Identity Against Societal Expectation

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The strict guidelines for women’s behavior in twentieth century Puerto Rico determined how they both acted outwardly as well as how they perceived themselves intrinsically. Within Julia de Burgos’ poem “A Julia de Burgos” and Rosario Ferré’s When Women Love Men, there is a somewhat psychological study of the dichotomy between a woman’s true identity and expected behavior. By creatively challenging the expectations placed before women, allowing for identities influenced by what was perceived to be the “other” side, and employing mirror like voices, both authors stress the importance in the ability to mold a true concept of self. Contrasts between the works exist mostly in structure and slightly in background. Julia de Burgos wrote her poem in the 1930’s, whereas Ferré penned her story in the 1970’s. These times were vastly different in what determined socially acceptability. There was less leverage in Julia de Burgos’ time for women writers and their ideas, especially those as thought provokingly empowered that hers tended to be, compared to Ferré’s world forty years later. Puerto Rico in the seventies still remained marred by sexism, yet went through a wave of legal Feminist reform and change that made small progress. Identity as a strong, independent female separate from the male dominated culture was still a growing identity however, which is why the connections to Julia de Burgos could still be noticeable. The narrative styles also differ between the two pieces. “A Julia de Burgos” is a poem written by Julia de Burgos to Julia de Burgos, and When Women Love Men shifts between one voice that ambiguously connects the two women, and changes in parts completely into third person. Although both works are differing in date written... ... middle of paper ... ...ates a deeper sense of solidarity between women. By making the two share the house’s ownership, which is often acquainted with the womanly duty or “place”, Ferré suggests that the constant “other” presence was finally allowed to take over the home. Creating characters that shared a name, lover, and societal restriction reinforces the outspoken solidarity. Above all else, Julia de Burgos’ poem and Rosario Ferré’s story show the other side of self overcoming the societally approved shell. Unity against the enemy in society and false representation creates a common bond between the pieces. Regardless of their differences, they are similar in the tactics used to establish how empowering a changing identity can be. For Isabel Luberza and Isabel la Negra and Julia de Burgos’, the empowerment came from recognizing this need to explore what existed beyond the restriction.

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