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FINAL Draft RACKHAM SEND House, Factory, Beauty Salon, Brothel: Space, Gender and Sexuality in Puerto Rican Literature and Film by Radost A. Rangelova A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in The University of Michigan 2009 Doctoral Committee: Associate Professor Lawrence M. La Fountain-Stokes, Chair Associate Professor Maria E. Cotera Associate Professor Jarrod L. Hayes Associate Professor Jossianna Arroyo, The University of Texas, Austin © Radost A. Rangelova 2009 ACKNOWLEDGMENTS There are many people whose guidance, support, and friendship have been indispensable for the completion of this dissertation. First among them is Lawrence La Fountain-Stokes, a mentor whose erudition, thoughtfulness, generosity, persistent enthusiasm and dedication to the project have been instrumental at every stage of the writing process, from the conceptualization to the final revisions. He has showed me how to be an exemplary teacher, a rigorous intellectual, and a positive, supportive advisor, and I am deeply grateful. Similarly, Jossianna Arroyo has been a constant source of support and encouragement, of thoughtful comments and constructive ideas. Like her, Jarrod Hayes and Maria Cotera embraced the project and took it in directions that have enriched it immensely. A number of people outside of the dissertation committee deserve my recognition and thanks. Luis Figueroa has stood by me, and has followed the development of this project with enthusiasm and persistence. I am grateful for the stimulating conversations, for his faith and patience. At the University of Michigan, Catherine Benamou and Lucia Saks offered courses and provided a space for a dialogue on film studies that helped me expand the discussion of Puerto Rican cinema in the dissertation. The friendship of Raquel Vega-Durán, Mariam Colón, Andrea Dewees, Danny Méndez, Jessica Piney, Dani ii Arroyo, and Jesal Parekh, among many other current and former graduate students, has been the source of a continuous exchange of ideas and of necessary moments of distraction. In Connecticut, I am grateful to Anne Lambright and Guillermo Irizarry for their consistent care and interest in my work, for their generous advice and warm friendship. Gustavo Remedi has been a thoughtful and challenging mentor and interlocutor for years, and I deeply appreciate his support. Pablo Delano, Maurice Wade, Janet Bauer, Angel Rivera, and Odette Casamayor have provided a space that made me feel like part of a community in a process that could otherwise seem quite lonely. Thank you. I give special thanks to the Department of Romance Languages and Literatures, and to the Rackham School of Graduate Studies at the University of Michigan, for providing the intellectual space and resources for the completion of this dissertation, including an RLL Research Fellowship, a One-Term Fellowship, and summer funds that allowed me to travel to Puerto Rico and to complete the necessary research. I also thank Trinity College for the Terry Fellowship for graduate education and for a year-long Graduate Fellowship that gave me additional time to write and revise the project. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT vii CHAPTER I. Introduction 1 Historical Context 5 Gender, Sexuality and the Puerto Rican Nation 15 Puerto Rican Cinema and National Discourse: Industry and Criticism 20 Feminist Geographies, Space and Gender: Analytical Framework 28 Space, Sexuality and Citizenship 44 Chapter Outline 48 II. Rethinking la gran familia puertorriqueña in the Family House 52 Spatial Tropes and the Representation of Puerto Rican National Culture 52 The Trope of the House in Feminist Geography 55 Rosario Ferré's The House on the Lagoon: Narrating the National House 58 Space, Gender, Nation: Destroying and Rebuilding the House 66 The Pedagogy of Gender and Nation in Felices días, tío Sergio 74 Gendered Spaces and Queer Nations in Felices días, tío Sergio 81 Puerto Rican Cinema and National Culture 88 iv Two Women, Two Houses, One Patriarch in Dios los cría 90 Race, Gender, Nation in the Urban Space of Ligia Elena 99 Conclusion 103 III. Building the Nation: Women's Productive and Reproductive Labor in the Factory 106 Gender and Labor in Puerto Rican Historiography 106 Textual Absence: The Factory in Puerto Rican Fiction 111 History and Representation: Tobacco and the Cigar-Making Factory 113 The Home as Factory: Women in the Needlework Industry 122 Union Organization, Women's and Worker's Rights 127 Luisa Capetillo, Gender and Working-Class Consciousness 136 Gender, Labor and the Factory in El pueblo no sólo es testigo: la historia de Dominga 158 Luchando por la vida: Reenacting History in the Factory 162 Productive and Reproductive Labor in La operación 169 Conclusion 176 IV. Gendering and Queering the Beauty Salon 178 The Beauty Salon: Anthropological Perspectives 178 The Beauty Salon in Puerto Rican Theory and Criticism 188 Queering the Beauty Salon in Milagros, calle Mercurio 197 Fantasy as Resistance in Pilar, tus rizos 219 Hebra rota: Domestic Violence and Gender Solidarity 228 Conclusion 240 V. Locating Power on the Margins: Gender and Sexuality in the Brothel 241 The Literature on Prostitution in Latin America 242 v The Brothel in Puerto Rican History and Criticism 250 The Brothel in Puerto Rican Literature and Film 260 The House and the Brothel in Cuando las mujeres quieren a los hombres 261 Rethinking Power in La última plena que bailó Luberza 271 Transgression and Punishment in Life of Sin 283 From the Brothel to the National Family in Nuestra Señora de la Noche 294 Conclusion 309 VI. Conclusion 311 BIBLIOGRAPHY 315 vi ABSTRACT This project focuses on the ways in which contemporary Puerto Rican authors and film directors construct and creatively negotiate women’s feminist agency in a variety of spaces, from the family house traditionally associated with national unity, to beauty salons, factories and brothels that have contested the cultural nationalist discourse. My central argument is that, in the process of challenging traditional images of femininity, the protagonists of the short stories, novels and films that I analyze also transform, gender and politicize the spaces that they inhabit, to propose alternatives to the spatial tropes associated with the construction of Puerto Rican national discourse. The study takes as a starting point the family house, the spatial aspect of the gran familia puertorriqueña, dominated by a traditional patriarchal figure. Chapter I situates the dissertation in the historical context of Puerto Rico of the mid-twentieth century and positions it within recent studies on the politics of space and feminist geography. Chapter II analyzes how, through the politization of space, Puerto Rican artists like Rosario Ferré, Magali García Ramis, Jacobo Morales and Paco López negotiate the association of the house with cultural nationalist discourse. Chapter III studies texts that appropriate the space of the factory both as an instrument of official discourse, and as a space of opposition from which Puerto Rican vii working women like Luisa Capetillo and Dominga de la Cruz have staged a resistance to marginalizing practices and discourses. By analyzing texts by Carmen Lugo Filippi, Mayra Santos-Febres and Sonia Fritz, in Chapter IV I argue that the gendering and the queering of the beauty salon through gender performativity, desire and the gaze disrupt cultural nationalist ideas of heteronormativity and propose alternatives to the configuration of the national family. Finally, Chapter V focuses on the space of the brothel, demonstrating how, in the work of Rosario Ferré, Manuel Ramos Otero, Efraín López Neris and Mayra Santos- Febres, the patriarchal figure is de-centered by the Afro-Puerto Rican prostitute Isabel la Negra, who challenges previous representations not only of gender and sexuality, but also of racial and class identifications. viii CHAPTER I Introduction Gender, sexuality and space have had a complex and often contradictory relationship within Puerto Rican cultural nationalist discourse and with the official representation of the Puerto Rican nation. While in the 1950s, at the height of the construction of the cultural nationalist model, women were called upon to uphold and reproduce its economic and cultural pillars (projects such as Operation Bootstrap and the community modernization inspired by the films of DIVEDCO), they were systematically marginalized and discouraged from seeking leadership roles in the emerging national imaginary. This was accomplished by limiting the depictions of women to images of housewives, mothers and daughters, supportive of the social project of their male counterparts, reproached and punished when they strayed from the social roles deemed acceptable for them. These representations had a prominent spatial dimension, as the domestic space remained the women’s domain (hence the abundance of literary and cinematic works set in rural and urban family homes). The feminism of the 1970s enabled a counterdiscourse that used space as one of its main, albeit rarely analyzed, technologies of resistance and subversion of women’s role in cultural nationalism. For almost four decades writers and film directors like Rosario Ferré, Magali García Ramis, Carmen Lugo Filippi, Sonia Fritz and Ana María 1 García, among others, have strategically and creatively “misplaced” their female characters from the domestic space to a series of other spaces, and, from these spaces, have questioned
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