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Atenea Dec 2003.Pmd Volumen XXIII Número 2 UNIVERSIDAD DE PUERTO RICO EN MAYAGÜEZ DICIEMBRE 2003 jkl LA JUNTA EDITORA DE LA REVISTA ATENEA publica artículos relacionados con las humanidades y las ciencias sociales escritos en español o en inglés y algunos cuentos y poemas. Los artículos deben regirse por las normas estipuladas en la última edición del manual del Modern Language Association of America (MLA). Favor de enviar tres copias a la Editora, Revista Atenea, PO Box 9265, Universidad de Puerto Rico-Mayagüez, Mayagüez, Puerto Rico 00681. La Junta Editora no se hace responsable de las opiniones emitidas por los colaboradores y se reserva el derecho de publicación. Derechos de propiedad literaria reservados. © 2003 Universidad de Puerto Rico-Mayagüez ISSN 0885-6079 URL: http://www.uprm.edu/atenea Tipografía: HRP Studio Diseño y arte portada: José Irizarry y Nandita Batra El diseño de la portada viene de un tetradracma de plata ateniense del siglo V a.C. Presenta a Atenea en el anverso y su atributo, la lechuza, en el reverso. Cortesía del Foro de Monedas Antiguas. Ilustrador: José Irizarry THE EDITORIAL BOARD OF REVISTA ATENEA publishes articles on the humanitites and social sciences written in English or Spanish, as well as some poetry and fiction. Articles should conform to the norms stipulated by the Modern Language Association of America (MLA) and be sent in triplicate to the Editor, Revista Atenea, PO Box 9265, University of Puerto Rico-Mayagüez, Mayagüez, Puerto Rico 00681. The Editorial Board of Atenea is not responsible for the views expressed by the contributing authors and reserves the right to publication. Right to Literary Property Reserved. © 2003 University of Puerto Rico-Mayagüez ISSN 0885-6079 URL: http://www.uprm.edu/atenea Typography: HRP Studio Cover designed by José Irizarry and Nandita Batra The cover design is based on an Athenian silver tetradrachm from the 5th century B.C., depicting Athena on the obverse and her owl on the reverse. Courtesy of the Ancient Coin Forum. Illustration: José Irizarry jkl ATENEA Revista de la Facultad de Artes y Ciencias de la Universidad de Puerto Rico, Recinto de Mayagüez Junta Administrativa: Rector: JORGE VÉLEZ AROCHO Decano: MOISÉS ORENGO AVILÉS Directora de Publicaciones: NANDITA BATRA Junta Editorial: Editora: NANDITA BATRA Consejo Consultivo Editorial LUIS AVILÉS, Departamento de Ciencias Sociales, Universidad de Puerto Rico-Mayagüez BEN BENNANI, División de Idioma y Literatura, Truman State University ANDERSON BROWN, Departamento de Humanidades, Universidad de Puerto Rico-Mayagüez LILIA DAPAZ, Departamento de Estudios Hispánicos, Universidad de Puerto Rico-Mayagüez (Jubilada) FRANCISCO GARCÍA-MORENO BARCO, Departamento de Estudios Hispánicos, Universidad de Puerto Rico-Mayagüez JACQUELINE GIRÓN, Departamento de Estudios Hispánicos, Universidad de Puerto Rico-Mayagüez JAIME GUTIÉRREZ SÁNCHEZ, Departamento de Ciencias Sociales, Universidad de Puerto Rico-Mayagüez ANA KOTHE, Departamento de Humanidades, Universidad de Puerto Rico- Mayagüez CORA MONROE, Departamento de Humanidades, Universidad de Puerto Rico-Mayagüez DAVIDE STIMILLI, Departamento de Francés e Italiano, Northwestern University MANUEL VALDÉS-PIZZINI, Departamento de Ciencias Sociales, Universidad de Puerto Rico-Mayagüez Ayudante editorial estudiantil: JOSÉ JIMÉNEZ JUSTINIANO jkl jkl ÍNDICE / TABLE OF CONTENTS ENSAYOS / ESSAYS RICK MITCHELL - Caribbean Cruising: Sex, Death, and Memories of (Congo) Darkness ........................................ 9 SARBANI CHAUDHURY - Anticipating the English Reformation in Popular Culture: Simon Fish’s A Supplication for the Beggars ..................................................... 25 ÁNGEL A. RIVERA - Ética y estética de la compasión en Mayra Montero: Aguaceros Dispersos ................................... 39 DIANA DAVIDSON - Difficult Writings: AIDS and the Activist Aesthetic in Reinaldo Arenas’ Before Night Falls ........... 53 JAVIER MUÑOZ-BASOLS - La recreación del género gótico a través de la percepción sensorial: la construcción de la hipotiposis en Aura de Carlos Fuentes ..................... 73 MELISSA PURDUE - From Sarojini Naidu’s “curved and eloquent little mouth” to Arundhati Roy’s “mass of untamed curls and smouldering dark eyes”: Stereotypical Depictions of Female, Indian Authors in Reviews of their Work .................................................................... 87 MARIBEL ACOSTA-LUGO - Mujer, mito e historia: una lectura de las estructuras temporales en Malena de cinco mundos de Ana Teresa Torres ........... 105 PENELOPE KELSEY - Narratives of the Boarding School Era from Victimry to Resistance .................................................. 123 CYNTHIA DEGNAN - [Ex]posing Sightlines: The Staging of Power in Cherríe Moraga’s Heroes and Saints ................ 139 jkl PAULA PINTO ELYSEU MESQUITA - Law(s) and Disorder(s): Male Trouble in Faulkner’s Sanctuary ..................................... 153 CUENTOS / FICTION SAIKAT MAJUMDAR - No Exit ......................................................................... 179 POEMAS / POETRY HUGO RÍOS - Iniciación; Calendario; En el principio; Génesis; Un atardecer de vacunas; Ciclos; Espejos; Camándulas; Sala de espera; Ciudad en cinco voces y un suspiro; Sobre ojos y gatos; Sarajevo; La escala; El verbo inevitable ........................................................ 195 RESEÑAS / REVIEWS DAN MILLS - Gender and Heroism in Early Modern English Literature, by Mary Beth Rose .................................... 205 KATHRYN FERGUSON - From Diggers to Drag Queens: Configurations of Australian National Identity, by Fiona Nicoll .......................................................................................... 209 jkl ENSAYOS / ESSAYS jkl jkl CARIBBEAN CRUISING: SEX, DEATH, AND MEMORIES OF (CONGO) DARKNESS Rick Mitchell The trick, for the modern capitalist magic to function, is to deface the commodity of labor, allowing its [...] use-value component to surge forth, flashlike, only to disappear once again as [...] exchange-value. Hence fetishism is not a consequence but the magical precondition for the commod- ity, and hence for mature capitalism, to function. We should not be overly surprised, therefore, at the spectacular “return” of the archaic within modernity. —Michael Taussig, “The Beach (A Fantasy)” I can deny my dependence, denying sexuality, filth, death, and insisting that the world submit to my action. But this negation is fictitious. —Georges Bataille, “Transgression” ...the first dead are our first masters, those who unlock the door for us that opens onto the other side, if only we are willing to bear it. Writing, in its noblest function, is the attempt to unerase, to unearth, to find the primitive picture again, ours, the one that frightens us. —Hélène Cixous, “The School of the Dead” I’m sitting in one of those new Starbucks which seem to be springing up everywhere nowadays, putting all the old coffee shops —less uptight about carving initials on tables, posting home-made flyers for poetry readings, lost cats—out of business. There are now five Starbucks within a two-mile radius of my home and they’re al- ways reliable, always the same, which seems to be a big part of their global appeal. As I sit near the window with my Cafe Americano —which isn’t large, or extra-large, but “venti”—looking out at yet another ugly San Fernando Valley parking lot while trying to write something about the Caribbean cruise ships I once worked on, my thoughts float back to a port I used to visit, Samaná; to its two, open- air, thatch-roofed, side-by-side bars that sat just up the hill from Samaná’s lone pier, a modern cement structure built by the cruise 9 line which owned the only cruise ship that stopped at this rural out- post in the Dominican Republic, one of two countries, along with Haiti, that shares the island of Hispaniola. Samaná A donkey in the street, loose chickens; cast iron cruise ship billowing smoke; tourists talk English in tennis shoes negotiate green hats of freshly woven palm, miniature sailboats of goatskin, horns. “Isn’t that somethin’?” Gliding across pristine waters, past lush, tropical mountains, the ship sailed into Samaná every Wednesday. Waiting at the pier along with a couple of taxi drivers and their beat up cars would be groups of young kids in ragged clothes not shy about encircling a crew member and tugging on his clothing while asking for a dollar, an apple, anything. And a line of old blue school busses always stood just off the pier awaiting shipboard passengers. Hating to drive alone during the long three-hour trip from Puerto Plata, the bus drivers, always practical, filled many of their seats with young women who would make the weekly trip with hopes of earning some money from the crew—mostly Latino and West Indian males at the time—or at least having some fun. I also think back to my narrow cabin with the bare light bulb over the bed; lazy Aruban dogs, ribs pushing through their skin, wandering to nowhere in particular over hot, oil-stained piers; Old San Juan and its dilapidated, second-story sailors’ tavern where the menu included fish and chips, cocktails, and waitresses in bikinis and spiked heels who were available for visits to one of the hourly rooms at the back of the bar. Along with St. Thomas, Old San Juan is now the busiest cruise ship port in the Caribbean, the world’s most popular region for cruise ships, and success has taken its toll on the old landmarks. During a recent visit to Old San Juan, for example, my first trip to the Carib- bean in eighteen years,
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