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La Malinche's role in Chicana literature;

Certain contemporary Chicana writers have taken on La Malinche, re-writing her story as one of a woman who had little choice in her role as Cortes' interpreter (she was sold to him as a slave), and who served as a "mediator between the Spanish and indigenous peoples." Chicana writers have taken the initiative to share Dona Marina's story from her perspective. In some Chicana literature, La Malinche is seen as the cultural mother. La Malinche resembles Chicanas as she too was not only in two countries but also had two cultures' influence. La Malinche was not a slave of the Spaniards and ended up being one of the wealthiest and most powerful people in colonial Mexico.

Our lady of G

Corrections:

• She is generally viewed as the main symbol of all Catholic Mexicans.

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• I deleted this sentence because it was a generalization on all Catholic Mexicans

La Malinche

La Malinche is thought to have evolved from the story of Dona Marina, or La Malinche¹ Dona Marina was the indigenous woman who was enslaved by the Mayas and given to Hernán Cortés during the Spanish Conquest of Mexico (1519–21). She served as his interpreter, and later bore his son, Martin, who is considered by many to be the first Mexican.She served use to Hernán Cortés as she was able to speak and interpret, Nahuatl. Nahuatl was the most common language among Aztecs. The Official Mexican narrative depicts Dona Marina as a traitor, and is blamed by many for the fall of the Aztecs and the success of the Spanish Conquest. She was known as an Ethic traitress supreme in her country do to her involvement with Hernán Cortés. Although, LaMalinche was negatively viewed by the greater population, few believe that she was unjustly maligned.

La Llorona

Corrections:

• These redefinitions of Chicana archetypes allow "us to see a culturally specific genealogy rooted within pre-Conquest, pre-Aztec feminine representations." They provide Chicanas of today with role models that can be useful to them. These are strong women, resistant to cultural, racist, and sexual male domination, they are not voiceless victims.

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• I deleted this section because it sounded too much like a conclusion to an essay

La Llorona part 2

The weeping woman: The folkloric legend of La Llorona is a story that has many variants. Generally, the story involves a woman who is scorned by a lover and in a fit of insanity or revenge, drowns her own children. Afterward, she is condemned to wander the earth, mourning her children typically haunting by riversides. La Llorona because she can be heard crying loudly in the night, lamenting her lost children.

La Llorona's role in Chicana literature;

Folklore scholar Jose Limon argues that "La Llorona [is] a symbol that speaks to the course of Greater Mexican [and Chicana/o] history and does so for women in particular, but through the idiom of women [it]also symbolizes the utopian longing [for equality and justice]'." Sandra Cisneros has used this modern La Llorona story that is "Woman Hollering Creek" to give a "voice to the violated Latina mother who ... struggles against domestic violence and economic and emotional dependency on men."

Traditionally, La Llorona is a treacherous figure; she kills her own children in an act of ultimate betrayal. She is selfish; she would rather keep her lover than her children. She is insane, often depicted as a crazy woman, neglectful and abusive to her children. In some variants of the story, she doesn't kill the children but she abandons them. She is vengeful; she kills/abandons children to avenge her broken heart. Finally, she is foolish: she kills the children and regrets doing so only when it is too late.

Chicana writers such as Sandra Cisneros, Gloria Anzaldúa, Helena Maria Viramontes and Ana Castillo "have undertaken to create not only rich and immensely variegated accounts of women's experience, but alternative versions of Chicano culture." La Llorona (la Malinche) has been re-created as a woman who stands against injustices (in race, gender, and class). In modern Llorona stories, the male lover's dishonesty is emphasized, he is revealed as "a husband who not only deprives her of basic economic needs, but is also a slob, an emotional invalid, an adulterer and, worst of all, a batterer". La Llorona is now a protective, loving mother figure, strong not victimized: "Cleofilas, the Mexican protagonist of "Woman Hollering Creek," regains her voice by transforming herself from a stereotypical Llorona figure, a weeping victim, to a Gritona, a hollering warrior".

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Gloria Anzaldua. Oakland, CA, 1988