The Hungry Woman Hungry The Keywords play. this in expressed of Aztlán” “Queer kernels the and thinking Moraga’s appreciate forward better we may character, onto this focus our shifting By of Luna. character secondary the in found of change, seeds unexpected the offers also but it nationalism, of patriarchal deconstruction necessary on the play not focuses only the that demonstrates (2001), Medea Woman: article AMexican Hungry of The this reading close (1993), a her Aztlán” “Queer which in Through possible. be would forelements asociety necessary the by naming further but heteronormativity, she goes patriarchal critiques only The Hungry Woman Hungry The Mool, Palabras clave ella. de dentro Aztlán” “Queer de noción la de simientes ylas Moraga de futuro posible de mejor que apreciemos visión es la personaje este hacia enfoque nuestro cambiar Al Luna. de secundario personaje del a través cambio de inesperadas semillas Woman brinda Hungry que The demostraremos obra, esta (1993) de que ofrecemos Aztlán” “Queer de concepto lectura su la posible. En sería cual la en sociedad una para nombra elementos los necesarios allá; que más sino va patriarcal, heteronormatividad la hacia (2001), Medea crítica una A Mexican no solo ofrece Moraga Woman: Hungry The que obra dramática su en mantenemos artículo este en académicos, de críticos textos ylos Moraga Cherríe de semi-autobiográficas obras las Considerando Resumen (2001), Medea her Woman: play, in AMexican that Hungry contends The article this work, scholarly varied and writings Moraga’s on Cherríe semi-autobiographical Drawing Abstract Revista Canaria de Estudios Ingleses Estudios de Canaria Revista : “Queer Aztlán,” Medea/Coyolxauhqui/Coatlicue/Huitzilopochtli, Chac-Mool, THE HUNGRY WOMAN: A MEXICAN MEDEA AMEXICAN HUNGRY WOMAN: THE QUEER AZTLÁN IN CHERRÍE MORAGA’S CHERRÍE IN AZTLÁN QUEER : “Queer Aztlán,” Medea/Coyolxauhqui/Coatlicue/Huitzilopochtli, Chac- , Aztlán, Patriarchal Nationalism. Patriarchal , Aztlán, LA AZTLÁN QUEER EN EN QUEER AZTLÁN LA DOI: https://doi.org/10.25145/j.recaesin.2020.81.11DOI: DE CHERRÍE MORAGA CHERRÍE DE MEDEA A MEXICAN Pontificia Universidad Católica de Chile de Católica Universidad Pontificia , Aztlán, nacionalismo patriarcal. nacionalismo , Aztlán, Allison Ramay Allison , 81; November 2020, pp. 169-179;, 81; 2020, e-2530-8335 November ISSN: THE HUNGRY WOMAN: HUNGRY THE

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REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 169 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 170 This Bridge Called My Back (1981) Back My Called Bridge work This in From her resistance. earliest expression and written foundation for the Xicana laid that overtook Aztlán and destroyed it as a promise land for a promise all. it land destroyed as and overtook Aztlán that end machismo to the an by sought Medea: life renewed the symbolizing Medea, holds Medea later, First, Chac-Mool and, held apietais image. in Chac-Mool holds “home.” Medea figure take each Crucially, her upon he dying, will tells and drink form of the in a spirit, her Chac-Mool back a comes similar gives death, his after sleepy. him make Shortly atole of will him she made blue says, by that, giving corn Chac-Mool’s ends Medea cycle, the life to abolish interrupt act and asymbolic In on genuine fatherly love. based than rather instrumental presence is thereforeand his part-Yaqui as proper not father,he, the blood and his indigenous quantity has Indian because him, with Chac-Mool lives if Aztlán in land only own father,Jasón, his can them. exiled of that thought system very the nationalism, contribute to patriarchal he will that means father. return His his to with be to Aztlán decided to return centers Chac-Mool, on Onewhohas of conflicts the Sal. her grandmother, Mama Medea’s with together (depicted awasteland) son, as Chac-Mool, and Arizona, to Phoenix, put lovers exiled lesbian are into the are laws place, patriarchal and heteronormative Once the stonemason, love Luna. in afemale with falls Medea period, that queer between people in Sometime were all forced into exile. while women, men and were formed between hierarchies years, territory. several But after the within to stay allowed was anyone and who cause supported the rights aboriginal United the The revolution States. nation within a separate defendedas Aztlán contends. article this as revenge than but bigger Greek Medea, the for something lover conquistador of Spanish and translator the Malintzin, echoing place, in heteronormative the rules betrays mentioned. previously figures She the of each mythical whoa Medea resignifies order. play, order this that by In fashioning explodes patriarchal Moraga disrupt or disturb could that those behavior, female to limit particularly used have been Woman). figures Hungry these the play the as in All (known Coatlicue goddess Euripides’s Medea’s While with is most spaces. evident connection and temporalities myths, nationalism. of understanding alternative an of articulation the playwright’s find we attention little from scholars, received who has of Luna, character secondary of publication the patriarchy. on author’s the after before Drawing and both writings, an end to the play’s of signal Medea, whoseactions protagonist, significance on the play have focused this to analyze Most scholars them. within embedded nationalism about women patriarchal to the demonstrate myths pre-Columbian Woman: Medea Hungry A Mexican one anthologies, of and her most complex essays The is works poems, plays, genre her Of numerous words multi- for present and future. the and images new to shape (2019), AMemoir Heart: them used and recovered past stories from the has Moraga The Hungry Woman The Hungry Xicana lesbian author and scholar Cherríe Moraga is renowned for having renowned is for Cherríe Moraga having author scholar lesbian and Xicana In In acomplex is of treatment Medea Woman: A overlappingThe Mexican Hungry The Hungry Woman The Hungry Medea , she also shares traits with Malinche, La Llorona and the Aztec Aztec Llorona the and La Malinche, with traits shares , she also , and that of critics, this article suggests that through the the through that suggests article this of critics, that , and Hernán Cortés, and kills her child, like La Llorona and La like her child, kills and Cortés, Hernán , Medea is an ex-revolutionary, an is , Medea who helped found (2001), Greek and combines Catholic, which

Native Country of the of the to her most recent Native Country patriarchy held within her counterpart, Medea. her counterpart, held within patriarchy considerthe character, we must this of To significance Luna. the understand best of figure most visible the form becomes in of anew belonging that argues article this future, alternative imagined for an opening an creating as Woman The Hungry (73). who understand scholars, death” these with line through In only reachable by love, but organized place real without disappointment disillusionment–a and space,’ future another she able is to ‘future imagine from that history By telling world perspective. the from adecolonized imagining to start aplace be it can Moraga’s that apositive ‘beginning,’ not may like play seem death asserts “While that, asserts Tanya observation, arelated In them. away to unravel is González there that implies also she of different origins, numerous myths intertwining and play’s the in “recognition of multiple of modes oppression” (244). By overlapping to convention),not supposed to according be, find Moraga’s one can utopicvision are where enjambment they of myths (that insertion the is, mythical sheterm calls her shows in consideration of a Martin-Baron R. Michelle As of Xicanxs. future hope for the expressing as read be ironically, perhaps center can at the and, desire happy’ ” (10). than harder and deeper uniquelyit queer teaches places tragedy This Oliver-Rotger, with interview her in 2007 “I says tragedy, chose Moraga ‘because As center. at the death by placing part, in nationalism, of patriarchal trajectory to this The Hungry Woman The Hungry as such stories, (“Queer” 260). challenging and New passive” “silent sexually and Chicanas would keep stories that positions, invoking (“Queer” 255). leadership ranks” most important the men maintained Heterosexual Movement the Moraga, “never its accept[ed] among lesbians men gay and openly However, to acommon dream. and according of unity self-determination, a sense (2). renaissance” It created cultural emerging the force in most unifying the as served Aztlán “the of idea ahistoric-geographical states, Lomelí A. Francisco Emeritus of Moraga’s on 1960s the 1970s writing and Movement. Professor Chicano As needed. arestill enormous sacrifices that and liberation for to yet achieved women be true point the has that would emphasize (11). sex?” our Euripides’s rewrites that astory other words, myth, In for Moraga, the enslavementand deformation of infidelity: sexual much than graver a betrayal for general in one but man, man not against of vengeance act an misogyny, against [for Euripides’s retaliation be her then children], infanticide could to Medea kill Oliver-Rotger, Antònia reason the “Well, Maria was with traición asks: if Moraga women’s interview agency. and an In have killed stories that many the sexuality as charged emotionally and powerful as a story world through is without patriarchy a wayimagine to thebest that certain of(50). difference” seems And yet, Moraga discourses that perpetuate ideologies escaping in difficulties the highlights Moraga power, of–subversion aspace of as patriarchal death of–and act an murder as with Woman The Hungry in of asort gift as on death discussion afascinating In defeated. truly be ever heteronormativity will that unlikelihood the it expresses that multiple in read Some be ways. argue can Patriarchy, as a system in need of dismantling, appears forcefully in much in forcefully appears of need Patriarchy, in dismantling, asystem as nationalism by to paid exorbitantlyendMedea The patriarchal price extreme , Tania González argues that, “By that, playing argues , Tania González ,

speak back back speak

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 171 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 172 kind of revolutionary they are looking for” (1.9.47). looking are they of revolutionary kind send for you” I’ll of us. both (1.9.47). however, not “I the am Luna, more is realistic: People there. have don’t allies still easy. forget so For I’m back. abridge building and more an inability to live outside of the nationalist construction” (57). construction” nationalist of the outside live to inability more an and nation-state, the and of of love understanding idyllic her with disillusionment of her areflection less Medea A Mexican Woman: Moraga’sHungry The Cherríe in of Death Dialectics the and Horizons Decolonial Mother/Sister: the Primal of “Sacrifice chapter dissertation González’s much double before end: the at the death of play, the beginning at the her death own shePerhaps reason, predicts for this she represents for contradictions Aztlán. the and contradictions to her internal rhetoric” revolutionary (134). of its contradiction machista the in caught Aztlán possible reflect liberated could “the of a origins discourse heterosexist in participation of play, from it. the Jorge herself In González’s Manuel reading separating Medea’s her profound of heteronormative Aztlán’s disapproval she not is laws, of capable Medea’s reflects the most this of play, and During hubris. Luna and with despite to entirely to commit her relationship her unwilling makes without Aztlán life full needed for heteronormative and patriarchal nationalism to end. nationalism forneeded heteronormative patriarchal and also is conclusionthe at of theher death passing her of play: own significance the understand to better us allows systems of both she part is that it. Recognizing with complicit she partially is loves of idea the Aztlán, Jasón), sheand still because and (Aztlán nationalism to patriarchal connected intimately represented play the as in completely heteronormativityherself is Furthermore, person to or any cause. not able been she to has give that means which alesbian, be also and Aztlán in arevolutionary be aperson cannot systems; mutually-exclusive involves two a man love another. her In to not environment, fully and awoman learned she loving has completely from the patriarchal nationalism practiced in Aztlán. in practiced nationalism completely patriarchal from the herself to unable detach Moraga’s whoIn is Medea, in itself play, notion manifests this women. men of and both practices and speech thinking, the in embedded divisions, on binary is based patriarchy that is The globe. message the around feminists with dichotomy,” puta/virgen the continues to resonate Anzaldúa, by coined Gloria E. One element that makes Medea a complex character is that she not is blind that is acomplex Medea character One element makes that 2 1 beloved,” the how she to only knows “be that she she that states implies When (1.8.46) me. behind closed border has the crossing, this one to make last ... the Iam again. boundaries those to transgress dare will no woman that be I shall example an Such beloved. me. Vain the to be women know only who like women to all example an be will journey. My tragedy this one to make last the I am The powerful and enduring phrase that Xicana women needed to “unlearn women to Xicana needed “unlearn that andphrase enduring Thepowerful

Tania González also agrees on this point: “Medea’s refusal to commit to Jasón or Luna is is or Luna Jasón to commit to “Medea’s point: refusal on this agrees also Tania González Manuel Jorge see motherhood, patriarchal practicing as of Medea For aconsideration THE UBIQUITY OF PATRIARCHY UBIQUITY THE 2 Medea’s inability to imagine a Medea’s to imagine inability 1 Medea states: “I states: Medea ”, 2011. ”, who is “banished to the darkness and becomes the moon” the becomes and ( darkness to the “banished who is he born, is Coyolxauhqui, soon he as dismembers as and by ahummingbird plan mother. their However, about their to kill warned is aplan prepare Huitzilopochtli Coatlicue’s him, her siblings, daughter, hundred and four Coyolxauhqui, fearing of God War, the is child and Huitzilopochtli, gestating the that know children feather. Her eagle by impregnated story, an is backdrop. the In the in Coatlicue goddess to this altar an with ashortened myth, version tell and of Coatlicue the (“Cihuatateo”) women, childbirth up in of made who have Aztec died achorus with Iopens Act directions, stage to the According of destruction. creation and goddess Aztec the of Coatlicue, myth play’s the of Mesoamerican through the Medea use Hungry WomanHungry The In nor siblings. not are are at peace, daughters mothers and scenario, this In violent son, unit. where who strongest represents he the aworld is on binaries, based The Last Generation Last The in highlights a point she daughters, mothers and violence on between relationship symbolic the son/Huitzilopochtli. the is Chac-Mool and mother/Coatlicue, the is daughter/Coyolxauhqui,the Medea is Luna to one figures: of myth’s the assigned of play’s is where the each myth characters of Coatlicue the re-enactment a play. the with throughout appear begins II Crucially, Act myth to this References has made an essential move toward abolishing the patriarchy within her. within patriarchy the move abolishing toward essential an made has women” of moon, the by goddess to extension the and all (42). way, this In Medea freedomand to “life offers Medea maintains, Quinn-Sánchez Kathryn As Luna. is to have mother. aproper the play, with relationship chance the In the daughter this who never had daughter to the her loyalty violence to transfer is patriarchal age-old hija la “Ahora, rebelde” (2.8.92). Luna, she my La is god. Medea’s Indeed, antidote to daughter/Coyolxauhqui: to the allegiance then, proclaims Medea, Coyolxauhqui. to murder her her she when daughter/ son/Huitzilopochtli did shewhich allowed her daughter, for betraying Coatlicue denounces Medea before her passing, own and infanticide the mother-daughter following the wound. Immediately healing addition, involves which important an makes out ofHuitzilopochtli also it, Moraga Aztlán. in have descendants or land never own Jasón will and nationalism, end of heteronormative patriarchal to the leads which of Huitzilopochtli, son. death the Chac-Mool’s the is death kills We learn more about the subtle presence of patriarchy operating within We within more operating about subtle learn of presence the patriarchy In this myth, the mother is complicit with and facilitates a dominant and and adominant mother complicit the facilitates is and myth, with this In (73) light. by his obliterated is moon (Coyolxauhqui) the and horizon the up from rises (Huitzilopochtli) thesun that day every lives, day of our every enacted is myth machista This Sun/Son. of the light rising by the eclipsed is power female mujer and rebelde, la kills motherhood, of patriarchal defense to the But hijo comes el greed. and war, misogyny, from culture the in saveorder to motherhood male-defined kill must daughter and other each against pitted are daughter and Here, mother The primary problem with this myth, according to Moraga, is that it imposes that imposes it is to Moraga, according myth, this problem with The primary Beyond undoing the dichotomies implied in the myth by taking by taking Beyond dichotomies undoing myth the implied the in , though, ,

this imbalance is symbolically avoided because Medea Medea avoided because symbolically is imbalance this : Last Generation Last 73). 73).

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 173 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 174 go of Aztlán. Mama Sal sees this clearly: this sees Sal Mama ofgo Aztlán. to do, but she not is she able manages to which Medea let to convince hands, their community’s strength. teotl representation tangible of the deities held the that believed Aztecs the sculptures, who we depended do power. on not identity of clay the their the know Although depleted communities and the over ownership bodies their claimed unjustly that aspace of museum, the space static from the them free she could families, their by helpingLuna’s “little that the is message (2.1.59). by history” ... trapped belonged to sisters, us. my to little free I wanted They of children’s size glass. the thesir,trapped, were toys. They museum behind “who?”“them.” she responds: “Ancient asks Border the Guard When diosas, little to she free wanted that Border the Guard tells and into Aztlán crosses illegally Luna one forever. At others. to attempts point, rescue She also to leave Aztlán Jasón and (1.9.48). free” so act her to convince her to freedom help uses by trying Medea, Luna her identity. her: “You to envy seems her certainty even Medea of and sense freedom part, in at least explain, could this and welcomed of into being back Aztlán, chance no has Luna alesbian, of forms As renewed belonging. and knowledge alternative as Medea much (Oliver-Rotger of as aborder just envisioned figure as 13),symbolizes who Moraga Luna, important. Chac-Mool also of is and Medea death the after hierarchies. of free one son arelationship the holds the mother in who the and lovingly as daughter entirely,the the holytrinity placing resignifies also, now Moraga, are united. myth, Coatlicue the in other each who against were pitted figures, Coatlicue),and three the Huitzilopochtli receiving Coyolxauhqui (read Medea Chac-Moolembracing and as (the daughter the moon), with to rest son/sun the (Chac-Mool). with together By murderedbe by goes her daughter, here quite she opposite symbolically the occurs; about is to where Medea/Coatlicue myth, Coatlicue the moon. the So, unlike with “sun,” by at the once eclipsed vision was but she able then is her to home see new “You’re moon Chac-Mool repeats: and full the she sees home” going (98). Medea’s is too bright” sun (98). “The butShe complains, to attempts do this, Eventually where home her him to he look tells is, moon. at the asks Medea when confused, of aspirit her to home.” “take of made powdered herbs, and her He adrink gives form for the Chac-Mool in back Medea scene, comes last the In fundamental. is where a scene moon in the entire play the culminates because important is Luna, also (or power) Freeing would, then, restore them divine the themselves. of god the you got only one shot at being a woman and that’s being amother. that’s and being awoman oneyou gotonly shot atbeing Mama sal is to holdas goal her figures these freeing in successful somewhat is Luna worldthecontinues liveinphysical to Luna of thecharacter that fact The We and daughter/Coyolxauhqui, to the Medea’s that know allegiance new . When you’re a girl, hija, and a Mexican, you can learn purty quick that that quick purty learn you can you’re. When aMexican, and hija, agirl, LUNA AS “QUEER AZTLÁN” “QUEER AS LUNA diosas,” or “sisters,” sculpted to return poet Ricardo Bracho” (225). Bracho” Ricardo poet with aconversation in ago ayear shape concrete take to began and years three over for my mind in Hungry Woman 5). Woman Hungry survive, let alone flourish, also indicate her closeness to indigenous knowledge of of knowledge indigenous to closeness her indicate also flourish, alone let survive, where would not corn land, typically abarren in harvest abundant and cycles earth’s of of Her the being. ways knowledge indigenous to her the closeness demonstrates also fertility, human and Tonantzin, agriculture who connotes to mother earth, aperson (1.1.13). to for feed aday” grain Luna’s goddess reverence of Aztec the produce enough recommendation to can Chac-Mool: corn “Plant Asingle corn. (capitalistic),represents not is of accumulation but her in of seen rather subsistence, it to wouldeconomy work The as seem “Queer in form Aztlán.” ofshe nationalism (265). over’” world the peoples native priority,’ highest the peoples as uponindigenous traditions ... of the who ‘draw and of rights the worldview, indigenist adopts where an identity and people “ ‘take about Movement, not is its Indian ambiguous Chicano the “Queer Aztlán” during andthegender expressions Aztlán notion (264).Like of sexual racial, different with nationalism), conventionalto where the people divisive of onerange would a find (as opposed nationalism all-inclusive on an nation would based be this that adds with Xicano poet Ricardo Bracho Ricardo poet Xicano with world the in of resembles Moraga’s being aconcept “Queer she developed Aztlán,” Luna’s because interesting way is foronly build herself, This but well. for as others she would not that future alternative of an she possibility represents and the myth she facilitate. may that future the foreshadows ofhere set laws, her to house and build for own Luna aperson not who does to Sal’sas encouragement heteronormative adhere Mama laws. new, asculptor and something as of capable creating depicted is as Luna wasteland, could “embrace all “embrace could first time to an audience. time to first Luna’s character, in many ways, practices citizenship and an alternative alternative an and citizenship Luna’s practices ways, many in character, Hasta tu propia casa, you build with your own hands. (1.9.50) hands. own your with you build propia casa, tu Hasta up again. put them and own...You on your live and walls down how to tear learn Mama sal Luna time. of all beginning stone the from the metate on commandmaents diez como los written That’speople law theof our Mama sal Luna 5 4 3 Coatlicue thefrom end the of play,remaining At the only figure the is Luna to a banished have been they that in clear is burden of the lesbianism While

In the essay, originally published in 1993, Moraga states: “‘Queer Aztlán’ had been forming forming been had Aztlán’ “‘Queer 1993, states: in Moraga published essay, originally the In means “queer” folk. means jotería Chicanos, for that, stating endnote an includes Moraga April 10, on Theatre 1995 ( Repertory Berkeley at place took reading staged first The . Well, ain’t that my story. . Tell She’s Medea. mother, the not me. . Exactly. You go and change the law. the You out You go and . Exactly. change mother your leave and go . You go from a daughter to a mother, and there’s nothing in between. between. . You to a mother, in there’s and a daughter from nothing go its people, its jotería” including 4 The two authors dreamed of a Chicano homeland that that homeland Chicano of a twodreamed authors The 3 only a few years before the play was read for read the play before the was years only afew 5 (“Queer” 254). Moraga And The The

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 175 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 176 she is, rather, a manifestation of the future that begins at the end at the of play. the begins that this In of future the rather,she is, a manifestation but victim; the play, entirely for she anything her is this symbolism rewrites Moraga brothers during the Chicano Movement Chicano the of 1960s-70s” 17).brothers the during Galeana and (Luna Chicano their by of patriarchy,system ‘sacrificed’ but literally more been so, having under a living understood 17). Chicanas ofmany “pain the symbolic She also is felt, by ‘mutilated’ Galeana “that of her and being brother” (Luna Xicanos gay and lesbian that Movement, she fragmentation resembles the because Xicano historic the offering. an as left is multi-dimensional, and multi-faceted collectivity, is one end,only comealternative but that to an an not has end at patriarchy the of play; reached the is harmony that to imagine made we are readers/viewers, home moon. new the As with possible this in symbolically unity,and They,seems daughter/Coyolxauhqui. which as too, healing require Luna mother/Coatlicue the and as Medea daughter: the mother the and between about relationship the concept We to sun. think moon same the the and use could of the myth Coatlicue the in of dichotomous exhibit the they relationship healing the overhaul and an Chac-Mool would and mean Luna complementarity between a move 105).point (qtd toward because essential god” Lara an in by amale is This one, “oustingof agoddess where an is there Coatlicue the like by myths replaced sometimes are goddesses and gods of complementarity between myths structure, move when apatriarchal societies toward that argue scholars moon. Some feminist “home” Medea to the world, when spiritual Chac-Mool perhaps takes and a future in occurs arelationship such that not ledis to imagine we completely are achieved, Chac-Mool’s inevitable. make return that Aztlán in laws the of because and to Aztlán, to from her return desire herself own to separate inability Chac-Mool (moon and Luna son) and of not is between Medea’s possible because way, another in Stated life. to Medea end his complementarity leads which Aztlán, towho consequently her, leaves of Chac-Mool’s because returning interest in and of Medea’sinterrupted is because Their commitrelationship Luna, to to inability it.to see She can’t it. planted Why you did send it? she her see Why (66). away?” she? She is doesn’t “Where Medea’sin get of even harvest: time at the right life, no is longer Luna mentor. she the that and when he learns Chac-Moolfurious, is deformed Aztlán. and misguided to the back knowledge foundation that of “real revolution” the the is of bringing knowledge he dreams and this that Chac-Mool understands building. abandoned their lot an near in she does which maize, for planting ritual harvest the him her to teach Chac-Mool; he asks with relationship her into brings acaring most importantly, of maize her knowledge by Luna’s surprised is “experiment” to plant blue (1.4.30). Phoenix in corn Perhaps who Sal, elderly the even Mama of other characters, that surpasses which land, the The moon/Coyolxauhqui is an important symbol for Xicanas’ response to response Xicanas’ forsymbol important an is The moon/Coyolxauhqui Chac-Mool and Luna of arelationship complementarity between Although To interdependent; are Luna Chac-Mool apprentice and he the is adegree, 6

See also Judith L. Huacuja’s “Borderlands Critical Subjectivity in Recent Chicana Art.” Chicana Recent in Subjectivity Critical Huacuja’s “Borderlands L. Judith also See 6 In In Country of the Heart Heart of the Country her In most recent work, past. the generationsfrom before the her regarding realities. new creating and others but of represents wholeness, asource of capable aiding myth–, pre-Colombian the in sentido”tenga (283). she appears Crucially, not Moraga’s fragmented–as also is Luna un todo que formando pones las juntas, y fragmentadas que piezas tomas significa siemprecomponiendo obra detu ficcióncomouna la propia o realidad, estás vida si of composition: componiendo art to “tantothe si estás similar is daughter-goddess this that explains her have. may Anzaldúa interpretation ofMoraga, Coyolxauhqui not did to influence seem on Coatlicue writing Anzaldúa’s Rotger 12). Although Luna. in non-normative,alternative, specifically embodied queer of being, ways the toward of minds ashifting but demonstrates, aptly also Taniaas González not end only the of of one thinking, kind symbolizes end. other words, In death the implied at for future subtle proposal the the visualize we can then implies–, rebirth and of death goddess the Coatlicue, for needed rebirth–as and spiritual and mental ceremony. and forrealizing of preparing gift the offering, as Luna, who is moon/Coyolxauhqui, the understand Similarly, Moraga’s in we also may telling, of ceremony (15). manifestation a visual she for is who and prepares of as her name Galeana’s translation andMartha closercomes to way,Luna Jennie her significance Moraga’s Luna is a fictional character, her collaborative, non-binary thinking reflects reflects thinking Moraga’s character, collaborative, non-binary her a fictional is Luna While belonging. to national we alternative now of of havean a story Luna, character the Through forms. of its many all in inclusivity demand that laws new create and ritual, and practice on indigenous based agrouplead of farming people to practice world, may society. physical Luna the In Xicanx no tois longer organize available heteronormative Aztlán’s belonging: nationalism and of collectivity understanding but to space, anew rather geographical not to leads aparticular readers/viewers (15), future” the determines for creates her that Moraga map The road she adds. its limitlessness all in history “Because of present future: the and course the change told have been that about women, it will away that such myths in together weaving my generation ‘ to explore and make more accessible their versions more their of past: the accessible to explore make and Toni with agreement in colored the Morrison, is artist’s duty that when she states Oliver-Rotger, with her In interview to her into is lead future. readers the Moraga stories alternative to her providing life by dedicating of guidance lack toresponds this them, ‘ to forget them. As a“pionera”As she not did writer, guidance receive that states Cherríe Moraga (Oliver-Anzaldúa from about Coatlicue learned she first that states Moraga but physical, as rather not play necessarily the as in of death we think If As we have seen in this play, Cherríe Moraga takes on the very difficult taskof difficult play, on very the this we in have seen takes Cherríe Moraga As (Oliver-Rotger 15)told. Still. been never has story version of our the ... Because people of color artists we are if to remember task our is how great And limitless. is this perspectives, multifarious from story, story of of versions the the multitude the history, unraveling And Go that way, hijos. Look north to your future your to north Look way, hijos. that Go (2019) akta a,m’ja Walk way, mi’ that

she states: “Growing toldshe up, states: my elders, well-meaning, .’

They didn’t They cost.”theknow (4). Moraga .’ They asked us to betray .’us betray to asked They Native Native

REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 177 REVISTA CANARIA DE ESTUDIOS INGLESES, 81; 2020, PP. 169-179 178 The Hungry Woman The Hungry in reach within comes Dream to of Paolo reminiscent hope Freire’s to settle, in of radical a refusal theory . This is the future Moraga has worked toward for decades, and that one worked for toward has decades, Moraga future the is . This revised paper accepted for publication for accepted paper revised . Reviews sent to author to sent Reviews : 27-6-2020; : 15-9-2020 Daring

Moraga Moraga Huacuja Lomelí Moraga Anzaldúa Moraga González González Freire Euripides Lara Martin-Baron Galeana Martha and , Jennie, Luna Anthony Quinn-Sánchez Oliver-Rotger Moraga Moraga , Irene. “Goddess of the Américas in the Decolonial Imaginary: Beyond the Virtuous Virgen/ Virtuous the Beyond Imaginary: Decolonial the in Américas of the “Goddess , Irene. Daring to Dream: Toward a Pedagogy of the Unfinished the of Toward aPedagogy Dream: to , Paolo. Daring , Francisco A. “Introduction. Revisiting the Vision of Aztlán: Origins, Interpretations, and and Interpretations, Origins, of Aztlán: Vision the Revisiting “Introduction. A. , Francisco Aztlán: Essays on the Chicano Chicano the on Essays Tribe.” Aztlán: Chicano of Re-Formation The Aztlán: “Queer , Cherríe. Duke University, University, Duke 2000-2010. Writings, Consciousness: Changing of Codex AXicana , Cherríe. Native Country of the Heart: AMemoir Heart: the of Country Native , Cherríe. The Hungry Woman: A Mexican Medea. 2 Medea. A Mexican Woman: Hungry The , Cherríe. , Cherríe. & Gloria E. Anzaldúa E. &Gloria , Cherríe. Poetry and Prose Generation: Last The , Cherríe. Frontiers: A Journal AJournal Frontiers: Art.” Chicana Recent in Subjectivity Critical “Borderlands L. , Judith Homeland, Homeland, 2011. Pagan Puta Dichotomy.” Puta Pagan Feminist Studies Mexican_Medea_ The_Gothic_Gift_of_Death_in_Cherr%C3%ADe_Moragas_The_Hungry_Woman_A_ Theory vis-à-vis Fact and Essays Fiction.” on Aztlán: the Chicano Homeland Fact vis-à-vis Theory of Women’s Studies (2018): 239-258. doi: 10.1080/0740770X.2018.1524618. 21 2019. June Accessed 28/3-4 Theory Feminist of Moraga’s AJournal Utopic Turn.”Cherríe &Performance: Women item/2dt752tn Journal Studies Raza UCLA Tlacuilolli, bombmagazine.org/articles/cherr%c3%ade-moraga/ U of Mexico P,U of Mexico 2017. 253-272. in a Global Era Where Space, Capitalism, and Power Rule Power and Capitalism, Space, Where Era aGlobal in Berkeley, PhD Dissertation. Medea A Mexican Woman: Hungry The Moraga’s Cherríe in Death of Medea Rudolfo A. Anaya, Francisco A. Lomelí & Enrique R. Lamadrid. U of Mexico P, Uof Mexico 2017. Lamadrid. R. 1-24. &Enrique Lomelí A. Francisco Anaya, A. Rudolfo 2020. https://conservancy.umn.edu/handle/11299/166372 2009. Minnesota. Table, 1981. Women Kitchen Press, of Color Color. of Women , Adelina. “Cherríe Moraga by Adelina Anthony.” BOMB byAdelina Magazine Moraga “Cherríe , Adelina. . Medea Borderlands/La Frontera: The New Mestiza. 1 Mestiza. New The Frontera: Borderlands/La E. , Gloria Sacrifice of the Primal Mother/Sister: Decolonial Horizons and the Dialectics Dialectics the and Horizons Decolonial Mother/Sister: Primal the of Sacrifice Jorge. , Manuel , Tanya. “The (Gothic) Gift of Death in Cherríe Moraga’s Cherríe in Death of Gift (Gothic) , Tanya. “The .” .” , Michelle R. “Mythical Enjambment in in Enjambment “Mythical R. , Michelle , Maria Antònia. “Voices from the Gap. Interview Cherríe Moraga.” University of University Moraga.” Cherríe Interview Gap. the “Voices from Antònia. , Maria Identity in Latin American and Latina Literature: The Struggle to Self-Define Self-Define to Struggle The Literature: Latina and American Latin in Identity , Kathryn. . CreateSpace Independent Publishing Platform, 2010. Platform, Publishing Independent . CreateSpace Chicana/Latina Studies 2 nd ed. Ed. Rudolfo A. Anaya, Francisco A. Lomelí & Enrique R. Lamadrid, Lamadrid, R. &Enrique Lomelí A. Francisco Anaya, A. Rudolfo Ed. ed. . Accessed 12 Feb. 2019.. Accessed 24/2-3 (2003): 104-21. (2003): 24/2-3 . Accessed 15 Feb. 2019.. Accessed . “Remembering Coyolxauhqui as a Birthing Text.” Regeneración aBirthing as Coyolxauhqui . “Remembering WORKS CITED WORKS 7/1 44-77. (2007): https://www.academia.edu/4191152/ This Bridge Called my Back: Writings by Radical Radical by Back: Writings my Called Bridge This , eds. 2/1 (2016): 7-32. https://escholarship.org/uc/ , TheChicana Studies . South End Press, 1993. Press, End . South . Farrar, Straus and Giroux, 2019. Giroux, and Straus . Farrar, The Hungry Woman Hungry The nd . Accessed 15 Feb. 2019.. Accessed ed., West End Press, 2001. West Press, ed., End . E-book, Lexington Books, 2015. Books, . E-book, Lexington st ed., Spinsters/Aunt Lute, 1987. Lute, Spinsters/Aunt ed., The Hungry Woman: A Mexican A Mexican Woman: Hungry The . Paradigm, 2007. . Paradigm, 34/1-2 (2008): 99-127. (2008): 34/1-2 . 2011. U of California, . 2011. Uof California, : Nation, Desire, and and Desire, : Nation, , 1 Jan. 2007,, 1Jan. https:// . Accessed 5 May 5May . Accessed , 2 nd edition. Ed. Ed. edition.

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