By Licia Fiol-Matta
Gabriela Mistral, deepest and public. there is been a lot debate concerning the topic yet Fiol-Matta takes it additional and amplifies it. within the booklet, she touches on Mistral's attainable Lesbianism or in a White-Race supremacy trust earlier than becoming the defender of local american citizens and Mestizos. She additionally talks in regards to the use of images and different visible parts to create Mistral's snapshot. The ebook isn't really effortless to learn, yet brings new elements on Mistral's lifestyles to counterback her "Mythical" and "Sanctified" snapshot. and because the writer says, it's a chance to re-read the author's paintings, one in every of Latin America's best.
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Additional resources for A Queer Mother for the Nation: The State and Gabriela Mistral
21 What the young Mistral did not fully realize before 1922 was the potential of her queerness. Although aware that her sizable literary talent would rescue her from Chile’s stiﬂing environment, she wanted more. She identiﬁed with and was attracted to power. Despite her championing of the indigenous peoples, Mistral was white and white-identiﬁed, which is partly why her mixedrace pose was regarded as queer. Her racial discourse avowed and disavowed her queerness at the same time. ” The two poses bear striking similarities.
Through the stance of race woman, Mistral aided the state in managing Latin America’s racially heterogeneous populations, regarded as a problem since the wars of independence. Both publicly and privately she addressed topics ranging from the classiﬁcation and hierarchical ordering of racial “mixings” to the status of black Latin Americans in nationalist discourse, from desirable mestizaje in the Latin American territory to dangerous mestizaje beyond the watchful purview of the state. It is tempting to separate Mistral’s sexual and racial identities, envisioning one as private and the other as public, one secret and the other on strident display.
In the correspondence she repeatedly alludes to Cabrera’s collection Cuentos negros de Cuba [Black tales of Cuba] (French, 1936; Spanish, 1940), written to entertain Cabrera’s lover, Parra, while she was in Switzerland undergoing treatment for tuberculosis, a disease that was ultimately fatal. Certainly, Mistral felt aﬀection for both Cabrera and Parra, but there was even more at stake in this friendship: she may have wanted to experience two circuits of desire vicariously. One was the bond between the two lovers; the sec- Race Woman 21 ond was about Mistral herself, about incorporating Cabrera’s folkloric “Afro-Cuban” tales into the master narrative of América.