
4 Artistic Aberrance and Liminal Geographies in
Cristina García’s Dreaming in Cuban 123
5 Clamped Mouths and Muted Cries: Stifled Expression
in Julia Alvarez’s How the García Girls Lost Their Accents 159
Conclusion: Hope in the Interstices 195

Notes 203
Works Cited 225
Index 233
Acknowledgments

This book would not exist without the immeasurable support I have
received from countless people over the years. There are far more people
I would like to thank than I can possibly name here. Please know how
grateful I am for all of your encouragement.
I would like to begin by acknowledging those who helped make this
book a reality. Frances Aparicio, María Cotera, and John González: you
have seen me through this project from its inception until its final stages,
providing me with the type of mentorship most people can only dream of
finding. Frieda Ekotto and Rosie Ceballo, you gave me invaluable advice
and encouragement in this project’s early stages. All five of you have also
taught me the importance of humility. There are four colleagues at the
University of North Carolina, Chapel Hill to whom I am forever grateful:
María DeGuzmán, Ruth Salvaggio, Minrose Gwin, and Ariana Vigil. I
cannot thank you enough for the incredibly insightful comments you
provided on different chapters of this book. I feel privileged to work with
such an amazing, generous, and thoughtful group of women.
Thank you to Jimmy Longoria for giving me permission to reproduce
“Cara de la Llorona” on this book cover and for being the dedicated social
activist I can only aspire to be. I would also like to acknowledge Latino
Studies, as parts of chapter 4 (and parts of the description of chapter
4) previously appeared in “Still Hands: Celia’s Transgression in Cristina
García’s Dreaming in Cuban,” Latino Studies 6, no. 4 (2008): 418–35.
I cannot believe the good fortune I have had both to work with Katie
Keeran as my editor and to publish this book with Rutgers University
x / acknowledgments

Press. Katie, you have believed in this project from the moment we first
talked about it; you have been patient and understanding throughout my
writing process; and you carefully chose two extraordinarily thoughtful
reviewers to read my manuscript. I could not have asked for better
reviewers; I am so grateful for their generosity, attention to detail, and
suggestions for revision. I only wish I could thank them in person to
let them know that this manuscript is so much stronger thanks to their
feedback.
I have benefited from the assistance of multiple people who helped
set this project in motion, and I have been fortunate enough to receive
fellowships that have given me time and resources to work on the
manuscript. Although a number of people helped me in the early stages
of this project, four friends merit particular mention: Pavitra Sundar,
Constanza Svidler, Meredith Martin, and Bénédicte Boisseron. Thank
you for the countless hours you spent talking with me about my work,
reading my work, and sharing a writing space with me. Thank you to
the Rackham Merit Fellowship Program, the Global Ethnic Literatures
Seminar Fellowship, and the Institute for Research on Women and
Gender at the University of Michigan, Ann Arbor and the Carolina
Postdoctoral Fellowship for Faculty Diversity at the University of North
Carolina, Chapel Hill.
There are people who may not have realized the powerful impact they
have had and continue to have on me. These include students and col-
leagues at UNC and elsewhere. When I teach my classes, when I meet
with students outside of the classroom, when I attend conferences where
I find my larger Latina/o studies community, I realize why I am in this
profession and why this work matters. When students thank me for
teaching works in which they can see themselves reflected perhaps for
the first time in their educational careers, when students want to con-
tinue the conversations begun in the classroom outside of the classroom,
when colleagues across the country engage in passionate discussions
about Latina/o literary and cultural studies while also addressing the
systemic challenges of being duly recognized for the groundbreaking
work they do because their work gets dismissed as “trendy” or too spe-
cialized instead of being rightfully recognized as critically important,
I am motivated to continue doing the work I do, and I realize just how
much more work there is to be done. Thank you to my extended Latina/o
studies community: Randy Ontiveros and Marissa López (my confer-
ence buddies since our graduate school days and now my good friends),
Larry La Fountain-Stokes, Ana Patricia Rodríguez, Suzanne Bost, Elena
acknowledgments / xi

Machado Sáez, Marta Caminero-Santangelo, Ricardo Ortiz, Tony López,


José David Saldívar, Claudia Milian, and Jenny Snead Williams. I would
especially like to thank Suzanne Oboler. You introduced me to Latina/o
studies before I knew what I wanted to do with my life, and you have
believed in me ever since.
I am surrounded by a wonderful group of people in North Carolina.
These include friends, current and former colleagues, and staff in the
English, Comparative Literature, Romance Languages and Literatures,
and American Studies departments and the Latina/o Studies and
Carolina Postdoctoral Fellowship programs. I would particularly like
to acknowledge Beverly Taylor and Jennifer Ho for the immeasurable
advice and support that you have extended to me over the years. JoAnna
Poblete, Rebecca Walsh, Stephanie Elizondo Griest, Jordynn Jack, Heidi
Kim, Matt Taylor, and Rebecka Rutledge Fisher: I cannot thank you
enough for being there for me personally and professionally. Michelle
Robinson, Jenny Tone-Pah-Hote, Angeline Shaka, Ben Frey, and Gaby
Calvocoressi: I could not ask for a better, more diligent group of people
with whom to have regular work sessions. Special thanks to those of you
who brought me to UNC and who have formed an important part of
my North Carolina community, namely Bill Andrews, James Thompson,
Bland Simpson, Tony Waldrop, Sibby Anderson-Thompkins, Joy Kasson,
Priscilla Wald, GerShun Avilez, Donna Bickford, Paul Cuadros, Josmell
Pérez, John Ribó, Ashley Lucas, Matthew Grady, Elisha Taylor, Ricci
Wolman, Ferol Vernon, Kim and Josh Boggs, Beth Richardson, Steven
Kent, and my FARM friends.
My community also consists of remarkable friends who are spread
across the country. I am grateful to all of you. Tyrone Brown, Alpa Patel,
Annmarie Perez, Vanessa and Alex Rein, Kate Destler, and Johann
Neem: you have been there for me for over twenty years. In no small
part thanks to your friendship and support, this book has come to
fruition. Jamie Rosenthal, Neel Ahuja, Mark Sheftall, Oswaldo Estrada,
and Cristina Carrasco: I met all of you in North Carolina, and you have
quickly become the best of friends. You have been there for me through
good times and tough times; you have been my pillars of strength; you
have provided me with sage advice; you have listened to me talk about
work; you have helped me find work-life balance; you have made me
smile and laugh; and you have made me feel at home.
Since much of this manuscript is about the importance of re-turning,
it is only fitting that I end my acknowledgments by thanking my family;
and since much of this manuscript is about the importance of attempting
xii / acknowledgments

to articulate oneself in one’s own voice, it is only fitting that I code-


switch here. Quisiera agradecer primero a los miembros de mi familia que
ya no están aquí físicamente, aunque sigan aquí en mi corazón. Abuelo
Luis, Abuela Chola, Abuela Claire, y Tía Dora: los extraño un montón.
Ustedes me han enseñado la importancia de ser humilde, de tratar a la
gente con cariño y respeto, de luchar para que este sea un mundo más
justo, de creer en mí misma, y aprovechar el tiempo que tenemos con la
gente que queremos. Tío Eduardo, Tía Fanny, Marina, and Lucila: you
have taught me about the importance of family, and I will gladly listen
to your humor Halperin any day. Marta, gracias por haberme ayudado a
crecer y por haberme mostrado lo que significa tener una ética increible
de trabajo. Alejandra and Rob, you have taught me about dedication,
loyalty, and understanding, and you inspire me in all you do while rais-
ing three incredible children. Emma, Sofia, and Thomas, I am so lucky
to be your tía! The three of you are my world, and I love you with all of
my heart. Finally, Mom and Dad (Mirta and Ricardo), I cannot begin to
thank you enough for all that you have done and continue to do for me.
I would not have been able to write this book without you. You instilled
a powerful work ethic in me; you put your lives on hold when I needed a
helping hand; you have always believed in me; and you have always been
there for me. Les agradezco del fondo de mi corazón.
Intersections of Harm
Introduction: Contextualizing Harm

“We’re going to have to control your tongue,” the dentist says. . . . My


tongue keeps pushing out the . . . cotton, . . . drills, . . . needles. “I’ve never
seen anything as strong or stubborn,” he says. And I think, how do you
tame a wild tongue, train it to be quiet, . . . bridle and saddle it . . . make
it lie down?
—Gloria Anzaldúa, Borderlands/La Frontera: The New Mestiza

At first glance, this epigraph might appear to be about a woman at a


dentist’s office whose physical tongue is getting in the way of the medi-
cal attention she is there to receive. But the passage is about much more
than this: it is explicitly about a female patient—and implicitly about a
Latina, mestiza patient—whose body part is being manipulated by a male,
arguably Anglo, dentist.1 It is about a gendered and racialized struggle for
control, exemplified by the power the dentist wields as a medical practi-
tioner with drills and needles in hand while standing over his patient, and
illustrated through the power the patient questions and seeks to take back
for herself in her stubbornness and refusal to be tamed. It is about a per-
sonified body part that pushes back and will not lie down, a body part that
stands for something more than a physical entity. A tongue also represents
language, and, as the Chicana writer Gloria Anzaldúa asserts, language is
integrally connected to ethnic identity and ethnic pride: “Ethnic identity
is twin skin to linguistic identity—I am my language.”2 The tongue bridges
the corporeal, linguistic, and psychological, as it is tied to the construc-
tion of self and collective. By identifying the patient’s tongue as something
that needs to be tamed, the dentist dismisses his patient’s desires and con-
structs his patient as deviant in her (tongue’s) wildness and defiant in her
(tongue’s) stubbornness. Resorting to control instead of cooperation, he
imposes coercive power over his patient. Questioning the dentist’s insis-
tence that her tongue needs to be bridled and saddled, the patient fights
back against the control wielded over her (tongue) and attempts to reassert
her own voice/tongue.
2 / introduction

This epigraph illustrates the major polemics explored in Intersections


of Harm. It highlights a complicated portrayal of the medical system and
alludes to the medicalization of a latinidad that is gendered female. It
speaks to questions of power, control, and coercion in relation to struc-
tural subjugation; it reveals the limitations and possibilities of resistance;
and it emblematizes the intersections of physical, psychological, and geo-
political harm, as well as the junction of harm and hope. Although this
excerpt (taken out of the context in which it appears) does not explicitly
reference geopolitical harm, its positioning in a text that emphasizes the
primacy of the borderlands grounds it in a geopolitical framework. The
hope in this passage can be found in the patient’s refusal to let her voice/
tongue be tamed. Just as the patient thinks, “How do you tame a wild
tongue, train it to be quiet, how do you bridle and saddle it? How do you
make it lie down?,” Intersections of Harm asks these same questions.3 But
I also ask: How can the patient’s (mis)treatment be linked to broader,
collective struggles with institutionalized oppression? Why does the
patient’s tongue need to be tamed, trained, bridled, and saddled? What
is at stake in the ready suppression of Latina tongues as portrayed in
contemporary Latina literature? And how do Latinas resist the efforts to
clamp their tongues?4
While posing these questions, I examine the crossroads of psycho-
logical, physical, and geopolitical harm in two memoirs and four novels
written by and about Latinas at the end of the twentieth century and the
beginning of the twenty-first. Analyzing the Puerto Rican author Irene
Vilar’s memoirs The Ladies’ Gallery: A Memoir of Family Secrets (1996)
and Impossible Motherhood: Testimony of an Abortion Addict (2009),
the Dominican American novelist Loida Maritza Pérez’s Geographies of
Home (1999), the Xicana writer Ana Castillo’s novel So Far from God
(1993), the Cuban American author Cristina García’s novel Dreaming
in Cuban (1992), and the Dominican American writer Julia Alvarez’s
novel How the García Girls Lost Their Accents (1991), I explore how the
ascriptions of Latina deviance in Latina literature are entwined with the
damage wreaked on Latinas’ bodies and minds and on the places they
inhabit.5 This deviance sometimes manifests itself as mental illness and
at other times presents itself as a general aberrance from or defiance of
socially constructed norms. I therefore position the individual harm
that befalls Latina subjects alongside collective forms of harm, including
structural oppression, subjugation, and dispossession.
My analysis emphasizes the junction of various types of harm and
signals the hope that can be found amid so much harm. Harm presents
introduction / 3

itself in myriad and sometimes paradoxical ways; it spreads in mul-


tiple directions from multiple sources; and it consists of psychological,
physical, and geopolitical damage experienced by, and imposed on and
within, individuals and communities. While similar to pain, it encom-
passes more than pain, moving beyond the individual psychological
and/or physical suffering to which pain refers. In the case of this intro-
duction’s epigraph, harm presents itself through the dentist’s physical
manipulation of the patient’s tongue and silencing of her voice that
affects her psyche and that cannot be extricated from the subjugation
of Chicanas who live in the borderlands. I adopt the term harm because
I am interested in the relation among individual suffering, the catalysts
that produce such hurt, and the collective wounding that ensues from
such injury. The terminological shift from pain to harm is but one way
to emphasize the integral connection between individual and collective,
oppressor and oppressed, and among body, mind, and place.
Harm carries an abundance of connotations—medical, legal,
philosophical—arguably all of which are linked to the notion of an
ethical imperative that in some way is challenged. The harm stems
from the breach of ethics. The idea of an ethical imperative is central
to this book; I emphasize that the representations of harm in Latina lit-
erature elucidate grave social injustices that demand rectification. Part
of such rectification consists of recognition, and part of this recogni-
tion entails acknowledging the intersectional ways in which harm can
manifest itself.
The hope that glimmers even amid pervasive harm is connected to
these ethical concepts of rectification and recognition. In Borderlands,
the patient actively pushes back against the dentist’s oral invasion; in this
way, she demands recognition on her terms. Hope doesn’t just consist
of vocalization or a refusal to be silenced, though. In a number of cases
in The Ladies’ Gallery, Impossible Motherhood, Geographies of Home,
So Far from God, Dreaming in Cuban, and How the García Girls Lost
Their Accents, the Latina protagonists attempt to express themselves, but
doing so does not guarantee that anyone will listen. All too often in these
stories, the amount and degree of harm is so excruciating that hope may
seem like an illusion or even delusion. These texts do not support a facile
neoliberal, individualist ethos of advancement that suggests that if one
just tries hard enough, one can get ahead. Hope does not exist in such
false promises, nor is it the pretty thing neoliberalism paints it to be.
Hope exists in the attempts at resistance, however futile these attempts
may be or seem. It exists in the sharing of often painful individual and
4 / introduction

collective historias (histories and stories) and in the remembrance of


harm in order to move past it and seek to rectify it. Remembering in
these narratives doesn’t just consist of recollecting the past; it entails
recalling the past so as to remember it, giving it new shape in order to
move forward toward a less harmful world. These texts elucidate how
hiding harm does nothing to alleviate it or to prevent its future imposi-
tion. On the contrary, in positioning harm at the center of their tales
and presenting narratives that disrupt time, Vilar, Pérez, Castillo, Gar-
cía, and Alvarez underscore that acknowledging harm and recognizing
the forces that have led to its infliction are critical to avoid repeating
the mistakes of the past. Although recognition and remembrance cannot
guarantee change, they are instrumental for effecting it.
These writers’ portrayals of harm and the hope that can arise from
confronting it are intersectional and situated in the interstices. I thus
foreground the term intersections to draw attention to my subject
matter and theoretical approach alike, as the term connotes a sense of
place (whether physical or psychological) and a mode of theorization
that recognizes important connections among race, ethnicity, gender,
sexuality, and class. The image of an intersection is one of a physical
location where multiple roads converge and diverge. This image instantly
evokes the primacy of place, and each of the texts I analyze foregrounds
place. Place is not strictly a geographical location or marker, though,
just as intersections do not simply delineate physical or mathematical
points of convergence. Intersections are also sites where place and
space merge; where the geographical, psychological, and corporeal
simultaneously collide, fragment, and fuse; and where multiple identity
markers entwine. The idea of intersections thus merges the literal with
the figurative, content with concept, such that theory meets praxis. The
parallel between subject matter and theoretical approach positions this
as a U.S. Third World feminist project.
Informing my understanding of intersections and influencing the
overarching theoretical thrust of this book is Anzaldúa’s conceptualiza-
tion of the borderlands. Building on Anzaldúa’s description of the bor-
derlands as a site where the geopolitical, psychological, sexual, spiritual,
and corporeal meet, and drawing on her depiction of the borderlands as
a place that creates heridas, hendiduras, y rajaduras—wounds, fissures,
and ruptures—I elucidate how intersections serve a similar function.
As with Borderlands, Intersections of Harm examines the split that can
ensue from a bordered subjectivity and the preoccupation with the (w)
hole that accompanies such a state.
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