Introduction 1. All Translations in This Book Are Mine, and All Translations of Titles Are Literal, Unless Otherwise Indicated

Notes

Introduction 1. All translations in this book are mine, and all translations of titles are literal, unless otherwise indicated. 2. Noakes’s historical review is titled “On the Superficiality of Women.” 3. I borrow the phrase “man-made world” from Landay. 4. Gustavo Pellón has already noted the potential irrelevance of theory written in a language and culture distinct from the text to be analyzed (“The Canon, the Boom,” 81). Probably because of my U.S. citizenship, I am bothered not so much by the cultural disconnect between a given theorist and a given text, as by the relative homogeneity of the theoretical angles. 5. The epigraph cites Estelle B. Freedman’s No Turning Back: The History of Feminism and the Future of Women (2002), pages 3 and 5. 6. Even the watershed year 1968 would recede from view. Long before 1968, Mexican women writers evince interest in historical themes, and so they defy Sefchovich’s and Domínguez Michael’s classificatory efforts that describe post-1968 Mexican literature as more insistently historical (México, país, 194; Antología Vol. II, 500). Williams’s theory that the “hyper-experimentation” popular before 1968 becomes less complex after that date ignores a variety of difficult texts authored by women. See Angelina Muñiz-Huberman’s Morada interior (written 1969, pub. 1972) (Interior dwelling); María Luisa Mendoza’s 1968- themed novel, Con él, conmigo, con nosotros tres (1971) (With him, with me, with us three); Luisa Josefina Hernández’s Apocalipsis cum figuris (1982); Esther Seligson’s La morada en el tiempo (1981) (The dwelling in time); and Carmen Boullosa’s Mejor desaparece (1980) (Better disappear). 7. In an e-mail to me regarding this topic of spectral feminism, John Waldron provided an interesting comment: When Derrida talks about the specter of Marx, he takes a lot of heat from “leftist” intellectuals, but I think he is misunderstood. That is to say, there is something beneficial in a critical structure that “never arrives.” The problem with the soul searching that went on after the fall of The Wall is that it mistook the Soviet Union as a point in time, a place, where communism had arrived and become present. By never becoming present, by creating a 228 NOTES

critical paradigm or philosophical structure where presence is always absent, you create a structure that is malleable, nomadic and that changes strategically in order to combat or avoid whatever is going on at the time. Progress (with its upward, erectile tra- jectory), like presence and the phallus, is an illusion created in order to produce a discursive practice of power, a node around which power is created. They are illusions, spectral presences in themselves. 8. Following Butler’s Gender Trouble, I say “performance” because the acts are deliberate and routine. 9. Joshua Dienstag writes, “While pessimists may posit a decline, it is the denial of progress, not an insistence on some eventual doom, that marks out modern pessimism. Pessimism, to put it precisely, is the negation, and not the opposite, of theories of progress” (18).

 Your Maternity or Your Mind: False Choices for Mexican Woman Intellectuals 1. Slavoj Žižek studies this impossible choice in Jacques Lacan: Critical Evaluations in Cultural Theory (2003). 2. The canonization in July 2002 of La Virgen de Guadalupe’s interlocu- tor, Juan Diego, lent greater official support to the story of the appari- tion. For more on La Virgen de Guadalupe, see Goizueta, Poole, and William Taylor. 3. Miller examines thought on La Malinche from José Vaconcelos’s “cosmic race,” to Octavio Paz’s concept of the raped mother, and Anzaldúa’s and Guillermo Gómez-Peña’s work with Chicano/a identities. 4. See see Romero and Harris for a variety of analyses of Chicano/a thought regarding La Malinche. 5. La Malinche also had a child with the Spaniard selected by Cortés for her husband once the Conquista gave way to the Colonia. 6. Of course, some believers may not take much interest in virginity. In a study of Chilean women’s identity, one scholar comments that María’s virginity has been stressed more in official church discourse than by mestizo believers (Montecino 90). 7. Cisneros solves this problem as an adult by converting Guadalupe into “the sex goddess,” an unorthodox solution to be sure (49). 8. Carrera’s script was no twenty-first-century novelty. He based his film on Vicente Leñero’s screenplay, which in turn takes inspiration from a nineteenth-century Portuguese novel by Eça de Queirós. 9. The opening weekend alone attracted 862,969 audience mem- bers—more than double the audience size for Y tu mamá también (Lazcano 1) (And your mother too). The film also set a record for domestic earnings and in the first month earned 130,000,000 pesos, more than USD$13,000,000 in the exchange rate of that time (Cabrera). NOTES 229

10. For a detailed review of the scandal as it was covered in the Mexican press, see Monsiváis, El estado laico, pp. 222–233. 11. Another recent reworking of Paz’s notion of La Malinche appears in Brett Levinson’s view of La Malinche as the scapegoat that represents Mexico’s cultural and racial “division and finitude,” which is to say absence of “wholeness or purity” (92). 12. See Arenal and Martínez-San Miguel for a brief historical review of the three biographies in question. 13. In possible proof of Sor Juana’s antipathy toward Guadalupe, Kennett cites Marie Cécile Bénassy-Berling’s book on Sor Juana to the effect that the poet’s devotional Letras de San Bernardo (Lyrics of Saint Bernard) “was supposedly never sung at the dedication of another Conceptionist chapel because the Letras lacked any reference to the Virgen of Guadalupe, focusing entirely on Sor Juana’s own version of a Wisdom/Mary figure” (316). 14. Like Luis Leal, also mentioned in Cypess’s study, Castellanos under- stands Guadalupe as an entirely positive symbol and the diametrical opposite of La Malinche. Much as Castellanos suggested decades before her, Tuñón Pablos retains the three categories: La Malinche “monopolizes” sexuality; Sor Juana, the intellect; and Guadalupe, unselfish motherhood. 15. For photo stills, see http://www.hemi.nyu.edu/cuaderno/ holyterrorsweb/jesusa/nav.html. 16. As regards de Erauso’s virginity, Merrim retraces the historical testa- ments and observes that “virginity . . . , forms the cornerstone of a Catholic tradition of transvestite female saints that dates from the fifth century” (18). 17. As Jane Lavery points out, alongside the “revolutionary implications” of Mastretta’s themes, her novels support conservative postures (224). 18. See, for example, Alicia del Campo’s study of Sefchovich’s Demasiado amor, and Victoria Martínez’s analysis of Como agua para chocolate. Stuart Day also uses neoliberalism to write about Sabina Berman’s theater. 19. The domestic workers Josefina and Nacha suspect that “la señora Laurita se aburría oyendo hablar siempre del señor presidente [López Mateos] y de las visitas oficiales” (16). (Mrs. Laurita was bored hear- ing so much talk about Mr. President [López Mateos] and the official visits.) The diminutive “Laurita” marks the employees’ admiration of Laura and that character’s youth and likeability in contrast with her mother-in-law, Margarita.

2 Asexuality and the Woman Writer: Queering a Compliant Castellanos 1. Luis Villoro’s 1995 review of twentieth-century Mexican thinkers discusses 13 men and no women. 230 NOTES

2. The article was originally published in 1979 in Novedades. 3. The interview was originally published in La palabra y el hombre 19 (1976): 3–18. 4. Victoria de Grazia summarizes the tendency to femininize the realm of consumption as a result of the early stages of capitalism with the “identification of wage labor with male labor” (15). This division upheld a binary between consumption and production that imagined women as promoting superfluous and impassioned needs that opposed the rational measures needed in the political realm. De Grazia suggests that women gained the right to consume at the expense of their political representation. 5. Qtd from: Castro, Dolores. “Rosario Castellanos: recuerdo de una vida.” Revista SEP. Mexico, Oct. 1974. p. 48 6. Castellanos is not always as accepting of male homosexuality as it might seem, and the narrator of Rito de iniciación calls Sergio’s taste for women’s clothing a defectito (tiny defect) (345). 7. A description of Sor Juana from “Asedio a Sor Juana” in Juicios sumar- ios (1966) could double as a self-portrait of Castellanos: “No se acepta con una complacencia fácil ni menos pretende imponerse a los otros. Su juicio es insobornable y el ideal de perfección con el que se compara el muy alto. [. . .] Por esto Sor Juana es áspera consigo y afable con los demás” (465). (She does not accept herself with facile complacency nor does she try to impose herself on others. Her judgment is incor- ruptible and the idea of perfection against which she compares herself very high. [. . .] For this reason, Sor Juana is hard on herself and kind to everyone else.) 8. In 1951, Castellanos assures Guerra, “Estoy bajando un poco de peso, lo que era necesario” (184). (I am losing a little bit of weight, which was necessary.) In 1966 she writes to him, “Ya no tengo esa ansia compulsiva de comer. Lo que como es poco y muy nutritivo. Ya puedo usar mucha ropa que en México no me venía. Si sigo así voy a llegar muy esbelta” (202). (I do not have that compulsive desire to eat anymore. What I eat is not much and very nutritious. I can already use a lot of the clothes that did not fit me in Mexico. If I keep up like this I will come back very slender.) Again in 1966 she comments, “Pero fíjate que a mí el antojito ya no se me antoja. Prefiero la esbeltez” (228). (But, you know, I do not crave snacks anymore. I prefer slenderness.) 9. Roger Bartra’s essays on Mexican culture collected in La jaula de la melancolia attempt to make desmadre into a cultural theory in the style of Paz’s work with chingar. Bartra combines the terms desmadre and modernidad (modernity) to coin the term desmodernidad (dismother- ism), a state of chaos that represents a peculiarly Mexican adaptation of modernity. Like his combination of the Guadalupe and La Malinche archetypes, Bartra’s idea of desmodernidad has not caught on as well as Paz’s critique of Mexican profanity. NOTES 231

10. Mann and Huffman further criticize third wave thought for dismiss- ing materialist criticism and critiques of capitalism (76). They also discuss the risks of a loose DIY (do-it-yourself) feminism as “politi- cally regressive” due to the reversal of the second wave’s notion that the personal is political, which means that “the political becomes totally personal” (74). 11. I owe thanks to Elissa Rashkin for sharing this information from her archival research at the Biblioteca Nacional in Mexico City. 12. Oficio de tinieblas explicitly associates fat with maternity. Castellanos writes, “señoras florecientes de maternidad, con las manos pequeñas, gordezuelas, consteladas de anillos, entrecruzadas sobre el regazo” (Oficio, 91) (women blooming with maternity, with small, chubby hands, constellated with rings, clasped on their laps).

3 Amor, Garro, and Rivas Mercado as Diva-lectuals 1. The desire for balls relates to Jesusa’s opinion that “Para todas las mujeres sería mejor ser hombre, seguro, porque es más divertido, es uno más libre y nadie se burla de uno” (186). (For all women it would be better to be a man, sure, because it is more fun, you are freer and nobody laughs at you.) 2. Amor proved a disastrous actor because of her inability to assume any personality but her own. For information on Poniatowska’s foray into acting, see Schuessler (Elena Poniatowska 45). 3. Garro’s cousin Amalia Hernández would eventually create the Ballet Folklórico. 4. The phrase otro modo de ser (another way of being) appears in Castellanos’s often-cited poem, “Meditación en el umbral” (Obras II 213). The relevant stanza of the poem calls for: “Otro modo de ser humano y libre. / Otro modo de ser” (Obras II, 213). (Another way to be human and free. / Another way to be.) 5. Cano writes, “la impartición de las letras tenía por finalidad facili- tarles el acceso a obras pías, devocionarios y manuales de conducta y buenas maneras. La lectura de poesía era aceptable, pero la de novelas era considerada un peligro, ya que podía inflamar la imaginación de las jovencitas sensibles” (Elena Arizmendi, 41) (The schooling in literature had as its goal that they might accede to pious works, devo- tionals, and etiquette manuals. Reading poetry was acceptable, but novels were considered a danger, since they could inflame sensitive young girls’ imagination.) 6. Brianda Domecq gets at the association of publication and illegiti- mate performance with her title inspired by Ethel Krauze, Mujer que publica, mujer pública (1994) (Woman who publishes, public woman), which puns on the linguistic relationship of a prostitute (public woman) and a publishing woman writer. 232 NOTES

7. Depending on whether the woman author in question was born in the first or second half of the twentieth century, the theater may either have replaced or merely complemented a university education. Even for a writer born as late as Boullosa, in 1954, the theater com- plements higher education, since she did not finish her university studies at the Universidad Iberoamericana in Mexico City, and did work briefly as an actor and more consistently as a playwright and director, and contributed to the successful management of the theater-bar El Hijo del Cuervo, founded in 1983 in Coyoacán, Mexico City. 8. Despite the twentieth-century Constitutional requirement of a secu- lar education, by and large, authorities turned a blind eye toward the teaching of Catholic doctrine in Mexican schools. 9. In relation to the productive aspects of consumption, Elin Diamond remarks on the same doubled nature of performance: “[P]erformance is always a doing and a thing done” (16). 10. Benjamin’s desire for status can be seen in a letter from 1930 that declares his ambition: “The goal is that I be considered the foremost critic of German literature” (qtd in Gilloch 1). This type of bravado distinguishes Benjamin from women intellectuals and appears with relative frequency among celebrated German-speaking men writers, including Nietzsche and Freud. 11. The Fullbrooks add, “Indeed, the single major obstacle to understanding Beauvoir’s philosophical ideas has been the impact of her lifelong and highly productive association as Sartre’s friend, lover and colleague. This partnership, with its joint commitment to many shared philosophical ideas, means that Beauvoir has been cast repeatedly (and merely) as Sartre’s philosophical disciple and fol- lower” (1–2). 12. The notion of the queer pervades Amor’s performance, and although female impersonators of Amor make reference to her supposed dis- dain for maricones (fags), Schuessler cites Juan Soriano’s claim that the poet was muy lésbica (very lesbian) and involved in some ultimately unhappy trysts (La undécima, 107). 13. Garro explained the lead up to the bureaucratic predicament regarding her passport: “Nunca tuve la nacionalidad mexicana, Carlos. Me casé con Octavio siendo menor de edad. Yo era gachupina. Creí que bastaba casarse con un mexicano para obtener la nacionalidad mexicana, y porque viajaba con Octavio incluida en el mismo pasaporte. Por eso nunca me preocupé y porqué yo no conocía las leyes mexicanas. Cierta ocasión en que nos encontrábamos en Estados Unidos, Octavio me mandó a México con el pasaporte de ambos (que le devolví por correo), y me indicó que fuera a Gobernación para sacar otra para mí” (Landeros, Yo, Elena Garro, 83). (I never had Mexican citizenship, Carlos. I married Octavio as a minor. I was a foreigner [Spaniard—in spite of having been born in Mexico]. I thought that NOTES 233

it was enough to marry a Mexican to obtain Mexican citizenship, because I traveled with Octavio included in the same passport. That’s why I never worried and why I didn’t know the Mexican law. On one occasion when we [she and daughter Helena] found ourselves in the United States, Octavio sent me to Mexico with the passport for the both of us (which I returned to him by mail), and he indicated to me that I should go to Gobernación to get another one for myself.) 14. Upon giving birth, Amor entrusted her son to one of her sisters. He was discovered accidentally drowned on the sister’s property when he was still a toddler. 15. Most students of camp, including Carlos Monsiváis, acknowledge Susan Sontag’s “On Camp” (1964). Monsiváis echoes Sontag when, in Días de guardar (1970), he defines the camp aesthetic as a sensibility that values the theatrical, the artificial, the exaggerated, and that which is so bad it is good (Egan 47). For Monsiváis, kitsch—or to use the Mexican term, the cursi—seems less self-conscious of its artificiality than camp. Linda Egan paraphrases Monsiváis’s belief that the cursi “serves as a source of cultural identity for Mexico’s masses, not least because it stimulates emotions” (47). A coun- try replete with kitsch easily plays host to a lively camp scene, and observers of Mexican popular culture suffer no shortage of material for analysis. 16. Discussion of camp in Fassbinder’s work ranges from a paragraph in the second volume of Paul Roen’s High Camp (23) to more academ- ically oriented analyses by Jack Babuscio (128–129) and Johannes von Moltke (411). Part of the importance of Fassbinder’s play in a Mexican context emerges in Gabriela Cano’s feminist chronology of Mexico, listed under the year 1980 when Sheridan won all the critical prizes for theater in Mexico City for her role in the version directed by Nancy Cárdenas (“Las mujeres” 60). 17. Zygmunt Bauman notes the dangers of ceding to the attractions of consumption and self-objectification in a consumer society as a prin- ciple germane to everyone, and not just Mexican women writers: “In the society of consumers no one can become a subject without first turning into a commodity, and no one can keep his or her subjectness secure without perpetually resuscitating, resurrecting and replenishing the capacities expected and required of a sellable commodity” (12). 18. In Las siete cabritas, Poniatowska revisits the material first published in the prologue to Schuessler’s biography of Amor. 19. The poet herself immortalizes one of her quirks in Ximena Cuevas’s video poem, Medias mentiras (1996), in which the elderly, oddly ac- cessorized Amor declares that the only thing that matters in life is sex. 20. Other parodies of Amor can be found in Rosario Castellanos’s play Tablero de damas with the character “Eunice” and in her short story “Álbum de familia” with the character “Aminta.” 234 NOTES

21. Franco Savarino examines the Italian fascist sympathies and official presence in Mexico in the early decades of the twentieth century and notes that it is surprising that the Mexican government allowed the formation of branches of a foreign party on its territory. Apparently the threat was nullified by the party’s small influence (111). 22. For example, scholars have written that “only classicism could use compositional symmetry to enshrine jarring social hierarchies and inequities of the type that fascist theories of racism blatantly cele- brate” (Baackmann and Craven 7). 23. Zeev Sternhell’s historical analysis claims in no uncertain terms that “the rise of fascism was only possible because the liberal bour- geoisie did not succeed in creating a new spiritual base” (288). Roger Griffin argues that fascism can be viewed as a form of modernism that sought to respond to the perceived decadence of western modernity, identified with “the breakdown of community, with the erosion of a ‘healthy’ mental, physical, social, or spiritual dimension” (11). 24. Schulman notes that fascism supports “exaltation of youth, of the new against the old, of charisma over rationality” (7). 25. My pun violates the immediate roots of the term “fascism,” which develops from fascio, or an Italian word for a political group (Finchelstein 320). 26. Mora appraises the confused circumstances behind Garro’s fear and concludes that despite doubts regarding the veracity of the persecu- tion that Garro described, in the critic’s opinion, the mysterious death of Carlos Madrazo, Elena’s politician friend whom she supported in his bid to democratize the PRI (Institutional Revolutionary Party), “would be enough to generate terror” (76). In July 2006, the release of relevant documents from the National General Archive generated a flurry of newspaper coverage that alternated between declaring Garro a spy and defending the inoffensiveness of her collaboration during the 1960s as an informant to the Dirección Federal de Seguridad (Federal Division of Security) (Bucio). 27. Don Slater articulates the freedom of consumption that Garro might be understood to exercise not in terms of access to public space but spending choice: “No one has the moral or social authority to tell us which one [item] we need” (“Consumer Culture and the Politics,” 52). 28. Garro uses the masculine “frívolos” because she includes Landeros. In another matter related to financial straits, Landeros comments that by the start of 1980, Garro had been forced to sell off the self- portraits that famous artists gave to her (73). This penury recalls Amor’s inability to retain possession of portraits of herself. 29. Garro illustrates how lower-class women also engage in the discourse of señoras. The seamstress Blandina requires the male servants of Isabel’s household to resituate the sewing machine over the course NOTES 235

of an entire morning. First, she objects to sitting in front of walls, then in front of ferns, then tulips, then magnolias. Finally, the right location appears, Blandina “finds herself,” and she may begin her work (25–26). Blandina’s whims show the men whose caprices must be met before production will begin, and her irrationality proves difficult for the males to contest without entering into her nonsensical games. 30. For a contrary assessment of this point, see Winkler’s chapter on Los recuerdos del porvenir. 31. Amusingly, this criticism of Castellanos’s dedication and lack of aesthetic sensibility could be applied to at least some of Poniatowska’s later works, including the lengthy, rationally developed novels Tinísima (1992) (Very Tina), La piel del cielo (2001) (The skin of the sky), and El tren pasa primero (2005) (The train crosses first). These novels propose Poniatowska herself as una hacedora de libros. 32. The passage reads, “Entre los pintores, destaca Manuel Rodríguez Lozano, hijo del administrador de bienes de la familia Rivas Mercado y maestro de la pintura de su hermana. Después del padre, éste fue el personaje que más influyó en su vida.” (Prominent among the paint- ers is Manuel Rodríguez Lozano, son of the Rivas Mercado family’s property manager and painting teacher to her sister. After her father, this was the character that most influenced her life.) 33. Bernard Barber suggests a replacement for the label “intellectual” that parallels the wording in the exhibition: “I reveal the confusion in the use of the term ‘intellectual’ and recommend speaking of ‘intellectual pursuits’ rather than intellectuals. This makes it possible to discriminate functional types of intellectuals (or as we might more neutrally call them, cultural experts) one from another, for example, philosophers from scientists, cultural critics (or public intellectuals, as they are now often called), from social scientists pure and simple” (140). 34. Domínguez Michael praises La campaña for its “prosa nerviosa pero pulida, exaltada aunque precisa” (“Crimen en el altar” 140) (nervous but polished prose, exalted although precise). 35. The exhibition introduces itself with the following explanation: “El Instituto Nacional de las Bellas Artes presenta la exposición Antonieta Rivas Mercado, como la primera de una serie de actividades dentro del marco de las celebraciones conmemorativas con miras a los feste- jos del 2010 vinculados con el Bicentenario de la Independencia y el Centenario de la Revolución mexicana.” (The National Institute of Fine Arts presents the exhibition Antonieta Rivas Mercado, as the first in a series of activities within the frame of the commemorative celebra- tions preparing for the festivities of 2010 linked to the Bicentennial of the Independence and the Centennial of the Mexican Revolution.) 36. Wif studies mutually contradictory essays by Martha Nussbaum, Ann Douglas, and Wendy Brown. 236 NOTES

4 Poniatowska as Bearded Lady 1. Ethical concerns in Poniatowska’s work have caught critics’ attention. Aníbal González considers her to operate under a journalistically influenced ethic, while Franco names Poniatowska as one holdover from the 1960s ideals of literary political commitment (Critical Passions, 506). 2. Álvaro Mutis, the Columbian writer jailed in Mexico for fraud, seems annoyed with Poniatowska’s insistent modesty when he writes to her in 1959: “Como tú no tomas en serio mi gran entusiasmo hacia tu persona literaria, ya no sé cómo decirte cuando me gusta algo que escribes, para que no me mires con ese escepticismo de quien acepta cordialmente que le estén tomando el pelo” (Cartas 91). (Since you do not take seriously my great enthusiasm toward your literary person, I no longer know how to tell you when I like something that you write, so you don’t look at me with the skepticism of someone who cordially accepts that her leg is being pulled.) 3. Censorship loosened with Zedillo’s presidential term (1994–2000). 4. In Poniatowska’s fiction, the point at which Catholic teaching ends and socialist-influenced thought begins might be spotted by propos- ing that Christian doctrine controls the passages that examine quirky exceptional personalities and Marxist ideology rules when these characters revert to types. 5. These articles include Hortensia R. Morell, “Crossed Words between the Lines: The Confusion of Voices in the Love Soliloquy of Elena Poniatowska’s Querido Diego, te abraza Quiela” in Journal of Modern Literature 25.1 (1984): 35–50; Cynthia Steele’s “La creatividad y el deseo en Querido Diego, te abraza Quiela de Elena Poniatowska” in Hispamérica 14.4 (1995): 17–28; Susan Lucas Dobrian’s “Querido Diego: The Feminine Epistle in Writing and Art” in Revista Canadiense de Estudios Hispánicos 22.1 (1997): 33–44; M. Victoria García Serrano’s “Apropiación y trasgresión en Querido Diego, te abraza Quiela de Elena Poniatowska” in Letras Femeninas 17.1–2 (1991): 99–106. 6. For more analysis of Poniatowoska’s disappearing act, see Steele. 7. Poniatowska also notes that in that interview from 1954, Paz addressed her as señorita, although that formality is no longer in vogue (Las palabras del árbol 53). 8. Poniatowska’s following question may imply some disagreement with Paz’s criticism of the señoras: “Bueno, ¿pero tú de veras crees en la entrega, en la felicidad?” (112). (Well, but do you really believe in submission, in happiness?) Does Poniatowska hint that Paz is being too crusty? 9. Molina produced the Villaurrutia-winning novel La mañana debe seguir gris (1977) from the 1976 workshop. 10. Jörgensen’s book-length study mentions that Poniatowska combined separate texts to create this novel and this is why the focus changes in the second part of the novel. NOTES 237

11. In the late 1960s, Poniatowska married a scientist affiliated with the UNAM, Guillermo Haro, with whom she had her other two children. Haro died in 1988, already estranged from the novelist. The most detailed mention of Mane in Poniatowska’s writing perhaps appears in Amanecer en el Zócalo, in which she gives his birthdate as July 7, 1955 (125). 12. For example, Molina writes three novels, La mañana debe seguir gris (1977), La familia vino del norte (1987), and El amor que me juraste (1998), that employ a male muse who introduces the female protagonist to her literary vocation. The role of male muse ultimately hin- ders the female protagonists’ development as writers, and in response the writing project serves to kill off the partner-muse, which then leaves the woman protagonist in the predicament of lacking a muse (a-musement?). 13. For instance, this ambiguity appears in La “Flor de Lis” with the suggestion that Luz scars the daughter’s psyche. Mariana’s psycho- analyst recommends that she get over the fact that her mother never loved her the way she wanted to be loved (95). 14. In a personal interview, Loaeza gave the opposite estimation of Poniatowska’s workshop as Nissán’s view and confided that the group propelled her into professional writing because she wanted to stop workshopping with the competitive señoras. 15. Gargallo cites Urania Ungo as saying, “Estoy cada día más conven- cida de que citar es un hecho político. Las feministas latinoamericanas en nuestros escritos no nos citamos a nosotras, recurrimos a la autoridad exterior para justificar nuestro pensamiento. Pero la autoridad es siempre política” (25). (Every day I am more convinced that quoting is a political act. In our writings, [we] Latin American feminists do not quote ourselves, we recur to external authority to justify our thought. But authority is always political.) 16. One dictionary of Mexican terms lists multiple and contradictory meanings for the term cabrón, from a person in general, to a beloved friend, to a distrusted stranger, to someone or something unpleasant or violent, to the devil (Lara Ramos 195). 17. Mexican sociologist Careaga affirms that the comic book is “funda- mental” to the middle class (193). 18. As Mitra Emad notes, “From its origins during the Rose-the-Riveter era, Wonder Woman’s story ran continuously until 1986, at which point the entire story universe of the DC comics line was wiped out and each superhero’s origin myth rewritten” (956).

5 On Barbie, the Boob, and Loaeza 1. For more on the Mexican appropriation of Barbie, see J. Paige Macdougall’s study of the doll in Yucatán. 238 NOTES

2. The example comes from Judith Fetterley’s The Resisting Reader: A Feminist Approach to American Fiction (1978): “What we read affects us—drenches us . . . in its assumptions, and . . . to avoid drown- ing in this drench of assumptions we must learn to re-read” (qtd in Anderson, 223). 3. Critics who have written at least one article on Loaeza include Julia VanLoan Aguilar, Cynthia Duncan, R. Fernández-Levín, Mary K. Long, Cherie Meacham, Claudia Schaefer-Rodríguez, and Luis H. Peña. 4. Loaeza described these insults to me: “Hasta quiero yo a los lectores que me insultan y ¡cómo me insultan! Yo creo que eso les irrita, porque siempre les contesto ‘Gracias por leerme. Respeto su punto de vista.’ A todos contesto, a todos.” (I love even the readers who insult me—and how they insult me! I think that this irritates them, because I always answer, “Thank you for reading me. I respect your point of view.” I answer everyone, everyone.) Loaeza also recounted, “Y en otra ocasión a un lector que me insultó muy feo le dije, ‘¿Qué le gustaría más? ¿Que siguiera escribiendo o que no escribiera para nada?’ ‘Ay no, no, que escriba.’ ” (And on another occasion to a reader who insulted me hor- ribly, I asked, “What would you like better? For me to continue writing or that I stop writing altogether?” “Ay no, keep writing.”) 5. In one study, interviewees, who were children during the second wave in the United States, reported the benefits of having played with Barbie: the doll allowed them to imagine the possibilities of dressing up and going somewhere (Reid-Walsh and Mitchell 175). 6. Loaeza worked as the public relations director in Mexico for the French couture label Nina Ricci, before taking Poniatowska’s workshop in 1982 and evolving into a successful writer. Her awareness of the importance of visibility appears in her explanation of her motive for writing: “Escribir para que la [me] vean. La radio para que me escuchen, porque si siempre te dijeron que no existías o te hacían sen- tir que no existías, para eso escribo mis libros. ¡Aquí estoy! Vean mi nombre reproducido en muchos ejemplares. [. . .] Ha sido como una especie de reacción para sobrevivir, muchas ganas de existir, de ser. Válido para cualquier mujer que se sintió siempre muy borrada” (Ortiz 90–91). (Writing to be seen. Radio so they listen to me, because if they always told you that you don’t exist or they made you feel that you didn’t exist, for that reason I write my books. Here I am! See my name printed on many copies. [. . .] It has been like a kind of reaction to survive, such desire to exist, to be. Valid for any woman who always felt very erased.) 7. Loaeza’s lack of inhibitions aids this performance. In a prologue to a book of interviews, Poniatowska describes her as Muy solicitada, muy envidiada, muy criticada, muy admirada, muy denostada, muy aferrada a cosas materiales, a satisfacciones inmediatas, muy presente en círculos políticos y sociales, uno NOTES 239

se pregunta a qué horas escribe. Seductora, graciosa, ocurrente, original, a pesar de que ella se considera narcisista lo es menos que otras porque finalmente Guadalupe no le tiene miedo a los frentazos y se burla del qué dirán (Ortiz 14). (Very popular, very envied, very criticized, very admired, very reviled, very attached to material things, to immediate satisfactions, very present in political and social circles; one wonders when she finds time to write. Seductive, funny, witty, original, in spite of her self-image as a narcissist, she is less so than others because in the end Guadalupe does not fear falling on her face or the ridicule of gossip.) 8. Two decades later in Por medio de la presente (2006), Loaeza takes a less tolerant stance and writes in so many words that Díaz’s government exercised tyranny with farcical elections (53). 9. Ruth Prawer Jhabvala appears in the Academy’s list. She adapted novels for the films A Room with a View (1985), Howard’s End (1992), and Remains of the Day (1993). 10. At my request, Olabuenaga defined glamor as sensuality, attrac- tiveness, and romanticism, which she says lend themselves to visual representation. Works Cited

Abreu Gómez, Ermilo. Iconografía de Sor Juana Inés de la Cruz. Prologue by J. de J. Núñez and Domínguez. Mexico: SEP, Publicaciones del Museo Nacional de México, 1934. Aguilar Camín, Héctor. Pensando en la izquierda. Mexico: FCE, 2008. Alonso, Carlos J. “Doña Bárbara.” The Spanish American Regional Novel: Modernity and Autochthony. Cambridge, UK and New York: Cambridge UP, 1990. 109–135. Altman, Meryl. “Simone de Beauvoir and Lesbian Lived Experience.” Feminist Studies 33.1 (2007): 207–232. Amor, Guadalupe. Las amargas lágrimas de Beatriz Sheridan. Mexico: Katun, 1981. ———. A mí me ha dado en escribir sonetos. Illus. by Susana García Ruiz. Mexico: Katún, 1981. ———. El zoológico de Pita Amor. Mexico: V siglos, 1975. ———. Fuga de negras. Illus. by Antonio Peláez. Mexico: Fournier, 1966. ———. “My Mother’s Bedroom.” Excerpt of Yo soy mi casa. Trans. by Donald Demarest. Evergreen Review 2.7 (1959): 121–126. ———. “La solitaria.” Galería de títeres. Mexico: FCE, 1959. 99–100. ———. Yo soy mi casa. Mexico: Fondo de Cultura Económica, 1957. ———. Décimas a Dios. Mexico: Fondo de Cultura Económica, 1953. ———. Poesías completas (Yo soy mi casa, Puerta obstinada, Círculo de angus- tia, Polvo, Más allá de lo oscuro). Madrid: Aguilar, 1951. Anderson, Danny J. “Cultural Studies and Reading Culture in Twentieth- Century Mexico.” Indiana Journal of Hispanic Literatures 6–7 (1995): 207–235. Arenal, Electa and Yolanda Martínez San-Miguel. “Refocusing New Spain and Spanish Colonization: Malinche, Guadalupe, and Sor Juana.” A Companion to the Literatures of Colonial America. Eds. Susan Castillo and Ivy Schweitzer. Malden, MA: Blackwell, 2005. 174–194. Arrizón, Alicia. Queering Mestizaje: Transculturation and Performance. Ann Arbor: U of Michigan P, 2006. Atwood, Margaret. Negotiating with the Dead: A Writer on Writing. Cambridge: Cambridge UP, 2002. Baackmann, Susanne and David Craven. “An Introduction to Modernism— Fascism—Postmodernism.” Modernism/Modernity 15.1 (2008): 1–8. Babuscio, Jack. “The Cinema of Camp (aka Camp and the Gay Sensibility).” Ed. Fabio Cleto. 117–135. 242 WORKS CITED

Baecker, Dirk. “The Unique Appearance of Distance.” Mapping Benjamin: The Work of Art in the Digital Age. Eds. Hans Ulrich Gumbrecht and Michael Marrinan. Stanford: Stanford UP, 2003. 9–23. Barber, Bernard. Intellectual Pursuits: Toward an Understanding of Culture. Lanham, MD: Rowman and Littlefield, 1998. Bartra, Eli. “Tres décadas de neofemenismo en México.” In Eli Bartra, et. al. 43–81. Bartra, Eli, Anna M. Fernández Poncela, and Ana Lau. Feminismo en México, ayer y hoy. Prologue by Angeles Mastretta. 2nd ed. Mexico: UAM, 2002. Bartra, Roger. La jaula de la melancolía: Identidad y metamorfosis del mexicano. 1987. Mexico: Grijalbo, 1996. Baudrillard, Jean. The Consumer Society: Myths and Structures. London: Sage, 1998. Bauman, Zygmunt. Consuming Life. Cambridge, UK: Polity P, 2007. Beezley, William H. Mexican National Identity: Memory, Innuendo, and Popular Culture. Tucson: U of Arizona P, 2008. Bemberg, María Luisa, dir. Yo la peor de todas. Screenplay Luisa Bemberg, Octavio Paz, and Antonio Larreta. Perf. Assumpta Serna. GEA Cinematogafía, 1990. Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations: Essays and Reflections. 1968. Ed. and Intro. by Hannah Arendt. Trans. by Harry Zohn. New York: Schocken Books, 1969. 217–242. Berlant, Lauren. The Female Complaint: The Unfinished Business of Sentimentality in American Culture. Durham: Duke UP, 2008. Berman, Sabina. “Cebras y rayas: Mujeres y poder.” Gritos y susurros: Experiencias intempestivas de 38 mujeres. 2004. Ed. Denise Dresser. Mexico: Hoja Casa and Mondori, 2006. 333–351. Beucker, Verónica. “Encuentro con Elena Garro.” In Melgar and Mora. 37–52. Beverley, John. Against Literature. Minneapolis: U of Minnesota P, 1993. Bing, Janet. “Is Feminist Humor an Oxymoron?” Women and Language 27.1 (2004): 22–33. Blanco, Sergio R. “Celebran ética de Poniatowska.” Reforma Mar. 5, 2007. Cultura. LANIC. Web 28 Jun 2008. Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. 1973. New York: Oxford, 1997. Booth, Mark. “Campe-toi! On the Origins and Definitions of Camp.” Ed. Fabio Cleto. 66–79. Boullosa, Carmen. Antes. Mexico: Suma de Letras, Punto de lectura, 2001. ———. Cielos de la Tierra. Mexico: Alfaguara, 1997. ———. Duerme. Mexico: Alfaguara, 1994. ———. Treinta años. Mexico: Alfaguara, 1999. Bradu, Fabienne. “Algunas reflexiones sobre la crítica feminista.” Literatura mexicana 2.2 (1991): 471–480. WORKS CITED 243

Bronstein, Carolyn. “Representing the Third Wave: Mainstream Print Media Framing of a New Feminist Movement.” Journalism and Mass Communication Quarterly 82.4 (2005): 783–803. Brooksbank Jones, Anny. “A Scandalous Family Album” Visual Culture in Spain and Mexico. Manchester and New York: Manchester UP, 2007. 62–82. Bruce-Novoa, Juan. “La búsqueda de la felicidad en De noche vienes.” In Sin imágenesfalsas, sino falsos espejos: Narradoras mexicanas del siglo XX. Ed. Aralia López González. Mexico: El Colegio de Mexico, 1995. 379–392. Bucio, Erika P. “Confirma archivo espionaje a Garro.” Reforma Sep. 14, 2006. Cultura. LANIC. Web Jun 28, 2008. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990. Cabrera, Omar. “Quiere Padre Amaro la Concha de Oro.” Reforma Sept. 20, 2002. Espectáculos. LANIC. Web Jan. 23, 2003. Calvo, Luz. “Art Comes for the Archbishop: The Semiotics of Contemporary Chicana Feminism and the Work of Alma Lopez.” Meridians: Feminism, Race, Transnationalism 5.1 (2004): 201–224. Camp, Roderic A. Intellectuals and the State in Twentieth-Century Mexico. Austin: U of Texas P, 1985. Cano, Gabriela. Elena Arizmendi. Mexico: Tusquets, 2010. ———. “Las mujeres en el México del siglo XX: Una cronología mínima.” Miradas feministas sobre las mexicanas del siglo XX. Ed. Marta Lamas. Mexico: Fondo de Cultura Económica and CONACULTA, 2007. 21–75. ———. “Rosario Castellanos: Entre preguntas estúpidas y virtudes locas.” Debate feminista 6 (1992): 253–259. Carballo, Emmanuel. Protagonistas de la literatura mexicana. 1965. Mexico: Porrúa, 1994. Careaga, Gabriel. Mitos y fantasías de la clase media en México. 1974. 23rd ed. Mexico: Cal y Arena, 2004. Castellanos, Rosario. Sobre la cultura femenina. Ed. Gabriela Cano. Mexico: Fondo de Cultura Económica, 2005. ———. Obras II: Poesía, teatro y ensayo. Ed. Eduardo Mejía. Mexico: Fondo de Cultura Económica, 1998. ———. El eterno femenino. In Obras II. 363–454. ———. Tablero de damas. In Obras II. 279–319. ———. Declaración de fe: Reflexiones sobre la situación de la mujer en México. Mexico: Alfaguara, 1997. ———. Rito de iniciación. Mexico: Alfaguara, 1997. ———. Oficio de tinieblas. 1962. 20th ed. Mexico: Joaquín Mortiz, 1996. ———. Cartas a Ricardo. Prologue by Elena Poniatowska. Mexico: CONACULTA, 1994. ———. Álbum de familia. Mexico: Joaquín Mortiz, 1992. Castillo, Debra A. Easy Women: Sex and Gender in Modern Mexican Fiction. Minneapolis: U of Minneapolis P, 1998. 244 WORKS CITED

Castillo, Debra A. “Rosario Castellanos: ‘Ashes without a Face’.” In De/ Colonizing the Subject: The Politics of Gender in Women’s Autobiography. Eds. Sidonie Smith and Julia Watson. Minneapolis: U of Minnesota P, 1992. 242–269. Celorio, Gonzalo and Francisco Hinojosa. Literatura mexicana e iberoamericana. Mexico: Santillana, 1999. Cisneros, Sandra. “Guadalupe the Sex Goddess.” In Goddess of the Americas/ La Diosa de las Américas: Writings on the Virgin of Guadalupe. New York: Riverhead Books, 1996. 46–51. Clarke, David B., Marcus A. Doel, and Kate M.L. Housiaux. “General Introduction.” The Consumption Reader. Ed. David B. Clarke, Marcus A. Doel, and Kate M.L. Housiaux. London: Routledge, 2003. 1–23. Clavel, Ana. “Cuando María mire el mar.” Amorosos de atar. Mexico: Difocur, 1992. Reprinted in Paraísos trémulos. Mexico: Alfaguara, 2001. 97–123. Cleto, Fabio, ed. Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: U of Michigan P, 1999. Cornejo Portugal, Inés. El lugar de los encuentros: Comunicación y cultura en un centro comercial. Mexico: Universidad Iberoamericana, 2007. Cresta de Leguizamón, María Luisa. “En recuerdo de RC.” In Vistas y Voces latinas. 3rd ed. Eds. Esther L. Levine and Constance M. Montross. Upper Saddle River, NJ: Prentice Hall, 2002. 52–55. El crimen del padre Amaro. Dir. Carlos Carrera. Screenplay by Vicente Leñero. Alameda, Wanda, Blu, FOPROCINE, IMCINE, Cinecolor México, Videocolor Argentina, ArtCam Francia, and the State Government of Veracruz-Llave, 2002. Cuevas, Ximena. Medias mentiras. Written and directed by Ximena Cuevas. Act. Pita Amor, Astrid Hadad, Jesusa Rodríguez, and Irma Serrano, 1996. Cypess, Sandra Messinger. “The Cultural Memory of Malinche in Mexico City: Stories by Elena Garro and Cristina Pacheco.” Unfolding the City: Women Write the City in Latin America. Eds. Anne Lambright and Elisabeth Guerrero. Minneapolis and London: U of Minnesota P, 2007. 147–166. ———. La Malinche in Mexican Literature: From History to Myth. Austin: U of Texas P, 1991. de Beer, Gabriela. Contemporary Women Writers: Five Voices. Austin: U of Texas P, 1996. de Grazia, Victoria. “Changing Consumption Regimes.” The Sex of Things: Gender and Consumption in Historical Perspective. Eds. Victoria de Grazia and Ellen Furlough. Berkeley: U of California P, 1996. 11–24. de Valdés, María Elena. The Shattered Mirror: Representations of Women in Mexican Literature. Austin: U of Texas P, 1998. del Campo, Alicia. “Reterritorializando lo mexicano desde lo femenino en el contexto neoliberal: Demasiado amor de Sara Sefchovich.” New Novel Review: Nueva Novela/Nouveau Roman Review 2.2 (1995): 60–75. WORKS CITED 245

Dean-Jones, Lesley. “The Cultural Construct of the Female Body in Classical Greek Science.” In Sex and Difference in Ancient Greece and Rome. Eds. Mark Golden and Peter Toohey. Edinburgh: Edinburgh UP, 2003. 183–201. Derrida, Jacques. Specters of Marx. 1993. New York: Routledge, 1994. Diamond, Elin. “Introduction.” Performance and Cultural Politics. New York: Routledge, 1996. 1–12. “Diana Cazadora: Flechadora de la Estrella del Norte.” Humanidades y Ciencias Sociales (UNAM) 4.34 (2008): 6–7. Dienstag, Joshua Foa. Pessimism: Philosophy, Ethic, Spirit. Princeton and Oxford: Princeton UP, 2006. Domenella, Ana Rosa. “Escritura, historia y género en veinte años de novela mexicana escrita por mujeres.” Novela mexicana reciente: Aproximaciones críticas Revista de Literatura Mexicana Contemporánea. Ed. Samuel Gordon. Mexico: Eon and U of Texas at El Paso, 2005. 33–68. Domecq, Brianda. Mujer que publica, mujer pública: Ensayos sobre literatura femenina. Mexico: Diana, 1994. Domínguez Aguirre, Carmen, and Enriqueta León González. Mi libro del tercer año. Lengua Nacional. 1960. 9th ed. Mexico: Libros de Texto Gratuitos, 1967. Domínguez Michael, Christopher. Antología de la narrativa mexicana del siglo XX. 2nd ed. Vol. II. Mexico: Fondo de Cultura Económica, 1996. ———. “El asesinato de Elena Garro, de Patricia Rosas Lopátegui.” Review. Oct 2006 Letras Libres 74–76. Web. Jun 28, 2008. . ———. “Crimen en el altar.” Tiros en el concierto: Literatura mexicana del siglo V. 2nd ed. rev. Mexico: Ediciones Era, 1999. 124–156. ———. Servidumbre y grandeza de la vida literaria. Mexico: Joaquín Mortiz, 1998. Dornbierer, Manú. El bien y el mal. Mexico: Océano, 1986. 2nd ed. as Matacandela. Mexico: Grijalbo, 1996. ———. Los indignos: Novela autobiográfica. Mexico: Diana, 1988. 2nd ed. Mexico: Grijalbo, 1995. Doty, Alexander. “Introduction: There’s Something about Mary.” Camera Obscura 65 22.2 (2007): 1–7. Duncan, Anne. Performance and Identity in the Classical World. Cambridge: Cambridge UP, 2006. Eagleton, Terry. After Theory. New York: Basic Books, 2003. Egan, Linda. Carlos Monsiváis: Culture and Chronicle in Contemporary Mexico. Tuscon: U of Arizona P, 2001. Emad, Mitra C. “Reading Wonder Woman’s Body: Mythologies of Gender and Nation.” Journal of Popular Culture 39.6 (2006): 954–984. Escalante, Jorge. “Piden a mujeres vestido ‘digno.’ ” Reforma August 18, 2008. Nacional. LANIC. Web. September 12, 2008. Espin, Oliva M. “So, What is a ‘Boston Marriage’ Anyway?” Eds. Esther D. Rothblum and Kathleen A. Brehony. 202–207. 246 WORKS CITED

Esquivel, Laura. Como agua para chocolate: Novela de mensuales con recetas, amores y remedios caseros. 1989. 21st ed. Mexico: Planeta, 1994. Faderman, Lillian. “The Asexual Woman.” Surpassing the Love of Men: Romantic Friendship and Love between Women from the Renaissance to the Present. 1981. New York: Perennial, Harper Collins, 2001. 147–156. Falasca-Zamponi, Simonetta. “Fascism and Aesthetics.” Constellations: An International Journal of Critical and Democratic Theory 15.3 (2008): 351–365. Felski, Rita. Literature after Feminism. Chicago: U of Chicago P, 2003. Fernández Poncela, Anna M. “Feminismo y opinión pública hoy. Apuntes para una reflexión.” In Eli Bartra, et al. 83–117. Ferrier, Carole. “Is Feminism Finished?” Hecate 29.2 (2003): 6–22. Finchelstein, Federico. “On Fascist Ideology.” Constellations: An International Journal of Critical and Democratic Theory 15.3 (2008): 320–331. Fiol-Matta, Licia. A Queer Mother for the Nation. Minneapolis and London: U of Minnesota P, 2002. Foucault, Michel. The History of Sexuality: An Introduction. Vol. 1. Trans. by Robert Hurley. New York: Random House, 1978. Franco, Jean. Critical Passions: Selected Essays. Ed. and Intro. by Mary Louise Pratt and Kathleen Newman. Durham and London: Duke, 1999. ———. The Decline and Fall of the Lettered City: Latin America in the Cold War. Cambridge, MA and London: Harvard, 2002. ———. Plotting Women: Gender and Representation in Mexico. New York: Columbia UP, 1989. Freind, Bill. “ ‘Why Do You Want to Put Your Ideas in Order?’: Rethinking the Politics of Ezra Pound.” Journal of Modern Literature 23.2–4 (2000): 545–563. Fullbrook, Edward and Kate Fullbrook. Simone de Beauvoir: A Critical Introduction. Cambridge, UK: Polity P, 1998. Galindo, José. “Comparte honor con su padre.” Reforma August 20, 2003. Cultura. 2C. García, Alma M., ed. Chicana Feminist Thought: The Basic Historical Writings. New York: Routledge, 1997. García, Elvira. Redonda soledad: La vida de Pita Amor. Mexico: Grijalbo, 1997. Gargallo, Francesca. Ideas feministas latinoamericanas. 2nd ed. rev. Mexico: Universidad Autónoma de la Ciudad de México, 2006. Garrido, Felipe. Historia. Cuarto Grado and Historia. Sexto Grado. 1994. 2nd ed. rev. Mexico: Libros de Texto Gratuitos, 2001. Garro, Elena. “La culpa es de los tlaxcaltecas.” In La culpa es de los tlaxcaltecas. Mexico: Grijalbo, 1987. 11–29. 1989. ———. Los recuerdos del porvenir. 1963. 2nd ed. in Laurel Series. Mexico: Joaquín Mortiz, 1993. Gaspar de Alba, Alicia. Sor Juana’s Second Dream. Albuquerque: U of New Mexico P, 1999. WORKS CITED 247

Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. 1979. New Haven: Yale UP, 2000. Gilloch, Graeme. Walter Benjamin: Critical Constellations. Cambridge, UK: Polity, 2002. Glantz, Margo. “Las hijas de la Malinche.” Literatura mexicana hoy: Del 68 al ocaso de la revolución. Ed. Karl Kohut. Frankfurt: Verveurt, 1995. 121–129. Goizueta, Roberto S. “Our Lady of Guadalupe: The Heart of Mexican Identity.” Religion and the Creation of Race and Ethnicity. Ed. Craig R. Prentiss. New York and London: New York UP, 2003. 140–151. Goldfarb, Jeffrey C. Civility and Subversion: The Intellectual in Democratic Society. Cambridge, UK: Cambridge UP, 1998. González, Aníbal. Journalism and the Development of Spanish American Narrative. Cambridge: Cambridge UP, 1993. Good, Carl. “Testimonio especular, testimonio sublime en El eterno femenino de Rosario Castellanos.” Gestos 10.20 (1995): 55–73. Griffin, Roger. “Modernity, Modernism, and Fascism: A ‘Mazeway’ Resynthesis.” Modernism/Modernity 15.1 (2008): 9–24. Gruzinski, Serge. Images at War: Mexico from Columbus to Blade Runner (1492–2019). Trans. by Heather MacLean. Durham and London: Duke UP, 2001. Guerrero Guadarrama, Laura. “La ironía como estrategia subversiva en la obra temprana de Rosario Castellanos.” Mexico: Ediciones y Gráficos Eón and Universidad Iberoamericana, 2005. ———. “La obra oculta de Rosario Castellanos.” 2007. Forthcoming. Gutiérrez de Velasco, Luzelena. “Vertiente histórica y procesos intertex- tuales en Duerme.” In Acercamientos a Carmen Boullosa: Actas del Simposio “Conjugarse en infinitivo-la escritora Carmen Boullosa.” Eds. Barbara Dröscher and Carlos Rincón. Berlin: Frey, 1999. 145–152. Habib, M.A.R. A History of Literary Criticism and Theory: From Plato to the Present. Malden, MA: Blackwell, 2005. Halperin M. David. “Deviant Teaching.” In A Companion to Lesbian, Gay, Bisexual, Transgender, and Queer Studies. Eds. George E. Haggerty and Molly McGarry. Malden, MA: Blackwell, 2007. 146–167. ———. Saint Foucault: Towards a Gay Hagiography. New York: Oxford UP, 1995. Hanson, Karen. “Dressing Down Dressing Up—The Philosophic Fear of Fashion.” Hypatia 5.2 (1990): 107–121. Hardin, Michael. “Inscribing and Incorporating the Marginal: (P)recreating the Female Artist in Elena Garro’s Recollections of Things to Come.” Hispanic Journal 16.1 (1995): 147–159. Hassig, Ross. “The Maid of Myth: La Malinche and the History of Mexico.” Indiana Journal of Hispanic Literatures 12 (1998): 101–33. Heilemann, John. “Heilemann on Obama’s V.P. Conundrum.” Early Intel. New York Magazine Jun 30, 2008. Consulted July 20, 2008. http:// 248 WORKS CITED

nymag.com/daily/intel/2008/06/heilemann_on_obamas_vp_ conundrum.html>. Henry, Astrid. Not My Mother’s Sister: Generational Conflict and Third-Wave Feminism. Bloomington and Indianapolis: Indiana UP, 2004. Hershfield, Joanne. Imagining la Chica Moderna: Women, Nation, and Visual Culture in Mexico, 1917–1936. Durham and London: Duke UP, 2008. Hind, Emily. Entrevistas con quince autoras mexicanas. Madrid: Iberoamericana, Frankfurt: Vervuert, 2003. Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana UP, 1986. Ibsen, Kristine. “Entrevista a Carmen Boullosa.” Chasqui 24.2 (1995): 52–63. Irwin, Robert McKee. Mexican Masculinities. Minneapolis: U of Minneapolis P, 2003. Izquierdo Albiñana, Asunción. Andréïda (El tercer sexo). Mexico: Botas, 1938. Jörgensen, Beth E. “Light-Writing: Biography and Photography in Tinísima.” In The Other Mirror: Women’s Narrative in Mexico 1980–1995. Ed. Kristine Ibsen. Westport, CN: Greenwood, 1997. 57–72. ———. The Writing of Elena Poniatowska: Engaging Dialogues. Austin: U of Texas P, 1994. ———. “Tinísima: Elena Poniatowska’s Tina Modotti.” Literatura Mexicana/Mexican Literature. Ed. José Miguel Oviedo. Philadelphia: U of Pennsylvania, 1993. 22–33. Jozef, Bella. “Rosário Castellanos.” Diálogos Oblíquos. Rio de Janeiro: Francisco Alves, 1999. 205–208. Kaminsky, Amy. “Residual Authority and Gendered Resistance.” In Critical Theory, Cultural Politics, and Latin American Narrative. Eds. Steven M. Bell, Albert H. Le May, and Leonard Orr. Notre Dame: U of Notre Dame P, 1993. 103–121. Karttunen, Frances. “Rethinking Malinche.” Indian Women of Early Mexico. Eds. Susan Schroeder, Stephanie Wood, and Robert Haskett. Norman, OK: U of Oklahoma P, 1997. 291–312. Kennett, Frances. “Sor Juana and the Guadalupe.” Feminist Theology 11.3 (2003): 307–324. Kipnis, Laura. Against Love: A Polemic. New York: Pantheon Books, 2003. Koepnick, Lutz P. “Fascist Aesthetics Revisited.” Modernism/Modernity 6.1 (1999): 51–73. Kuehn, Manfred. Kant: A Biography. Cambridge, UK: Cambridge UP, 2001. Kuther, Tara L. and Erin McDonald. “Early Adolescents’ Experiences with, and Views of, Barbie.” Adolescence 39. 153 (2004): 39–51. Landay, Lori. Mad Caps, Screwballs, and Con Women: The Female Trickster inAmerican Culture. Philadelphia: U of Pennsylvania P, 1998. Landeros, Carlos. Los narcisos. México: Editorial Oasis, 1983. ———. Los que son y los que fueron. México: SEP, Ediciones Gernika, 1985. ———. Yo, Elena Garro. Mexico: Lumen/Random House Mondadori, 2007. WORKS CITED 249

Lavery, Jane Elizabeth. Ángeles Mastretta: Textual Multiplicity. Woodbridge, Suffolk, UK: Tamesis, 2005. Lazcano, Hugo. “Rompe Padre Amaro récord de taquilla.” El Norte. August 20, 2000. January 23, 2003. Leal, Luis. “Female Archetypes in Mexican Literature.” Women in Hispanic Literature: Icons and Fallen Idols. Ed. Beth Miller. Berkeley: U of California P, 1983. 227–242. Lester, Rebecca J. Jesus in Our Wombs: Embodying Modernity in a Mexican Convent. Berkeley: U of California P, 2005. Levinson, Brett. The Ends of Literature: The Latin American “Boom” in the Neoliberal Marketplace. Stanford: Stanford UP, 2001. Lida, David. Las llaves de la ciudad: Un mosaico de México. Prologue by Juan Villoro. Mexico: Sexto Piso, 2008. Loaeza, Guadalupe. La comedia electoral: Diario de campaña de una ex niña bien. Mexico: Planeta, 2009. ———. Personal Interview. Colonia Roma, Mexico City. Oct 31, 2008. ———. El ABC de las y los mexicanos. México: Grijalbo, 2007. ———. Confieso que he leído . . . ¡Hola!. Prologue by Nicolás Alvarado. Mexico: Ediciones B, 2006. ———. Por los de abajo: Historia política de una “niña bien.” México: Mondadori, 2005. ———. Por medio de la presente: Epistolario amoroso. Mexico: Planeta, 2006. ———. Siempre estará París . . . Prologue by Philippe Faure. Mexico: Océano and Universidad Veracruzana, 2005. ———. Los de arriba. 2002. Mexico: Debosillo, Random House Mondadori, 2004. ———. Simplemente Martita. Prologue by Denise Dresser. Illustrations by Paco Calderón. Mexico: Debolsillo/Random House Mondadori, 2004. ———. Las yeguas finas. Mexico: Planeta, 2003. ———. Compro, luego existo. 1992. 2nd ed. Mexico: Océano, 2003. ———. Hombres ¿maravillosos? Mexico: Océano, 2003. ———. La factura: El poder y la derrota del sistema político. Prologue by Denise Dresser. Mexico: Plaza y Janés, 2001. ———. “Diez consejos.” In La factura: El poder y la derrota del sistema político. Prologue by Denise Dresser. Mexico: Plaza y Janés, 2001. 69–74. ———. Debo, luego sufro. Intro. by Pilles Lipovetsky. Mexico: Océano/ Procuraduría Federal del Consumidor, 2000. ———. “Respuesta a Marcos.” Las obsesiones de Sofía. Mexico: Nueva Imagen, 1999. 375–379. ———. Las niñas bien. 1985. 21st ed. Mexico: Cal y arena, 1997. McHale, Brian. Constructing Postmodernism. New York: Routledge, 1992. McRobbie, Angela. “Postfeminism and Popular Culture: Bridget Jones and the New Gender Regime.” In Yvonne Tasker and Diane Negra. 27–39. 250 WORKS CITED

Macdougall, J. Paige. “Transnational Commodities as Local Cultural Icons: Barbie Dolls in Mexico.” Journal of Popular Culture 37.2 (2003): 257–274. Macías-González, Víctor M. “The Case of the Murdering Beauty: Narrative Construction, Beauty Pageants, and the Postrevolutionary Mexican National Myth, 1921–1931.” True Stories of Crime in Modern Mexico. Eds. Robert Buffington and Pablo Piccato. Albuquerque: U of New Mexico P, 2009. 215–247. Mackintosh, Fiona J. and Karl Posso. “Introduction.” Árbol de Alejandra: Pizarnik Reasssessed. Ed. Fiona J. Mackintosh and Karl Posso. Woodbridge, UK: Tamesis, 2007. 1–12. Mann, Susan Archer and Douglas J. Huffman. “The Decentering of Second Wave Feminism and the Rise of the Third Wave.” Science & Society 69.1 (2005): 56–91. Marentes, Luis A. José Vasconcelos and the Writing of the Mexican Revolution. New York: Twayne, 2000. Marquet, Antonio. “¿Cómo escribir un best-seller? La receta de Laura Esquivel.” Plural: Revista Cultural de Excelsior 237 (1991): 58–67. Martín del Campo, David. “Las trampas que tiende la posterioridad.” Entre Paréntesis column. Internacional and Cultura Section Reforma August 5, 2008, 8. Martínez, Victoria. “Como agua para chocolate: A Recipe for Neoliberalism.” Chasqui: Revista de Literatura Latinoamericana 33.1 (2004): 28–41. Mastretta, Ángeles. Arráncame la vida. 1985. 21st ed. Mexico: Cal y Arena, 1993. ———. Mal de amores. Mexico: Alfaguara, 1996. Matthews, Irene. Nellie Campobello: La centaura del Norte. Prologue by Elena Poniatowska. Mexico: Cal y Arena, 1997. Meacham, Cherie. “Como agua para chocolate: Cinderella and the Revolution.” Hispanic Journal 19.1 (1998): 117–128. Medina, Rubén. Autor, autoridad y autorización: Escritura y poética de Octavio Paz. Mexico: El Colegio de México, 1999. Megged, Nahum. Rosario Castellanos: Un largo camino a la ironía. Jornadas 102. 2nd ed. Mexico: Colegio de México, 1994. Melgar, Lucía. “Conversaciones con Elena Garro (Cuernavaca, México, 1997).” In Melgar and Mora. 237–277. Melgar, Lucía and Gabriela Mora, eds. Elena Garro: Lectura múltiple de unapersonalidad compleja. Puebla: Benemérita Universidad Autónoma de Puebla, 2002. Mendoza, María Luisa. “Luminaria, flama, siempre epifanía: Rosario Castellanos, académica y profesora.” Lecture. Castellanos Colloquium, Colegio de México. Mexico City. Wednesday, November 3, 2004. ———. La O por lo redondo. Prologue by Edmundo Domínguez Aragonés. Mexico: Grijalbo, 1971. ———. “El porvenir de los recuerdos.” In Rosas Lopátegui. 157–159. Merriam-Webster Dictionary and Thesaurus. . WORKS CITED 251

Merrim, Stephanie. Early Modern Women’s Writing and Sor Juana Inés de la Cruz. Nashville: Vanderbilt UP, 1999. Miller, Marilyn Grace. Rise and Fall of the Cosmic Race: The Cult of Mestizaje in Latin America. Austin: U of Texas P, 2004. Mistral, Gabriela. “Silueta de Sor Juana Inés de la Cruz.” Lecturas para mujeres. [1923.] 1924. 2nd ed. Intro. by Sara Sefchovich. Mexico: September, 1987. 176–179. Molina, Silvia. El amor que me juraste. Mexico: Joaquín Mortiz, 1998. ———. La familia vino del norte. 1987. Mexico: Cal y Arena, 1991. ———. La mañana debe seguir gris. 1977. Mexico: Cal y Arena, 1996. Molloy, Sylvia. “Sentimental Excess and Gender Disruption: The Case of Amado Nervo.” The Famous 41: Sexuality and Social Control in Mexico, 1901. Eds. Robert McKee Irwin, Edward J. McCaughan, and Michelle Rocío Nasser. New York: Palgrave Macmillan, 2003. 291–306. Monet-Viera, Molly. “Post-Boom Magical Realism: Appropriations and Transformation of a Genre.” Revista de Estudios Hispánicos 38.1 (2004): 95–117. Monsiváis, Carlos. Días de guardar. Mexico: Era, 1970. ———. El estado laico y sus malquerientes. Mexico: Universidad Nacional Autónoma de México and Random House Mondadori, 2008. Montecino, Sonia. Madres y huachos: Alegorías del mestizaje chileno. Santiago: Cuarto Propio, CEDEM, 1991. Mora, Gabriela. “Correspondencia desde España: Obra y vida de Elena Garro.” In Melgar and Mora. 67–92. Morales McKale, Margaret A. “Literary Nonfiction in Works by Isabel Allende and Guadalulpe Loaeza.” Diss. Ohio State U, 2002. Moreno, Alejandro. Nuestros valores: Los mexicanos en México y en Estados Unidos al inicio del siglo XXI. Banamex: México, 2005. Muñiz, Elsa. “Del micrófono al aire, trayectorias de quimeras: Lupita García (1930–1950). Persistencia y cambio: Acercamientos a la historia de las mujeres en México. Ed. Lucía Melgar. Mexico: El Colegio de México, 2008. 215–253. Nava, Mica. “Modernity’s Disavowal: Women, the City and the Department Store.” The Shopping Experience. Eds. Pasi Falk and Colin Campbell. London: Sage, 1997. 56–91. [Previously published in Modern Times: Reflections on a Century of English Modernity. Eds. Mica Nava and Alan O’Shea. Routledge, 1996.] Navarrete Cáceres, Carlos. Rosario Castellanos: Su presencia en la antropología mexicana. Mexico: Universidad Nacional Autónoma de México, Chiapas: Programa de Investigaciones Multidisciplinarios sobre Mesoamérica y el Sureste, 2007. Niblo, Stephen R. Mexico in the 1940s: Modernity, Politics, and Corruption. Wilmington: Scholarly Resources, 1999. NietoGomez, Anna. “Chicana Feminism.” In Alma M. García. 52–57. Nissán, Rosa. Hisho que te nazca. Mexico: Plaza & Janés, 1996. ———. Novia que te vea. Mexico: Planeta, 1992. 252 WORKS CITED

O’Neill, Edward R. “The M-m-mama of Us All: Divas and the Cultural Logic of Late Ca(m)pitalism.” Camera Obsucra 65 22.2 (2007): 11–36. Ochoa Sandy, Gerardo. La palabra dicha: Entrevistas con escritores mexicanos. Mexico: CONACULTA, 2000. Olabuenaga, Ana María. Personal Interview. 6 Jul, 2007. Col. Lomas de Chapultepec, Mexico City. Ortiz, Verónica. Mujeres de palabra: Rosa Beltrán, Fabienne Bradu, Laura Esquivel, Eladia González, Mónica Lavín, Guadalupe Loaeza, Silvia Molina y Rosa Nissán. Mexico: Joaquín Mortiz, 2005. Palti, Elías José. La invención de una legitimidad: Razón y retórica en el pensamiento mexicano del siglo XIX (Un estudio sobre las formas del discurso político). 2005. Buenos Aires: Fondo de Cultura Económica, 2008. Paoli Bolio, Francisco José. Conciencia y poder en México: Siglos XIX y XX. Mexico: Porrúa, 2002. Parrini Roses, Rodrigo. Panópticos y laberintos: Subjetivación, deseo y corpo- ralidad en una cárcel de hombres. México: El Colegio de México, 2007. Paz, Octavio. El laberinto de la soledad; Postdata; Vuelta a El laberinto de la soledad. 2nd ed. Mexico: Fondo de Cultura Económica, 1993. Pellón, Gustavo. “The Canon, the Boom, and Literary Theory.” Latin American Literary Review 20.40 (1992): 80–82. Pesola, Kristin. “Antonieta Rivas Mercado: Power, Culture and Sexuality in Post-Revolutionary Mexico.” Diss. Duke U, 2001. ———. “Gendering the Melodrama of Legitimacy: Antonieta Rivas Mercado and José Vasconcelos Write the Campaign of 1929.” Revista de Estudios Hispánicos 38.3 (2004): 487–508. Pettersson, Aline. Colores y sombras: Tres novelas [Círculos, Los colores ocultos, Sombra ella misma]. Mexico: Consejo Nacional para la Cultura y las Artes, 1998. Pfeiffer, Erna. EntreVistas: Diez escritoras mexicanas desde bastidores. Frankfurt: Vervuert, 1992. Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Pineau, Elyse Lamm. “Critical Performance Pedagogy: Fleshing Out the Politics of Liberatory Education.” Teaching Performance Studies. Eds. Nathan Stucky and Cynthia Wimmer. Foreword by Richard Schechner. Carbondale: Southern Illinois UP, 2002. 41–54. “Pita Amor y María Félix.” Desde Gayola. Actors Miguel Romero and Darío T. Pie. . Web. March 8, 2007 Poniatowska, Elena Jardín de Francia. Mexico: Fondo de Cultura Económica, 2008. ———. Amanecer en el Zócalo: Los 50 días que confrontaron a México. Mexico: Planeta, 2007. ———. El tren pasa primero. Mexico: Alfaguara, 2005. ———. Prólogo. In Ortiz. 9–21. ———. Prólogo. In Rosas Lopátegui. 23–38. WORKS CITED 253

———. La piel del cielo. Mexico: Alfaguara, 2001. ———. Las mil y una . . . (la herida de Paulina) Mexico: Plaza y Janés, 2000. ———. Las siete cabritas. Mexico: Era, 2000. ———. Octavio Paz: Las palabras del árbol. Mexico: Plaza y Janés, 1998. ———. Cartas de Álvaro Mutis a Elena Poniatowska. Mexico: Alfaguara, 1997. ———. Hasta no verte Jesús mío. 1969. 32nd ed. Mexico: Era, 1996. ———. Paseo de la Reforma. Mexico: Plaza y Janés, 1996. ———. Luz y luna las lunitas. Mexico: Era, 1994. ———. “La tía Pita.” In Una historia de Amor llamada Pita. Museo Estudio Diego Rivera. Mexico: Instituto Nacional de Bellas Artes, 1994. 14–19. ———. ¡Ay vida, no me mereces! 1985. 10th ed. Mexico: Joaquín Mortiz, 1993. ———. “Ser un escritor en México.” Literatura Mexicana/Mexican Literature. Ed. José Miguel Oviedo. Philadelphia: U of Pennsylvania, 1993. 10–20. ———. Tinísima. Mexico: Era, 1992. ———. La “Flor de Lis”. Mexico: Era, 1988. ———. Nada, nadie, las voces del temblor. Mexico: Era, 1988. ———. Fuerte es el silencio. Mexico: Era, 1980. ———. De noche vienes. Mexico: Grijalbo, 1979. ———. Querido Diego te abraza Quiela. Mexico: Era, 1978. ———. La noche de Tlatelolco. Mexico: Era, 1971. ———. Todo empezó el domingo. Mexico: Fondo de Cultura Económica, 1963. ———. Melés y Teleo. (Apuntes para una comedia). Mexico: Revista “Panoramas” 2, 1956. Poole, Stafford. “Did Juan Diego Exist? Questions on the Eve of Canonization.” Commonwealth 129.12 (2002): 9–11. Quemain, Miguel Ángel. Reverso de la palabra. Mexico: El Nacional, 1996. Quiroga, José. Understanding Octavio Paz. Columbia SC: U of South Carolina P, 1999. Rand, Erica. Barbie’s Queer Accessories. Durham and London: Duke UP, 1995. Reid-Walsh, Jacqueline and Claudia Mitchell. “ ‘Just a Doll?’: ‘Liberating’ Accounts of Barbie-Play.” Review of Education/Pedagogy/Cultural Studies. 22.2 (2000): 175–190. Rich, Adrienne. “Compulsory Heterosexuality and Lesbian Existence.” Blood, Bread, and Poetry: Selected Prose 1979–1985. New York and London: W.W. Norton, 1986. 23–75. Rincón, Berenice. “La Chicana: Her Role in the Past and Her Search for a New Role in the Future.” In Alma M. García. 24–28. Rivas Mercado, Antonieta. Obras completas de María Antonieta Rivas Mercado. Ed. Luis Mario Schneider. 1981. México D.F.: SEP, Editorial Oasis, 1987. Rivera Garza, Cristina. “El retorno de las invisibles.” La mano oblicua. Milenio 10 Apr. 2007: 42. ———. Personal inverview. July 8, 2004. 254 WORKS CITED

Roberts, Martin. “The Fashion Police: Governing the Self in What Not to Wear.” Eds. Yvonne Tasker and Diane Negra. 227–248. Robledo, Elisa. “La verdadera historia de un Amor llamado Pita.” Una historia de Amor llamada Pita. Museo Estudio Diego Rivera. Mexico: Instituto Nacional de Bellas Artes, 1994. 20–63. Robles, Marta. Mujeres del siglo XX. Mexico: Fondo de Cultura Económica, 2002. ———. “Rosario Castellanos.” La sombra fugitiva: Escritoras en la cultura nacional. Vol. II. Mexico: Diana, 1989. 147–191. Rodríguez, Jesusa. “Sor Juana en Almoloya.” Translated as “Sor Juana in Prison: A Virtual Pageant Play.” In Holy Terrors: Latin American Women Perform. Eds. Diana Taylor and Roselyn Constantino. Trans. by Diana Taylor and Marlène Ramírez-Cancio. Durham and London: Duke UP, 2003. 211–230. Roen, Paul. High Camp: A Gay Guide to Camp and Cult Films. Vol. 2. San Francisco: Leyland, 1997. Romero, Rolando and Amanda Nolacea Harris, eds. Feminism, Nation and Myth: La Malinche. Houston: Arte Público P, 2005. Romo, Leticia I. “Sandra Cisneros’ ‘Barbie-Q’: A Subversive or Hegemonic Popular Text?” Studies in Latin American Popular Culture 24 (2005): 127–137. Rosas Lopátegui, Patricia. El asesinato de Elena Garro: Periodismo a través de una perspectiva biográfica. Prólogo por Elena Poniatowska. México: Porrúa and Universidad Autónoma del Estado de Morelos, 2005. Ross, Andrew. “Uses of Camp.” In Camp Grounds: Style and Homosexuality. Ed. David Bergman. Amherst: U of Massachusetts P, 1993. 54–77. Rothblum, Esther D. and Kathleen A. Brehony, eds. “Introduction: Why Focus on Romantic but Asexual Relationships among Lesbians?” Boston Marriages: Romantic but Asexual Relationships among Contemporary Lesbians. Amherst: U of Massachusetts P, 1993. 3–13. Rubenstein, Anne. “The War on ‘Las Pelonas’: Modern Women and Their Enemies, Mexico City, 1924.” Sex in Revolution: Gender, Politics, and Power in Modern Mexico. Eds. Jocelyn Olcott, Mary Kay Vaughan, and Gabriela Cano. Foreword by Carlos Monsiváis. Durham: Duke UP, 2006. 57–80. ———. Bad Language, Naked Ladies, and Other Threats to the Nation: A Political History of Comic Books in Mexico. Durham: Duke UP, 1998. Ruiz de Bravo Ahuja, Gloria. Español. Sexto Grado. Lecturas. 1972. 27th ed. Mexico: Libros de Texto Gratuitos, 2000. Salgado, María A. “El ‘Autorretrato’ de Rosario Castellanos: Reflexiones sobre la feminidad y el arte de retratarse en México.” Letras femeninas 14.1–2 (1988): 64–72. Sánchez Filmador. “Feminismo.” El Universal Ilustrado May 31, 1923. 19. Sanderson, Peter. “Comics in Context #67: Catch as Cats Can.” Consulted online September 22, 2008. 2005. < http://comics.ign.com/articles/ 595/595646p7.html> WORKS CITED 255

Savarino, Franco. “The Sentinel of the Bravo: Italian Fascism in Mexico, 1922–35.” Totalitarian Movements and Political Religions 2.3(2001): 97–120. Schaefer, Claudia. “Rosario Castellanos and the Confessions of Literary Journalism.”Textured Lives: Women, Art, and Representation in Modern Mexico. Tuscon: U of Arizona P, 1992. 37–60. Schmid, Ulrich. “Style versus Ideology: Towards a Conceptualisation of Fascist Aesthetics.” Totalitarian Movements and Political Religions 6.1 (2005): 127–140. Schuessler, Michael Kart. Elena Poniatowska: An Intimate Biography. Foreword by Carlos Fuentes. Tuscon: U of Arizona P, 2007. ———. La undécima musa: Guadalupe Amor. 1995. Prologue by Elena Poniatowska. Rev. ed. Mexico: Diana, 2008. Schulman, Alex. “Purgepolitik: The Political Functions of Decadence in Fascism.” Human Rights Review 8.1 (2006): 5–34. Scott, Joan Wallach. Only Paradoxes to Offer: French Feminists and the Rights of Man. Cambridge, MA and London: Harvard UP, 1996. Sedgwick, Eve Kosofsky. Touching Feeling: Affect, Pedagogy, Performativity. Durham: Duke UP, 2003. Sefchovich, Sara. Demasiado amor. 1990. 18th ed. Mexico: Planeta, 1998. ———. México, país de ideas, país de novelas: Una sociología de la literatura mexicana. Mexico: Grijalbo, 1987. ———. La señora de los sueños. 1993. 8th ed. Mexico: Planeta, 1998. Showalter, Elaine. “Laughing Medusa: Feminist Intellectuals at the Millennium.” Women: A Cultural Review 11.1–2 (2000): 131–138. Slater, Don. “Consumer Culture and the Politics of Need.” In Buy This Book: Studies in Advertising and Consumption. Eds. Mica Nava, Andrew Blake, Iain MacRury, and Barry Richards. London and New York: Routledge, 1997. 51–63. Sokol, Alina. “Unequal Words: Sor Juana and the Poetics of Money in New Spain.” Early American Literature 41.3 (2006): 455–471. Sommer, Doris. Proceed with Caution, when Engaged by Minority Writing in the Americas. Cambridge, MA: Harvard, 1999. Sontag, Susan. “Fascinating Fascism.” New York Review of Books 22.1 (1975): online. ———. “On Camp.” 1964. Web. February 25, 2007. Staples, Anne. “Sociabilidad femenina a principios del siglo XIX mexicano.” Persistencia y cambio: Acercamientos a la historia de las mujeres en México. Ed. Lucía Melgar. Mexico: El Colegio de México, 2008. 99–119. Stavans, Ilan. Conversations with Ilan Stavans. Tuscon: U of Arizona P, 2005. Steele, Cynthia. “La mediación en las obras documentales de Elena Poniatowska.” Mujer y literature mexicana y chicana: Culturas en con- tacto. Eds. Aralia López-González, Amelia Malagamba, and Elena Urrutia. Vol. 1 Mexico: Colegio de México, 1988. 211–219. 256 WORKS CITED

Sternhell, Zeev. “How to Think about Fascism and Its Ideology.” Constellations: An International Journal of Critical and Democratic Theory 15.3 (2008): 280–290. Suh, Judy. “The Familiar Attractions of Fascism in Muriel Spark’s The Prime of Miss Jean Brodie.” Journal of Modern Literature 30.2 (2007): 86–102. Tasker, Yvonne and Diane Negra. Interrogating Postfeminism: Gender and the Politics of Popular Culture. Durham: Duke UP, 2007. Taylor, William B. “Mexico’s Virgin of Guadalupe in the Seventeenth Century: Hagiography and Beyond.” In Colonial Saints: Discovering the Holy in the Americas, 1500–1800. Eds. Allan Greer and Jodi Bilinkoff. New York and London: Routledge, 2003. 277–298. Tenorio Trillo, Mauricio. Artilugio de la nación moderna: México en las exposiciones universales, 1880–1930. 1996. Trans. by Germán Franco. Mexico: FCE, 1998. Toffoletti, Kim. Cyborgs and Barbie Dolls: Feminism, Popular Culture, and the Posthuman Body. London and New York: I.B. Tauris, 2007. Tuñón Pablos, Julia. Women in Mexico: A Past Unveiled. Austin: U of Texas P, 1999. Unruh, Vicky. “ ‘Dressing and Undressing the Mind’: Antonieta Rivas Mercado’s Unfinished Performance.” Performing Women and Modern Literary Culture in Latin America. Austin: U of Texas P, 2006. 115–134. Villoro, Luis, En México, entre libros: Pensadores del siglo XX. Mexico: Colegio Nacional, Fondo de Cultura Económica, 1995. von Moltke, Johannes. “Camping in the Art Closet: The Politics of Camp and Nation in German Film.” Ed. Fabio Cleto. 409–432. Washington Váldez, Diana. Cosecha de mujeres: Safari en el desierto mexicano. Mexico: Océano, 2005. “Where Do Babies Come from?” Economist February 22, 2003. Consulted online May 31, 2008, with Academic Search Premiere. n.p. Wif, Robyn. “Feminism, Institutionalism, and the Idiom of Failure.” A Journalism of Feminist Cultural Studies 11.3 (1999/2000): 107–135. Williams, Raymond Leslie. The Postmodern Novel in Latin America: Politics, Culture, and the Crisis of Truth. New York: St. Martin’s P, 1995. Winkler, Julie A. Light into Shadow: Marginality and Alienation in the Work of Elena Garro. New York: Peter Lang, 2001. Wolf-Meyer, Matthew. “The World Ozymandias Made: Utopias in the Superhero Comic, Subculture, and the Conservation of Difference.” Journal of Popular Culture 36.3 (2003): 497–517. Womack, John Jr. “Chiapas, the Bishop of San Cristóbal, and the Zapatista Revolt.” Rebellion in Chiapas: An Historical Reader. Ed. John Womack, Jr. New York: New P, 1999. 3–59. Woodward, Kathleen. Statistical Panic: Cultural Politics and Poetics of the Emotions. Durham and London: Duke UP, 2009. Young, Iris Marion. “The Breasted Experience.” The Body in Medical Thought and Practice. Ed. Drew Leder. Boston: Kluwer, 1992. 215–230. Index

abortion, 33, 80–81, 82, 186 “La solitaria” In Galería de Abreu Gómez, Ermilo, 36 títeres, 105–106, 177 abstinence education, 33 Yo soy mi casa (novel), 102, 107–111, acting, see under theater 114–115 Acuña, Manuel, 59 Yo soy mi casa (poetry), 105, 107 Adorno, Theodor, 92 El zoológico de Pita Amor, 122, advertising, 6, 216–218, 224 177 aesthetic class, 99, 117, 123 anachronism, 33, 68, 104–105, 173 “El afeminamiento de la literatura Anderson, Danny J., 188, 238 mexicana,” 9 androgyny, 18, 35–36, 216 Aguilar Camín, Héctor, 12, 186 angel, 183 Agustini, Delmira de, 11 Castellanos as, 56–57 Alemán, Miguel, 118 of Independence, 36–37 Alvarado, Nicolás, 193 Victoria’s Secret, 32–33 amateur, 3, 19, 103, 167 anger, 77, 116, 125, 205, 215, 222 Amazon women, 85, 179 see also bravery AMLO, see under López Obrador, Anzaldúa, Gloria, 30, 228 Andrés Manuel archetypes of women, 27–36, 130, 147 Amor, Guadalupe (Pita), 86, 88, 96, see also Malinche, la; Virgen de 98–123, 149, 160, 174, 180, Guadalupe, la; Sor Juana 232, 233 Arenal, Electa, 229 cats, 176, 177, 182 Arráncame la vida (film), 44 nonprogressive, 107, 110, 145 see also Mastretta, Ángeles performance of intellectuality, Arreola, Juan José, 102–103, 118 88–89, 91, 94, 97, 99–103, Arrizón, Alicia, 31 109, 113–116, 118–123, 124, Asamblea de mujeres (1923), 79 125, 127, 128, 144, 145, asesinadas de Juárez, las, 14, 15, 24 147, 161 asexuality, 27, 32–33, 41, 42, 55, as a doll, 109–111 58–59, 62, 64, 68–69, 72, on television, 99, 102, 136 145, 147, 159, 198, 206 works cumpulsory asexuality, 59–66, Las amargas lágrimas de Beatriz 69–70, 82–83 Sheridan, 103–104 see also Boston marriage A mí me ha dado en escribir Atwood, Margaret, 17, 18 sonetos, 109, 121, 122 aura, see under glamor Décimas a Dios, 101, 122 Ávila Camacho, Manuel, 118 Fuga de negras, 115 Más allá de lo oscuro, 119–120 balls, 8, 12, 23, 85, 176 Poesías completas, 108 Banco de México, 36 Puerta obstinada, 121 Barber, Bernard, 235 258 INDEX

Barbie, 185, 190, 191, 194, 195, 158, 161, 162, 182, 185, 186, 198–202, 208, 210, 214, 219, 197, 199, 200, 201, 203, 205, 223, 224, 237 207, 213, 215, 219, 222, 223, museum exhibition of, 185, 198 224–225 Bartra, Eli, 77 booby trap, 23 Bartra, Roger, 29–30, 34, 230 definition of, 8 Batgirl, 181, 182 Boob lit, 1, 7–8, 10, 12, 14, 18, 22, Batman, 113, 181 46, 50, 85, 141, 142, 225 Baudrillard, Jean, 221 Boom, 7, 12, 156, 157 Bauman, Zygmunt, 233 Booth, Mark, 103 beard, female, 158–160, 161, 166, Boston marriage, 64–65 169, 181 Boullosa, Carmen, 12, 16, 17, 18, 40, bearded lady, see under beard, female 51, 160, 232 beauty pageant, see under Miss Mexico performance of intellectuality, Beauvoir, Simone de, 56, 62, 94–95, 9, 142 96, 134, 143, 154–155, 232 works Beezley, William, 29, 31 Antes, 40, 41 Bemberg, María Luisa, 39 Cielos de la Tierra, 41 Benjamin, Walter, 92, 93, 97, 121, Duerme, 40, 41 214, 215, 232 Mejor desaparece, 227 Berlant, Lauren, 196–197, 208, 218 Treinta años, 11–12 Berman, Sabina, 151, 152, 191, 229 Bradu, Fabienne, 2 Beucker, Verónica, 177 bravery, 85–86, 89, 143, 176 Beverley, John, 188 breast, 2, 6, 8, 23, 35, 84, 85 bicentennial, 36, 144, 235 breastfeeding, 32, 33, 45, 198 binary Bruce Novoa, Juan, 147, 152 in Castellanos’s writing, 74 Burns, Archibaldo, 89, 125 inner development/external Bush, George H.W., 90 development, 223 Bush, George W., 33 masculine/feminine paradigms, 2, Busted criticism, 1–2, 8, 14, 18, 24, 27, 93, 202, 225 48–49, 84, 85, 93, 97, 112, modern/not modern paradigms, 116, 201, 202, 205, 207, 209, 217, 222–223 212, 225 patriarchal binaries, 92 Butler, Judith, 4–5, 22, 228 rational/irrational gender divisions in novels, 11 Cabrera, Miguel, 36, 37 rational/traditional divisions in cabrón, cabrona, 170, 175–176, performance, 88, 136, 181, 237 143, 145 Calvo, Luz, 31 right/wrong feminisms, 6 Camp, Rodric, 52, 53, 147 in Sor Juana’s image, 38 camp aesthetics, 103, 110, 113–114, virgin/slut cultural oppositions, 116, 117–118, 123, 190, 217, 29–35 218, 233 binary slayer, 209 del Campo, Alicia, 229 bisexual, 96, 104, 232 Campobello, Nellie, 174, 175, 176, Bitter Tears of Petra von Kant, The, 178–179, 182 103 Campos, Julieta, 166 Bloom, Harold, 173, 179 Canada, 17 Boob, 25, 39, 65, 71, 84, 90, 95, 103, Cano, Gabriela, 62–63, 86, 134, 137, 109, 112, 119, 124, 142, 143, 149, 231, 233 INDEX 259 canon, literary, 6–7, 103 chica moderna, 181–183 canonization, 36, 51–52 Chicana capitalism, see under consumption artists, 31 Carballo, Emmanuel, 124, 125, 136 feminism, 38 Cárdenas, Lázaro, 57 writers, 30–31 Carlota, Empress, 59 Chingada, la, 61, 228 Carreaga, Gabriel, 90, 91, 237 see also hija de la chingada Carrera, Carlos, 31, 228 Chingadalupe, 30 Caso, Antonio, 53 Chorus Line, 219 Castellanos, Rosario, 36, 38, 42, Cien años de soledad, 11 51–84, 88, 105, 125, 128, 131, Cisneros, Sandra, 31, 228 134, 136, 138, 140, 145, 151, Cixous, Hélène, 3, 5, 22, 24 154, 160, 171, 173, 174, 180, Clavel, Ana, 19–20 202, 229, 235 clitoris, 22 body image, 71, 230 clothes mind, 123, 194, 196, 201 education, 88 see also consumption mysticism in youth, 55–56 cogida, la, 60–61, 65, 70, 71, 82, performance of intellectuality, 83, 171 51–52, 55–58, 65, 68–70, “La columna rota,” 35 72–73, 84 comic books, 179–181, 182–183, puppet shows, 57 186–187 works see also Wonder Woman, Álbum de familia, 63, 66 Catwoman, Batgirl “Asedio a Sor Juana,” 69, 230 Conquest, 47–48, 228 Declaración de fe, 68, 69 conservative, see under traditionalist El eterno femenino, 31, 59–60, femininity 67–68, 70, 71–73 consumption, 15, 58, 91–93, 96, 97, “Kinsey Report,” 63 111, 112, 121–122, 126, 127, “Meditación en el umbral,” 231 182, 185, 188, 194–198, 201, Oficio de tinieblas, 76, 81–83, 207, 210–214, 218–221, 223, 111, 156, 171 224, 230, 232, 233, 234 “Otra vez Sor Juana,” 35 compulsory shopping, 194, 220–221 Rito de iniciación, 63, 66, 67, 230 as tied to criticism, 198 Sobre la cultura femenina, 61, 74 see also taste labor Tablero de damas, 60, 64–65, 70, Contemporáneos, Los, 7 72, 233 coraje, see under bravery “Válium 10,” 59, 66, 74 Cornejo Portugal, Inés, 92 Castillo, Debra, 3, 131 Corona de luz, 31 Castro, Dolores, 61–62, 64, 230 crazy, see under deranged, derangement Catholicism in Mexico, 27–32, 34, El crimen del padre Amaro, 31, 228 53, 88, 101–102, 128, 129, crítica, la, 70–71, 84, 109, 112 130, 136, 143, 144, 150, 154, criticism, 2 155, 167, 198, 206, 232 as disdainful of Barbie and the Catwoman, 180–181, 182 feminine, 185 center, 15–16, 167, 168, 207, 208, as dubious of moral lessons in 209, 224 literature, 188, 206 in Amor’s work and performance, flippancy, reversals in, 209 103–105 as a genre distinct from literature, in Garro’s work and performance, 4, 187, 188–190, 197–198, 200 145 modernist, 104 260 INDEX criticism—Continued Dresser, Denise, 147, 204 as moralistic didacticism, 189–190, Duncan, Anne, 87 205–206 Duncan, Cynthia, 47, 49, 238 as nonprogressive, see under Busted criticism Eagleton, Terry, 208 as progressive, liberal, 13, 19, 186, Echeverría, Luis, 51 191, 193, 197, 204, 208–209 Economist, The, 33 regulatory function of, 19, 208–209, educación, 19, 150–151, 153–154, 159, 224 162, 166, 167–168, 169, 225 as self-help, 19, 105, 112, 188, 190, effeminacy, 21, 22, 131 196, 208, 211, 212 Elizondo, Salvador, 7, 50 spectrality of, 14, see also ELZN (Zapatista Army of National spectrality, postmodernist Liberation), 186, 188, 203–204 criticism Emad, Mitra, 179, 237 Cuevas, Ximena, 233 emancipation of women, 2, 222 cunt, 21–22, 25, 159 see also suffrage curing the feminine, 18, 216 emotion in criticism, 205, 218 cursi, 57 as flakey, 20 Cypess, Sandra, 35, 47, 48, 49, 229 see also anger, depression, envy, guilt, shame dama, 70, 72, 109, 112, 221 envy, 98, 99, 101–102, 217, 220 daughter, see under motherhood de Erauso, Catalina, 40, 41, 229 Day, Stuart, 229 Espinasa, José María, 147 Dean-Jones, Lesley, 8 Esquivel, Laura, 17, 43 decency, 57, 60, 68, 71, 72, 83, 86–88, Como agua para chocolate, 45–46, 140, 177, 178, 202, 206 229 League of, 102, 118–119 essentialism, 22 see also señora estanquillera, see under chica moderna depression, 197, 205, 218 Estridentistas, 7 see also suicide Eve, 31, 34, 59 deranged, derangement, 3, 19, 22, 85, Excélsior, 79 90, 111, 128, 143, 155, 160, 175 Desde Gayola, 113–114 Faderman, Lilian, 64 desmadre, 76, 78, 230 failure, 2, 14, 24, 40, 50, 59, 112, desmodernidad, 230 145, 150, 212, 225 Diamond, Elin, 232 fascism, 13, 116, 119, 120, 123, 234 Diana la Cazadora, 118 fascist aesthetics, 116–118, 119, Dienstag, Joshua, 228 121, 122, 234 diva, 93, 95, 97, 98, 99, 102, 103, 111, fashion-ism, 123, 145, 234 115, 116, 124, 125, 126, 128, Fassbinder, Rainer Werner, 103, 233 129, 136, 144, 145, 210, 219 Félix, María, 114 diva-lectual, 94, 95, 96, 114, 131, Felski, Rita, 1, 2 137, 142, 180, 181, 185, 221 female beard, see under beard, female divorce, 10, 33, 96, 139 female female impersonation, see Domenella, Ana Rosa, 18 under transvestite Domeq, Brianda, 231 femenist, 9, 210, 216, 220, 225 Domínguez, Michael, Christopher, 126, gaze, 6, 118, 196 142, 163–164, 165, 227, 235 feminicide, 15 Doña Bárbara, 131 feminism Dornbierer, Manú, 10 comparisons of second wave, third Doty, Alexander, 102 wave, 76–77, 123, 231 INDEX 261

popularity of, 5, 77–80, 152–153, Fox, Marta Sahagún de, 33 161–163, 181–182, 190, 196, Fox, Vicente, 33, 53, 206 201 Francis, 93 roots in French Revolution, 14 Franco, Francisco, 13 second wave, 10, 47, 70, 131, 134, Franco, Jean, 46, 95, 168, 179, 236 154, 174, 201, 238 Freedman, Estelle, 5, 227 Spidermean, 182 Friedan, Betty, 194 see also curing the feminine, Freind, Bill, 116 feminist criticism: postfeminist frivolous, 24, 91, 193, 210, 212, 215, feminist 219, 223, 234 feminine feminist, 140 see also señora speech/discourse official feminist, 36, 51–52, 55–56, Fuentes, Carlos, 54, 102, 148, 156 57, 60, 84, 144, 147, 151, 212 Fullbrook, Edward and Kate, 94, 232 a priori, 6, 196 Fuss, Diana, 219 problems of identifying one, 14–15, 94 Gallegos, Rómulo, 131, 148 see also femmenist, diva-lectual Gamio, Manuel, 53 feminist criticism García, Elvira, 96 French, 3, 14, 21–22, 56 García Márquez, Gabriel, 11 perverse, nonprogressive, 3, 12, 15, García Ponce, Juan, 7 19, 21, 22, 25, 49, 107, 110, Gargallo, Francesca, 174, 237 112, 135, 143, 145, 151, 155, Garrido, Felipe, 37 208, 216, 225 Garro, Elena, 16, 58, 86, 88, 95, 96, postfeminist, 5–6, 201, 216 103, 141, 144, 150, 160, 174, progressive, 13, 15, 47, 76, 116, 175, 180, 182, 234 208, 209, 238 cats, 176, 177–178, 185, 191 rational, 6, 14, 144, 149, 155, 196, “La culpa es de los tlaxcaltecas,” 200, 216, 223 47–49, 229 spectral, 5–6, 78, 81, 112, 190, performance of intellectuality, 88–89, 227–228 91, 94, 97, 124–131, 134–137, “subversive,” 2, 46, 49, 58 145, 147, 161, 232–233 triumphalist, 2, 22, 46–47, 55, works 133–134, 183 Los recuerdos del porvenir, 46, 111, see also amateur, Beauvoir, 129–131, 136, 156, 170–171, spectrality, criticism: as 234–235 progressive, liberal Gaspar de Alba, Alicia, 39 femmenist generations, 7 acts of, 103, 112, 122, 197 of comic book characters related to illogic, 143 feminism, 181–182 musings on, 21, 22, 84, 145, 160, ghost, ghostly, see under spectrality 196, 219, 220–224, 225 Gilbert, Sandra, 22–23, 173 nonfemmenists, 17 glamor, 24, 48, 49, 102, 127, 202, sense of humor, 6, 23–24 210, 213–220, 222, 239 Ferrier, Carole, 5 Glantz, Margo, 35, 56 Fetterley, Judith, 238 Goethe, Johann Wolfgang von, 72 Fiol-Matta, Licia, 68 Goldfarb, Jeffrey, 89–90 flappers, 78, 94 Gómez-Peña, Guillermo, 228 see also pelona, la Gone With the Wind, 48, 49 Fondo de Cultura Económica, 51, 53, González, Aníbal, 236 125, 148 González de León, Ulalume, 166 Foucault, Michel, 33, 34 González Martínez, Enrique, 96 262 INDEX

González Mateos, Adriana, 158 insanity, see under deranged, González Montesinos, Manuel, 96 derangement Good, Carl, 72 intellectual, definition of, 15–18, 89, gossip, see under señora speech/ 138, 147, 161, 235 discourse image of, 36 gossip magazines, see under leisure see under performance, of the role literature of intellectual gothic, 177–179, 180 Irigaray, Luce, 21–22, 23–24 de Grazia, Victoria, 230 irony, 5–6, 71, 74, 137, 212, 218, Greece, ancient, 1, 8, 87, 119, 163, 219 179, 183, 234 irrational, 3, 8, 10, 11, 15, 80–81, 99, Grosz, Elizabeth, 3–4 142, 144, 219 Gruzinski, Serge, 34–35 Irwin, Robert McKee, 9 Guerra, Ricardo, 57, 58, 65, 68, 69, “Is Feminism Finished?,” 5 71, 73, 138, 230 Izquierdo Albiñana, Asunción, güevos, see under balls 42–43 guilt, 72, 202, 210–211, 212, 213, 215, 218, 220 La jaula de la melancolía, see under see also shame Bartra, Roger guilt trip, 204, 205, 209 Jesusa Palancares, 85, 157 guilty pleasure, 205, 209, 211, 213 Jewish culture Gutiérrez de Velasco, Luzelena, 40 in literature, 11 in New Spain, 35 Hahn, Dorothea, 98 Jhabvala, Ruth Prawer, 239 Halperin, David, 32–33, 168 Jiménez Rueda, Julio, 9 Hanson, Karen, 200 Jörgensen, Beth, 148, 152, 153, 156, Hardin, Michael, 130 157, 168, 170, 236 Haro, Guillermo, 237 La Jornada, 148 Hassig, Ross, 29 Juan Diego, 34, 228 Henry, Astrid, 76, 77–78, 80 Juan Gabriel, 93 Hernández, Amalia, 231 Juárez, Benito, 57 Hernández, Ester, 31 Juárez, Ciudad de, see under asesinadas Hernández, Luisa Josefina, 70, 227 de Juárez Hershfield, Joanne, 79 heteronormative, see under Kahlo, Frida, 34–35 heterosexuality Kaminsky, Amy, 130 heterosexuality, 21–22, 33, 59, 60, 62, Kant, Immanuel, 4 63, 64, 69, 70, 72, 82, 84, 101, Karttunen, Frances, 29 159, 194, 199, 208, 221 Kinsey, Alfred, 63 compulsory, 59, 79 Kipnis, Laura, 3 Hidalgo, Miguel, 29 kitsch, 233 hija de la chingada, 78 Koepnick, Lutz, 121 hija de su madre, 170, 173 Krauze, Ethel, 231 Hippocratic thought, 8, 19 Kristeva, Julia, 3, 5, 22, 24 historietas, see under comic books ¡Hola!, 209 Lacan, Jacques, 3, 27, 220 homosexuality, 63–67, 73, 79, 82–83, de Landa, María Teresa, 87 93, 117, 139, 176, 230, 232 Landay, Lori, 179–180, 181, 227 humor, 6, 10, 23–24, 74, 190, 204 Landeros, Carlos, 125, 127, 128, 134, Huyseen, Andreas, 86 154, 169, 234 INDEX 263

Lavery, Jane, 229 López Obrador, Andrés Manuel, 21, League of Decency, see under decency 191, 193, 202 Leal, Luis, 229 see also PRD leisure, 221 luxury, 98–100, 117, 121 leisure literature, 209, 210, 213, 215–216 see also light literature Macdougall, J. Paige, 237 Lester, Rebecca, 28 Macías-González, Víctor, 87 Letras Libres, 191 Mackintosh, Fiona, 18 Levinson, Brett, 229 Madrazo, Carlos, 234 liberal politics, see under criticism: as madre see under motherhood progressive, liberal; feminist mafias, literary, 7 criticism: as progressive; magazines, see under leisure progress literature liberation, women’s, see under magic, 11, 40, 41, 45, 47, 98, 99, emancipation of women 130, 158, 199, 214, 217 Libros de Texto Gratuitos, 37 maids, 47, 48, 106, 114, 115 Lida, David, 10 makeover, see under What Not to Wear light literature, 50, 165, 209 male muse, 170, 237 Lipovetsky, Giles, 211 Malinche, la, 27–31, 34, 36, 41, Loaeza, Guadalupe, 8, 12, 17, 165, 46–47, 59, 228, 229, 230 174, 185, 190, 192, 200, 201, de Man, Paul, 4 202, 203–205, 209–212, 218, Mann, Susan Archer, 231 224, 237, 238 Marcos, el subcomandante, 186, leaving school early, 11, 202 203–204, 211 losing political campaign, 191 Marentes, Luis, 54 performance of intellectuality, Marquet, Antonio, 46 191–195, 200, 202, 206–207, Martín del Campo, David, 53 238–239 Martínez, Victoria, 229 self-denial as intellectual, 17–18 masculine writing, 3 on television, 190, 192 see also virile literature work masculinism see under rational: La comedia electoral, 191, 192 masculinist reasoning Compro, luego existo, 192, masculinity as neutral gender, see 210–211, 212–213 under neutral, in gender Confieso que he leído ¡Hola!, 209, master narrative, 130, 131 213 Mastretta, Ángeles, 43, 229 “Diez consejos,” 206 works La factura, 204 Arráncame la vida, 43–44, 46, 50 Hombres ¿maravillosos?, 211 Mal de amores, 44–45 Las niñas bien, 192, 207 Matthews, Irene, 178 Por los de abajo, 206 Maximiliano, 59 Por medio de la presente, 239 McHale, Brian, 104 Siempre estará París…, 194 McRobbie, Angela, 5–6 Simplemente Martita, 203 Mella, Julio Antonio, 168 Las yeguas finas, 11 melodrama, 48, 127, 185, 186, 189, Long, Mary K., 238 191, 206, 207, 208, 209 López, Alma, 31 men, 1–2, 6–7, 9–10, 14–17, 18, López Dóriga, Joaquín, 148 21–22, 33–35, 96–97, 131, López González, Aralia, 2 152, 153, 154, 160, 161, 163, López Mateos, Adolfo, 229 168, 169, 211, 229 264 INDEX men—Continued mujer barbuda see under beard, performance of intellectuality, female 52–55, 95, 137, 232 Muñiz-Huberman, Angelina, 227 see also rational: masculinist murdered women of Juárez, see reasoning asesinadas de Juárez Mendoza, María Luisa, 55, 127, Mussolini, Benito, 13 153–154, 227 Mutis, Álvaro, 236 menopause, 145 mystique, feminine, see under menstruation, 40, 41 traditionalist femininity Merrim, Stephanie, 229 mestizaje, 29, 228 naco, 113 meta-paranoia in criticism, 104–105 nature, 217, 218, 223 metaphor vs metonymy, 108–110, Navarrete Cáceres, Carlos, 51 190, 216 neofeminismo, 77 Miller, Marilyn Grace, 29, 228 nerve, see under bravery miscegenation, see under racial fetish Nervo, Amado, 24–25 Miss Mexico (1928), 87 neutral, in gender, 18, 22–23, 51, Mistral, Gabriela, 37, 38, 51, 60–66, 68 63, 75, 145, 151, 158, 159, modernist (deep) readings, 104, 190 195, 216 modernity, 13, 120, 140, 144, 182, neuter, 18 217, 218, 223, 230, 234 New Spain, 34, 40 see also chica moderna see also Conquest Modotti, Tina, 137, 168, 174, 175, Nexos, 6 176, 182 Niblo, Stephen, 54 Molina, Sylvia, 163–164, 165, 236, 237 Nietzsche, Friedrich Wilhelm, 72 Molloy, Sylvia, 24–25 niñas bien, 192 money, 91, 99 Nissán, Rosa, 12, 17, 150, 165, 237 Amor, 114–115 Hisho que te nazca, 10–11, 173–174 authors’ personal management of, Novia que te vea, 10–11 58, 145, 166 Noakes, Susan, 3, 227 Garro, 126–128 nonprogressive criticism, see under Poniatowska, 169 feminist criticism: perverse, Rivas Mercado, 157 nonprogressive Monsiváis, Carlos, 80, 148, 229, 233 Novedades, 230 monster, 65–66, 202 Novo, Salvador, 53 Mora, Gabriela, 46, 125, 126, 234 nudity, 118–119 Moraga, Cherríe, 30 nuns, 28, 38, 52, 55, 67, 84, 150 Morales McKale, Margaret, 203 Moreno, Alejandro, 27, 80 Obama, Barack, 32, 33 Moscona, Myriam, 114 Oedipus, 173, 179, 219 motherhood, 10, 14, 17, 27–32, 34–36, Olabuenaga, Ana María, 91, 215–216, 60, 80, 83, 90, 101, 132–133, 223, 239 144, 147, 151, 159, 160, 162–163, Olin, Nahui, 174, 175, 176–177, 182 167, 169, 170–171, 173, 233, 237 Onda, la, 7 analysis of the word madre, 75–76, O’Neill, Edward R., 93 143, 163, 170 Óoorale, 10 as anti-intellectual in literature, Oprah, 197 40–50, 65 optimism, 13, 46, 47, 199, 223 maternal frustration as literary Orozco, José Clemente, 34 theme, 10–11, 132 Ortiz, Verónica, 194, 238–239 see also pregnancy Ortiz de Domínguez, Josefa, 59 INDEX 265

Oscar (Academy) Award, 213–214, phallocentric, 10, 25 222 phallic power, 21–22, 160 “Our Lady,” 31 phallic symbols in criticism, 21, 159, 173, 183 Pacheco, Cristina, 101 Phelan, Peggy, 108, 109 Pacheco, José Emilio, 7 Phillips, Rachel, 46 Palabra de América, 20 philosophy, western, 3, 4, 19, 88, 95, Palacio de Hierro, 91, 193, 202, 119, 186, 200, 215, 223 215–220, 222–224 Pineau, Elyse Lamm, 23 Palti, Elías José, 13 Pitol, Sergio, 7 PAN (National Action Party), 33 Pizarnik, Alejandra, 18, 24–25, 205 panocha, see under cunt plastic surgery, 25 Paoli Bolio, Francisco José, 52 Plotting Women, see under Franco, paradox, 11, 12, 14, 70–71, 99, Jean 101, 121, 130, 142, 156, Poncela, Ana M. Fernández, 77 160, 175, 207, 209, 217, Poniatowska, Elena, 21, 36, 52, 55, 220, 225 62, 75, 86, 88, 99, 103, 124, Parrini Roses, Rodrigo, 176 128, 134, 136, 145, 155–172, del Paso, Fernando, 7, 56 176–179, 203, 236, 237, 238 patriarchal common sense, 4 as her own muse, 172 Paz, Octavio, 16, 18, 39, 52, 53, 54, performance of intellectuality, 21, 95, 102, 124, 125–126, 128, 126, 147–155, 173–175, 148, 164–165, 166, 228, 229, 179–183 230, 232–233, 236 on television, 148, 174 poetry confused with novels, 54 works works Amanecer en el Zócalo, 21, 148, El laberinto de la soledad, 30, 151, 162, 173, 174, 237 34, 61 ¡Ay vida, no me mereces!, 55, 56, Pellicer, Carlos, 53 74, 156 Pellón, Gustavo, 227 La “Flor de Lis,” 167–168, 170–172, pelona, la, 78, 83, 137, 140 175, 236, 237 see also hija de la pelona Fuerte es el silencio, 153 de la Peña, Rosario, 59 Hasta no verte Jesús mío, 85, penis, 10, 21, 22, 23, 84 156–157 performance, 93, 232 Jardín de Francia, 62, 155 of gender, 4, 9, 22–23 Luz y luna las lunitas, 156 performance of intellectuality by Melés y Teleo, 160–162 men, 52–55 Las mil y una . . .(la herida de theater as preparation for, 86–87, Paulina), 150 231, 232 Nada, nadie, las voces del temblor, of the role of intellectual, 4, 9, 150 17–21, 38, 51, 89–96 La noche de Tlatelolco, 149 see also under individual author’s Octavio Paz: Las palabras del names árbol, 164–166 perversity, see under feminist criticism: Paseo de la Reforma, 125, 168 perverse, nonprogressive La piel del cielo, 156, 168, 235 Pesola, Kristin, 108, 143 Querido Diego te abraza Quiela, pessimism, 19, 24, 48–49, 51, 199, 157, 168, 236 225 Las siete cabritas, 65, 100, 113, Pettersson, Aline, 10 114, 115, 156, 174–175, 176, Pfeiffer, Erna, 9, 134 178, 233 266 INDEX

Poniatowska, Elena—Continued 200, 204–205, 210, 215, 219, Tinísima, 156, 168, 170, 176, 235 220, 223 El tren pasa primero, 156, 235 rational argument, 6, 15, 17, 22, Porfriato, 29, 207, 239 25, 50, 58, 207 pornography, 6, 23, 33, 158, 159, rational performance, 88, 136, 154 198–199, 200 see also irrational postfeminism, see under feminist raza cosmic, 53, 228 criticism: postfeminist see also Vasconcelos, José postmodernism, 12, 20, 212, 217 Reforma, 81, 148, 192 postmodernist criticism, 208, 209 Reid-Walsh, Jacqueline, 199, 208, 238 postmodernist literature, 104 “Retrógrados-Liberales,” 13 PRD (Party of the Democratic Revolution Revolution), 148 historical event in Mexico, 114, 207 pregnancy novel of, 7, 9 pregnancy among literary as revolving pattern, 7, 10, 186 characters, 20, 42, 45, 50 Reyes, Alfonso, 53, 96 see also sterility, among literary Rich, Adrienne, 59–60, 69 characters; Sor Juana, del Río, Dolores, 87 archetype; motherhood Rivas Mercado, Antonieta, 16, 86, 88, pregnancy brain, 17 96, 105, 145, 180, 185, 191, 235 PRI (Party of the Institutional performance of intellectuality, 88, Revolution), 192, 234 91, 94, 97, 137–144 Prime of Miss Brodie, The, 13 works productivity, 15, 25, 83, 92, 97, 197, La campaña, 138, 142, 235 212 “La mujer mexicana,” 140 progress, 3, 12–15, 19, 24, 116, 161, Rivera, Diego, 111, 118, 168 188, 209, 228, 229 Rivera Garza, Cristina, 6–7, 16, 158 psychoanalysis, 3, 14, 21, 171–172, 219 performance of intellectuality, 20–21 pubic hair, see under beard, female Roberts, Martin, 200–201 Puga, María Luisa, 18 Robles, Martha, 135 puta, 170, 221, 231 Rodríguez, Jesusa, 39, 114, 174, 229 Rodríguez Lozano, Manuel, 137, queen, 36, 106, 113, 117, 147 138, 235 queer, 30, 32, 33, 38, 64, 74, 81–83, Romero, Rolando, 228 100, 106–107, 130, 140, 144, Romo, Leticia, 128 159, 162, 198, 199, 232 Rubenstein, Anne, 78, 179, 181–182 theory, 19 Rulfo, Juan, 102 Quién, 192 Sabines, Jaime, 53 racial fetish, 48–49 Salgado, María, 58 racism, 32, 114, 115–116, 155 Salinas de Gortari, Carlos, 148 Ramos, Samuel, 53 Sartre, Jean-Paul, 94, 232 Rand, Erica, 198 Schaefer, Claudia, 52, 238 rational Schmid, Ulrich, 116, 117 an alternative to, see under Schneider, Cy, 199 femmenism Schuessler, Michael, 89, 96, 98, 102, in critical style, 1–2, 12, 97, 119, 111, 113, 115, 118, 126, 152, 125, 205 153, 172, 175, 177, 231, 233 masculinist reasoning, 94, 131, 138, Schulman, Alex, 116, 122, 234 140–141, 143, 144, 186, 195, Scott, Joan Wallach, 14, 186 INDEX 267

Sebelius, Kathleen, 32 Steinem, Gloria, 179 secretary, 64, 65, 68, 180 sterility, 159 Sedgwick, Eve Kosofsky, 72 among literary characters, 41, 83 Sefchovich, Sara, 227, 229 in artwork of Kahlo, Frida, 35 Seligson, Esther, 166, 227 Stowe, Harriet Beecher, 197 senocéntrico, 10 subversion, see under feminist criticism: señora, 60, 74–75, 77, 82–84, 91, 147, “subversive” 152, 159, 163–165, 166, 169, suffrage, 5 170, 175, 180, 183, 191, 192, Suh, Judy, 13 193, 202, 203, 204, 206, 210, suicide, 18, 86, 92, 97, 143, 144, 145 212 sustainability, 117, 185, 210, 211, 220 señora-ty, 160, 164, 191 señora speech/discourse, 131–134, taste labor, 93, 95, 97, 111 136, 234–235 Tenorio Trillo, Mauricio, 13 señorita, 74, 75, 147, 180, 236 tenure packets, 16–17 sexuality testicles, see under balls commercialism of, 6, 32–33, 102, teto, teta, 8 159, 180, 196, 197–199, 206, see also Boob 216–217, 218, 223 theater, 86–87, 97, 137, 213, 231, 232 Victorian regulation of, 34 theory as therapy, see under criticism shame, 71–74, 83, 90, 140, 202, 210, as self-help 213, 218, 220 three best Mexican novels, 6–7 Sheridan, Beatriz, 103–104, 233 Toffoletti, Kim, 199 Sheridan, Guillermo, 191 tonta, 170 shopping, see also under Torres Bodet, Jaime, 53 consumption traditionalist femininity, 58, 88–89, 90, Showalter, Elaine, 90 91, 92, 94, 95, 97, 98–103, 129, signature 130, 134–135, 136, 138–140, with lipstick kiss, 16–17 143, 144, 145, 203 Sor Juana’s signature as fetish, 39 transvestite, 38, 40, 113, 117, 216 threat to Poniatowska to sign penis, female female impersonation, 100, 21–22 179 Sneider, Roberto, 44 Tuñón Pablos, Julia, 27, 229 Soberantes, José Luis, 80 Turner, Tina, 90 Sokol, Alina, 36 Sommer, Doris, 157 UAM (Autonomous University of Sontag, Susan, 91, 117–118 Mexico), 77 Soriano, Juan, 89, 111, 232 UIA (Iberoamericana University), 77, Sor Juana (Inés de la Cruz), 27–28, 231 34–39, 51, 67, 68–69, 73, UNAM (National Autonomous 229, 230 University of Mexico), 53, 62, archetype in literature, 40–50, 67, 169 86, 88, 237 image on currency, 36 Ungo, Urania, 174, 237 works United States, 3, 15–16, 31–32, 33, Primero sueño, 39 46, 47, 52, 54, 57, 77–78, 97, Respuesta a sor Filotea, 45 140, 144, 145, 179, 189, 198, spectrality, 5–6, 12, 14, 15, 19, 78 209, 227, 232, 238 Spivak, Gayatri, 5, 141 El Universal, 13 Staples, Anne, 182 El Universal Gráfico, 78 Steele, Cynthia, 236 El Universal Ilustrado, 79 268 INDEX

Usigli, Rodolfo, 31 witch, 36, 214 utopic, 13 de Wolfe, Elsie, 123 Wolf-Meyer, Matthew, 180, 181, 187 vagina, see under cunt Womack, John, 189 de Valdés, María Elena, 147, 171 woman, definition of, 15–17 Váldez, Diana Washington, 14–15 identity as, 140, 141, 144 Vasconcelos, José, 16, 37, 52, 53, 54, professional women, 17, 220, 221, 138, 142, 143, 228 222 Vega, Patricia, 137 see also archetypes ventriloquism, 18, 142 women’s rights, 221 ViceVersa, 172 see also emancipation of women Victoria’s Secret, 32–33 women’s studies, 144, 208, 221–222 Vidali, Vittorio, 168 Wonder Woman, 179–181, 237 Vilalta, Maruxa, 51 Woodward, Kathleen, 205, 222 Villarrutia, Xavier, 96 Woolf, Virginia, 5, 17, 18 see also Xavier Villarrutia Literary works Prize Three Guineas, 5 Villoro, Luis, 229 Oblique references to A Room of Virgen de Guadalupe, la, 27, 28–36, One’s Own, 5, 219, 220 39, 41, 46, 55, 59, 88, 99, 102, 109–110, 128, 130, 143, 169, Xavier Villarrutia Literary Prize, 46, 198, 199, 228, 229, 230 149, 236 virile literatura, 9–10, 18, 49, 85, 142 Vuelta, 166 Yáñez, Agustín, 53 Waldron, John, xi, 227–228 Yo, la peor de todas, 39 Waters, John, 18 Young, Iris Marion, 84 Weston, Edward, 168 youth, consciousness of, 97, 121, 123, What Not to Wear, 196, 200–201, 203 194, 210, 216 Wif, Robyn, 144, 235 Wilde, Oscar, 124 Zedillo, Ernesto, 206, 236 Williams, Raymond, 54, 227 Zerilli, Linda M.G., 23–24 Winkler, Julie, 235 Žižek, Slavoj, 228