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The Hungry Woman: The Hungry Woman: A Mexican Medea and Heart of the Earth: A Popul Vuh Story, by Cherrie L. Moraga
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In The Hungry Woman, an apocalyptic play written at the end of the millennium, Moraga uses mythology and an intimate realism to describe the embattled position of Chicanos and Chicanas, not only in the United States but in relation to each other. Drawing from the Greek Medea and the myth of La Llorona, she portrays a woman gone mad between her longing for another woman and for the Indian nation which is denied her.
In Heart of the Earth, a feminist revisioning of the Quich� Maya Popul Vuh story, Moraga creates an allegory for contemporary Chicanismo in which the enemy is white, patriarchal, and greedy for hearts, both female and fecund. Through humor and inventive tale twisting, Moraga brings her vatos locos home from the deadly underworld to reveal that the real power of creation is found in the masa Grandma is grinding up in her metate. The script, a collaboration with master puppet maker Ralph Lee, was created for the premiere production of the play at The Public Theater in New York in 1994.
In a Foreword to this edition, Moraga comments on her concerns about nationhood, indigenism, queer sexuality, and gender information.
- Sales Rank: #311273 in Books
- Published on: 2001-12-31
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .51" w x 6.40" l, .59 pounds
- Binding: Paperback
- 176 pages
Most helpful customer reviews
1 of 1 people found the following review helpful.
Schizophrenia as a religious craze
By Dr Jacques COULARDEAU
This is a rewriting and expansion of the myth of Medea in a "post-modern" and "post-colonial" situation in America, where the South has become Aztlan due to a Mexican revolution that pays lip service to the old Aztec gods with Jason having an important position there; where the white society up North has cleansed itself entirely of any ethnic penetration; and where an in-between bumper zone is the survival locale of those who fit pn neither side, like for instance Medea, and whose capital is Phoenix.
Medea has been exiled by Jason with her son Adolfo/Chac-Mool from Aztlan. She tries to go back to the Indian traditions of the Aztecs.
The music is Pre-Columbian. The chorus of four women represents Cihuatateo, four warrior women who have died in childbirth. They embody the four directions and four colors of Aztec tradition: East and red, North and black, West and white, South and blue. They play most parts except Medea, Luna, Chac Mool and Mama Sal. All characters are held by female actresses except Chac-Mool who is the only male on stage.
Medea is living the life of a lesbian with her lover Luna though she protests she is not a lesbian. She is a complicated woman, the mother of a son, only one - though she wanted a daughter to take care of her in old age and to spite her husband Jason already that long ago if not from the very start - and that son is getting of age - thirteen - to answer the call from his father to go back to Aztlan.
The fact that all characters but one are females shows an essential point in Medea's vision. She sees the world as purely feminine and woman as a pure mother, and a mother is only satisfied when she is the mother of a daughter. We are definitely inside Medea's total schizophrenia dressed up as an Aztec myth. The key is given by Cihuatateo East who tells us the creation myth, Aztec style.
" Creation myth. In the place where the spirits live, there was once a woman who cried constantly for food. She had mouths everywhere. In her wrists, elbows, ankles, knees. . . And every mouth was hungry y bien, gritona. Bueno, to comfort la pubre, the spirits flew down and began to make grass and flowers from the dirt brown of her skin. From her gre�as, they made forests. From those ojos negros, pools and springs. And from the slopes of her shoulders and senos, they made mountains y valles. At last she will be satisfied, they thought. Pero just like before, her mouths were everywhere, biting and moaning. . . opening and snapping shut. They would never be filled. Sometimes por la noche, when the wind blows, you can hear her crying for food."
The whole world was thus created from a hungry woman who was dismantled by the spirits, each part of her body becoming one element in the landscape and her mouth which was everywhere in her body found itself everywhere in the world.
Note the spirits being hostile to that woman - though you can always say they tried to satisfy her - you may understand these spirits were males, though there is no real indication of the fact and the only goddess mentioned in the play is Coatlicue, the goddess represented by the moon, the full moon. She is the goddess of all mothers who died in childbirth. We find that Medea's lesbian lover, Luna, is only the representation of this goddess.
Medea's problem is that she is a woman only in her motherhood. So she cannot accept her son departing to join his father in Aztlan where Jason is to marry a teenage local Apache girl who is barren. She gives him a territory but he needs his son to have a descent.
Medea cannot refuse that departure but she can help her son on his departing night to have some good sleep. She puts him to sleep forever just not to be reduced to nothing by being deprived of her son and consequently of her motherhood.
The lesbian debate is a false debate since Luna is the goddess Coatlicue and lesbianism makes Luna barren to motherhood, hence dependent on Medea's love.
She accuses Coatlicue of treason then and she starts ranting and raving after her crime about how the male god of war who is the son of her mother Coatlicue and thus her brother beheaded her when she was still a child.
This story is a way to explain her devotion to la Luna, her real goddess, and Medea closes the tale by killing herself in a dream of her own where she is served the poison by Chac-Mool who is dead as we know. And Medea's formula is absolutely frightening when she serves the poison to Chac Mool: "Sleep the innocent sleep of the children."
She dies when giving birth to herself and to do that she had to kill her son who then could kill her in the psychiatric hospital where she had been institutionalized, a metaphor of her total escape from the human world. Hence her son coming as a ghost to deliver the poison to her is the symbolical suicide her own crime is necessarily going to bring to her. She will not be negated in her motherhood but she will be negated in her own life.
This becomes a whole metaphor of Chicana women who are nothing outside motherhood, who are goddesses when dying in childbirth, who have to deny men to remain mothers, hence to turn to lesbianism and eventually kill their own sons to save their schizophrenic vision, because these women are schizophrenic.
If there is any future to Chicano culture, to the resurrection of Aztec culture, it will have to come through a vast slaying of fathers and sons in the name of mothers.
That cleansing can come with sleep and not by shedding blood, but men will have to be transmiuted, but that is a vicious circle because then the sons thus transmuted will put their mothers to sleep the same way. The only solution is the end of humanity. If that is not schizophrenic what is?
And the hungry woman will forever reign in the world. If that is not a Post Genocide Traumatic Stress Syndrome what is?
Dr Jacques COULARDEAU
0 of 0 people found the following review helpful.
cheap book to read for class.
By Zen
Class requirement book I needed to read.
>>>>>Warning harsh language and cursing in book>>SPOILER
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