Mental Health Support Through Novels

In Sanchez’s novel I Am Not Your Perfect Mexican Daughter, the immigrant experience is portrayed through the lens of a growing teenage girl.  Though Julia’s perspective often provides a unique commentary on relevant, modern-day topics, her untrustworthy narration can make the story difficult to digest.  Due to Julia’s depression and anxiety, the majority of the story is written with an almost nihilistic attitude towards almost all events in her life.  The only reprieve we get from this dark lens is from the interactions with Julia’s boyfriend, a relationship which she enjoys partially for its alienation from her complex home life.  This all changes towards the end of the novel where we see Julia’s ignorance fade as she learns of the struggles of her parents and the lives of her family members across the border.  Julia’s trip to Mexico lifts the grey veil on her narration as Julia’s confidence builds and her world view expands to encompass people in different situations than her.  It is only after this event that we are able to Julia’s story through a happier, mentally stable narrator.

Opening at the Steppenwolf Theatre in Chicago

            In her efforts to repair relationships and tie up loose ends, Julia becomes a more likable character.  She gains empathy and understanding of other’s perspectives and appreciates that they may be different from her own.  Upon her return, Julia recognizes her mother and declares, “Because Amá is making such an effort to be a better mother, I’ve decided to be a better daughter” (pg 287).  This change of heart gives her character development which is essential to the story, but almost comes as a shock.  A recent theatrical adaptation gives Julia another chance in a different medium, providing an interesting opportunity to see further into her character progression during her time in Mexico.  With the alterations that may be made to the novel's timeline, a play may be able to provide insight into the mental transition Julia experiences, giving younger audiences more guidance in dealing with depression and anxiety.

            Mental health awareness has been a point for media attention over the past few years, and this novel is merely one example of guiding literature for teens who are experiencing similar mental states.  Sanchez does a terrific job in providing resources for her readers at the end of the novel, acknowledging that they may have much in common with the protagonist.  Though no two people react the same to medications that treat mental illness, this novel seems to use medication as a crutch to bring Julia's mental state back up.

Sanchez incorporates more accessible forms of depression aids such as journaling and exercising in Julia's recovery.  Why is this important considering the novel's target audience? 

What obstacles does this population face in seeking mental health care that mirror Julia's experience? 

The Struggle of Being a Teenager

In this section of the novel Julia, has a crisis of faith and her depression and anxiety both reach a climax that drives her to attempt suicide. This is the result of a number of different events that challenge the way Julia views the world and shatters any peace and order she gained in her life.  The first part of this is having sex with Connor and her interactions with Connor as a whole. Her physical encounter with Connor leaves Julia feeling very conflicted about the way she thinks about him and herself as well as sex as an activity. She sums it up while speaking to Dr. Cooke, Julia states "I don't see what the big deal is, and yet I feel guilty. I have these two competing feelings, you know?"(235). I think that this encapsulates the way that Julia thinks about life in general, that she is conflicted and drawn between various worlds that she never fits in to. One is the life that Olga seemingly left behind, one of the astute daughter who was dedicated to her family and her religion. The other is the dream life that Julia has for herself, of independence and wealth and most importantly the power to choose who she is and what she does. These two ideas struggle and conflict with one another and are the main source of conflict in Julia's life, she does not feel at home in either world. Again while speaking to Dr. Cooke, Julia summarizes these feelings well "I never belong anywhere. My parents don't understand anything about me. And my sister is gone."(236). This quote highlights the mindset of Julia for the book so far, one of confusion and anger at a lack of feeling of home and belonging. These are telltale signs of the mental struggle that Julia faces in her lack of connection with herself and her dream and her family and reality. This fundamental lack of connection is what drove Julia to attempt suicide and wind up in the hospital after slitting her wrists.
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3139460/

1.In what ways does Ama drive her daughter further away from her with her unyielding desire for her to be the "perfect" daughter and in what ways does Julia exacerbate the situation with her rage and lack of communication skills?

2.Do you think the suicide attempt will be a catalyst for further emotional growth and connection between Ama and Julia, or do you think it will create an even more awkward situation that neither understands how to work past?

Mother knows best.

In this section of the book, Julia travels to Mexico where she is confronted with her mother's childhood. We learn about Amá's upbringing and how it compared to that of Julia's."She (meaning Amá) and tia Estela used to share a cramped, dusty room all the way in the back of the house. They even had to sleep in the same lumpy bed, which has never been replaced. I can't imagine having to sleep next to my sister my whole life. We've always been poor, and I've always had my own room."(250-251) Many things can be said about this realization, for one thing, Julia seems to question why Amá never grants her any privacy why all her things are looked through. But even then Julia has things that belong to her that can be looked through a room, journals, etc. But this section is important because it parallels Julia, her mother, and even Olga. Right before she leaves the US Juila was able to hack into Olga's computer. Did it make it alright that her sister was gone to look through her things, or like Julia said she was justified because she was looking for context? I think Julia always assumed that there was more in common between Amá and Olga. Julia constantly refers to herself as being unwanted and speaks about how her mother regrets her. All throughout the book, we see the tension caused by the relationship between mother and daughter partly it stems from the fact that Amá is strict and restrictive to her daughter's wishes for her future. Part of that tension could better be explained by learning more about Amá. For one we identified that we only see Amá through the point of view of Julia, which could be unreliable base on the bias of relationship she feels towards her mother. All these feelings of "I'm the only person going through this!" and "No one could possibly understand what I'm going through!" are not solely felt by Juila. These feelings of misunderstanding and rebelliousness are not uncommon for the Montenegro women. Even Amá has felt them.
" I know you and your mother don't get along, but you're more alike than you think," she (Mama Jacinta) says, stirring in the honey.
"I seriously doubt that"
"You know, she was always the rebellious one. She was the first one in the family to move to the other side. But you knew that, didn't you? I told her not to, but she said she wanted to live in Chicago, where she could work and have her own house."
"Rebellious? Amá?" My mind can't process that. My mother is the most rigid person I know. you shouldn't be so hard on her Mija. She's been through so much." (248)
This illuminates a connection to passion and dreams for a better life something that is seen in both women as they struggle to find their footing to push toward there goals. In this section, we find about how Amá was taken when she was crossing the border while her husband was held at gunpoint she was raped. Part of this experience could have instilled cautious in Amá to where dreams could take you and the dangers of foolishly dreaming that she later translates into her daughters.

 1.) In what ways does Amá's projection of fear (micromanaging and intrusive behavior) contribute to her personality/expression? Where do we see this in the novel?

2.) What do the similarities and differences between Amá and Juila mean for there relationships from now and going forward when Juila returns back to the United States. 

Perfection Doesn't Exist

Within I Am Not Your Perfect Mexican Daughter by Erika Sanchez, one of the major themes is this idea of the perfect Mexican daughter. The relationship between Julia, her mother, and Olga really exemplifies what Sanchez is attempting to get across about this concept of the perfect Mexican daughter - I believe. As each has their own idea of what it means to be a Mexican daughter, each person's actions differ considerably throughout the text. In the first part of the novel, Julia's mother places the role of cooking as to be an essential component of being a Mexican daughter. Her mother says, "What kind of woman are you going to be if you can't even make a tortilla?" (p. 33). This comment places all of Julia's success in being a Mexican woman/daughter on her capability of making tortillas right and ensuring that they are "nice and round" (p. 33) like Olga's always were. Through this section this also shows us the tension that is in place between Julia and Olga and how their mother views them. Olga has been propped up as this perfect Mexican daughter who is willing to stay at hom and help her parents - in addition to this she's excellent at making tortillas. Her mother also makes it known several times throughout the first part of the book that she views Olga as the "superior" daughter by consistently comparing Julia to Olga. So, this line of competition and tension is built up within Julia which complicates her process of grief and mourning for the death of her sister.

However, despite the fact that their mother views Olga as this perfect Mexican daughter - Julia is learning that that may have not been the case and we see how this image of the perfect Mexican daughter may have affected Olga. Julia says, "the only time I ever asked her [Olga] why she didn't move out or go to a real college, she told me to leave her alone in a voice so weak and brittle, I never wanted to ask her again" (p. 3).  This appears to me that Olga was potentially experiencing the exact struggle Julia is now facing - where she wants to live a certain way, but is experiencing pushback from her mother and the impact of Olga's death. This shows that both being the perfect daughter and the imperfect daughter have consequences. So, this idea of the perfect Mexican daughter definitely comes with a lot of tensions in terms of family dynamics and ideas of Julia can be this perfect daughter for her family while still remaining true to herself.

Discussion Questions:

In what other ways are Olga and Julia seen as polar opposites? Any moments where they are more alike?

What does it even mean to be a perfect Mexican daughter – according to Olga, Julia, and their mother? Is there a middle ground? Can one be an average Mexican daughter?

Children of Undocumented Immigrants: Family Interdependence

When undocumented immigrants arrive in the United States, they have to overcome numerous challenges such as exploitation in the workplace, understanding a new culture, and becoming victims of laws that unfairly oppress them. In the book, I Am Not Your Perfect Mexican Daughter, the main character, Julia, mentions her parents being unhappy with their life in Chicago. They miss their family, food, culture, and life. Additionally, Julia mentions how her dad works up to twelve hours packaging candy so he always has problems with his body. Julia’s dad tells her “Don't work like a donkey like me. Be a secretary and work in a nice office with air conditioning” (Sánchez 121). Although Julia would never want to work as a secretary, she does not contradict him because she feels guilty for having to see her parents being exploited. The hourly wage for undocumented workers is much lower than for workers born in the United States, and benefits such as healthcare are denied. Yet, immigrants find ways to make a living in a system designed to keep them in poverty.

When Amparo, Julia’s mom, decides to organize a quinceañera for Julia, who dislikes the idea; she thinks the popular tradition is an embarrassment and a waste of money. Julia told her mother she did not want to have a quinceañera, but Amparo manages to get the money for the celebration because it is important in many Latinx countries. As mentioned in the novel “According to the tradition, I am a woman now. I'm available to men. I can wear makeup and high heels. I can dance! But if this is what it means to be a woman, maybe I don't want to be one” (Sánchez 155). For Julia, a young feminist trying to determine her own path, it is very challenging to celebrate a sexist tradition, yet, very significant to her parents. 

Children of undocumented immigrants constantly feel a strong necessity to repay their parents by doing well in school, financially contributing to the house, or by having a quinceañera to please their parents. In the novel, Julia remarks on her desire to go away to college, to escape, but she also spends a lot of time mentioning all the sacrifices her parents have made. For example, Julia feels guilty to see her mom cleaning other people’s houses all day and then keep cleaning at their house. Unfortunately, the struggles of Julia's undocumted family for others is a tragedy that will entertain them. When Mr. Ingman tells Julia to emphasize the fact that her parents are still undocumented because “Admission committees love that stuff” (Sánchez 166). Julia has to use her “brownness” and fit the expectations of what it means to be a Mexican daughter to be considered for enrollment at a higher education institution. Julia, as a daughter of undocumented immigrants, cannot avoid thinking about her parents' sacrifices and how she should help them later in life.

Discussion Questions:

How is love portrayed in Julia's family?

What is the importance of interdependence in this novel?

Julia is Entitled to Her Own Body

Throughout "I Am Not Your Perfect Mexican Daughter", Julia Reyes is constantly judged or frowned upon for her inability to conform to restrictive rules and guidelines that her family or anyone else in her life tries to infringe upon her with. The section I am focusing on is the first few pages of Chapter 9, where her mother doesn't allow her to buy the black dress that "shows your chest too much" (Sanchez, 107). Julia then tears up with frustration because picking out an outfit should be a decision that one is in complete control of, but instead she is restricted by her mother. She can't help that she likes the way she looks in the color black, and she can't control the size of her breasts. Instead of her mother supporting Julia when she thought she found the perfect dress, she basically shamed her for it, it's moments like this to support why Julia thinks other people in her family find her weird. Also, moments like this throughout the text feed into her insecurity about the size of her breasts. Another example is when Chris gives her an excuse of a compliment "You look nice, for once" (Sanchez, 110). That was bad enough, but on the next page he proceeds to disrespect her by observing her "like a piece of beef on clearance" (Sanchez, 111).  At this point he is observing her physical appearance (mainly her cleavage) but he also has no interest in treating her with respect. She obviously was uncomfortable after his first compliment, but then he proceeded to infringe upon her as though he was entitled to because he liked the way she looked. Julia has a lot of maturing to do, and I do feel as though parents have some obligation over there children and can make some decisions for them, but Julia is at a delicate age at this point in the book and with her sister not around to talk to anymore, she needs all the support she can get from her mother, and as little communication with horny, judgmental, disrespectful teenage boys as possible. 

This is an article, about what causes insecurity, and I believe the social-anxiety section fits well with what Julia Reyes is being faced with. Even at the party before Chris came up to her, "I start worrying about where to put my hands... what if I look like Frankenstein with my arms hanging stiffly by my side." (Sanchez, 111). People who suffer from social anxiety have a constant fear of being judged, and for Julia it is rightfully so because she actually is constantly judged for her tastes/appearance.
https://www.psychologytoday.com/us/blog/the-mindful-self-express/201512/the-3-most-common-causes-insecurity-and-how-beat-them

1) Should Julia be more obedient towards her mother, and not question her authority like her late sister Olga? Or is she justified in her refusal to conform?

2) If Julia spent more time with her parents, would she be more like Olga? Or are her views to dis-aligned with her parents?

Trapped In Expectations

Lauryn Davis

        In chapter three of I Am Not Your Perfect Mexican Daughter by Erika L. Sánchez, Julia describes what she dreams of in the future, "I'm a famous writer who wears flamboyant scarves and travels all around the world, meeting fascinating people" (Sánchez 27). These fantasies of a better, more exciting life are not uncommon of a fifteen year old but, what follows afterwards is. When Julia stops daydreaming she, "realize[s] that I'm still in my tiny bedroom and can't even go outside. It's like a living death. I almost envy Olga, which I know is completely fucked up"(Sánchez 27). On the surface, Julia, after being grounded by her mother, appears to feel trapped inside her apartment. Not only is she physically trapped within the confines of her apartment, she is also trapped under the weight of her family's expectations of what a perfect Mexican daughter should be. In this moment, Julia envies her sister's death because she believes that her "living death" is in some way comparable to real mortality. This envy highlights Julia's age and lack of maturity. Also, I feel that Julia has yet to be able to truly mourn her sister's passing and therefore distances herself from these unhappy feelings by envying and disliking the memory of Olga.  Furthermore, Julia also envies the legacy of what a perfect Mexican daughter is that has been left by Olga.

Julia's lack of space to truly mourn Olga's death is a plot point that struck me. There is a song entitled "Brother" by Falling in Reverse, a band that I believe Julia would listen to. This is a song about the lead singer's brother who had passed away due to a car accident and the lyrics relate very well to Julia's situation.


Discussion Questions:

1.) In what ways do Julia's feelings of being trapped under the expectations of a Mexican daughter contribute to her personality/expression? Where do we see this in the novel?

2.) In what ways does Julia comply with/go against her mother's expectations of what a  Mexican daughter should be? 

“Power in the Pen”

As “In the Time of the Butterflies” has demonstrated, acts of resistance are not limited to physical violence. In the novel, María Teresa actively resists Trujillo’s regime through the form of writing. Entries from María Teresa’s three diaries provide the trajectory of her individual growth as well as personal accounts. María Theresa is ten years old when she receives her first diary as a communion gift from Minerva and one of the most notable accounts is María Theresa’s thoughts on Trujillo. “I feel so lucky that we have him for a president” (Alvarez, 36). María Theresa’s opinion of Trujillo in this moment reflects those of her father who has prepared a speech in Trujillo’s honor. María Theresa even states that she is proud to share her birth month with Trujillo because she may possess some of his traits. Minerva gifts María Theresa, who is now 18, her next diary as an Epiphany present. The prominent difference upon receiving this diary and the one she was gifted years prior is María Theresa’s outlook on her father. When gifted the first diary in 1945 María Theresa seems to take pride in her father. In 1953 at her father’s funeral, María Theresa resents the man and her secret sisters who she regards as “her girls”. María Theresa’s political ideals have shifted to passive disagreement. “But never in a million years would I take up a gun and force people to give up being mean” (Alvarez,123). María Theresa’s final notebook is smuggled to her by a guard when she is in prison. She is 25. María Theresa writes about her time in prison as much as she can because she is sure that the records will be of importance. When gifted her first diary, Minerva tells her that “keeping a diary is also a way to reflect and reflection deepens one's soul” (Alvarez, 30). It is while in prison that María Theresa notices a distinction between Minerva and herself: principle vs personal. (Alvarez, 250).

Discussion questions:

What can be said about María Theresa’s progressing feelings towards her father and Trujillo? Do they relate/correspond in any way?

What moments in the text portray Minerva as prioritizing “principal” and María Theresa finding more importance in “personal”?

Sucking together: Camaraderie through Hardship

In chapter 11 of In the Time of the Butterflies, we are given snapshots of Mate's life in prison with 23 other women. While there are many attention-grabbing and horrifying things that happen in this chapter, I would like to draw your attention to the dynamic between the women imprisoned together. Mate at first sees many of the people as inferior made very clear by her tone on page 228. "'Nonpoliticals,' all right. Prostitutes, thieves, murderers- and that's just the ones who have confided in us." In the military, there is a saying that goes "nothing brings people together like sucking together" this phrase is meant to highlight the importance of going through really tough things with the people around you (Basic training for the military but prison in this case) in order to grow together and learn to rely on your teammates. It is a constant reminder that going through bad experiences with someone will make you closer to that person than any number of happy experiences ever could. This is the exact mindset we see in this scenario. After spending time in this awful situation, Mate begins to understand that "What matters is the quality of a person. What someone is inside themselves." It is through experiencing these things together and living through hell with only the person right next to you that Mate realizes how wrong she had been about "these girls I once thought were beneath me" (230). However, this concept extends beyond simply being in a physical prison together. Trujillo's rule was a prison just as real, it simply lacked physical manifestation. It brought people from all different walks of life together, people who otherwise would have nothing in common, united by the prison they had all been forced into together.

A little bit about basic training and the unity found in the military

Basic Training

Comradery

In what other ways can we see a comparison between prison life and Trujillo's regime? 

In what ways did Mate's mindset shift while in prison? What do you think were the long term effects on the women? 

The Role of a Sister

Rhiannon Martinucci

Sibling dynamics, whether they're more of a camaraderie or a rivalry, are often some of the most understated but important factors in whether or not something involving an entire family will work out. Whether the situation is simply a business or a revolution, as is the case for the Mirabal sisters in Julia Alvarez' In the Time of the Butterflies, ultimately the way that people interact with their brothers and sisters is a vital if the things going on behind closed doors are a family affair.

Angelica Schulyer, Alexander Hamilton, and Elzia Schuyler as depicted in the orignal cast of the Broadway Musical Hamilton. One of the most famous lines from Angelica in this muscial is "I love my sister more than anything in this life".

In Alvarez' fictionalization, Dedé is written as a woman who took the middle ground constantly - a peace maker, if you will - which leads to more than a bit of friction in her interactions with her three sisters. But Dedé's lack of outright collaboration with the revolution in Alvarez' novel doesn't mean that she wasn't just as important to the dynamic of the sisters. The second oldest of the four, she takes on the responsibility of caring for all three of her sisters at different points, bringing them back to themselves after their time in prison and during their house arrest sentence. I think one of the moments that stood out the most to me and illustrated just how seriously Dedé takes her job as an older sister was on page 277, when Dedé and Minerva have been stopped on their way to Monte Cristi. Minerva narrates, "I will never forget the terror on Dedé's face. How she reached for my hand. How, when we were asked to identify ourselves, what she said was—I will never forget this—she said, "My name is Minerva Mirabal." A few paragraphs later, Dedé will justify her lie to the soldiers who stopped them by telling them "She's my little sister".

Moments like these stand out, both in life and in literature, because they resonate so strongly with others. Stories and moments like these, where the dynamics we have come to expect and be comforted by suddenly change, remind us of how the people and ideas we think we know aren't always as constant in their nature as we may want them to be.

Discussion questions:

1. Do you think that Minerva, in this moment, wanted Dedé to have not attempted to lie to the soldiers at the checkpoint? If so, why do you think she would have wanted that?

2. What other moments in the text, both in the reading for today and in previous sections, do we see this sort of foreshadowing of Dedé's bravery when it comes to protecting her sisters?

Patria Losing, then Gaining Back Her Religion

For todays reading Patria's section of the book really stuck out to me, because I feel like everything came full circle for the reader in terms of Patria's faith. In the beginning of the novel on page 7, when Dede is talking about her sister to the reporter she says that her religion was so important to her and when the interviewer questioned that statement Dede said "Always...Well almost always". This statement was forshadowing what we see later in the novel especially in the readings for today. Patria had a lapse in faith after her baby passed. However, at the end of the section we see her regain her religion specifically in the Virgin Mary. We talked about this in class last week about how she shifted from a patriarchal stand point of religion to a matriarchal stand point. I think of this as somewhat radical because if one is religious it goes against our stereotypical views. In this chapter we see Patria become very radical by using her religion to fight the regime with her two sisters. She helps start an underground revolution within her church called Accion Clero-Cultural (Clergy-Cultural Action) (164). Patria said they would spread the word that they were "all brothers and sisters in Christ" and that basically if they allowed this to conitune their chances of entering heaven would be very slim.  While Patria was physically fighting against the regime with the ACC she was also fighting Trujillo in another way, through prayer.  Patria starts praying to the portrait of El Jefe in their house and starts a mini shrine under it because she wanted her family to come home and the only way she thought she could do it was through prayer. This was also forshadowed early on in the book on page 53 when she said that the pciture of Trujillo and Christ blended together. It's not until the end of the section on page 217 that we see her prayers work a little. When she goes to visit General Pena she starts praying in front of him and finally (whether it was divine grace or just his annoyance) he picks up the phone and calls to make arrangments. While nothing happens right away you can tell that Patria still has hope that something good will happen.

I think it is very interesting how Alvarez incorporates religion into the novel. Every sister seems to have their own story of losing their religion around the same time they found out about the horros happening in the Trujillo regime. It's also interesting how Patria seems to keep her religion through it all and uses it as a way to manipulate the government.

No Place for Inaction Under A Dictatorship

Patria has been presented as a fairly inactive character in the revolution as all her sisters have taken action to become part of the regime against Trujillio. As the sister who seems to have struggled more with keeping her faith intact, she has trusted that God would not test her soul as he did when her unborn baby had died. She had claimed that she could not survive another test, yet things only seem to become worse for her as she tries to rely on her spirit and faith to survive, what she refers to, hell on earth. What seems to have finally pushed her to become more active in the fight against the dictator was when her retreat group was attacked in the mountains, causing deaths and wounded many (pg 160). Despite her providing a place for her sisters and friends to have their secret meetings on her land, witnessing the death of a young man as they both stared at each other was something she could not live with without feeling that his life was not a waste (pg 162). As Patria's perspective was revealed to us, it became apparent that she would become a main member of the revolution group, and her transformation leaves certain questions in the air about how her morals have changes, and if at all, her faith has wavered.

I cannot help but to draw similarities with Patria's role in the fight against the dictatorship and the United State's role in WWII. As the narratives explains, Patria was passive in the revolution, but she still helped by allowing her sisters use her land as a meeting place, and she even agreed to take care of their children if anything were to happen to them. As mentioned previously, it is not until she had experienced the horrors of the regime and had her spirits broken once again, that she finally decides to become Mariposa #3 (176). Somewhat similarly, the US was aiding the Allied forced by sending supplies overseas, and did not become part of the war until the bombing of Pearl Harbor. This leads to the concluding remark that no matter how hard Patria tried to pray against Trujillio's dictatorship, she ultimately had to become more involved to console the tragedy she had felt on the retreat.


Questions: How does Patria's transformation from a passive aid to an active member of the revolution effect her faith?

Why is Patria the first to be entrusted with the children of her sisters, and not their mother or other trusted friends?

Nipple Bombs and Needlepoint: Revolution as Women's Work

Although all of the characters in Alvarez’s novel live under the shadow of the same dictator, it is clear that men and women exist in two separate worlds. With a few exceptions, the men of the novel are occupied with farming, money, and power, while the women are concerned with housework andmotherhood. Because we live in a patriarchal society, we tend to overlook the importance of domestic work (women's work), and believe that in order to have any kind of influencing/political power, women have to give up their roles as mothers and caretakers and become more like men. However, even though we tend to think of war as a male occupation, the revolution depicted in Alvarez's novel is distinctly feminine.

In the scene where Patria narrates the founding of the Fourteenth of June Movement, Alvarez blends images of revolution and war with images of domesticity, suggesting that the mission of the movement is to start an “internal revolution” that is not just inside of the country, but inside of the home as well (167). For example, she says that the "bombs were made" on the same table where “you could still see the egg stains from [Patria’s] family’s breakfast” (167). The juxtaposition of the domestic scene of a family eating eggs with with the making of bombs indicates a similarity between the actions; just as Patria works to keep her family fed, the Fourteenth of June Movement is working to sustain a revolution. 

Needlepoint, despite its intricacy, is often undervalued 

Additionally, instead of being a hindrance, Maria Teresa “feminine” traits aide in her ability to contribute to the movement. Patria is shocked to find that “Maria Teresa, so handy with her needlepoint,” is helping in the process of making bombs, “using tweezers and little scissors to twist the fine wires together” (167). Maria Teresa's training in needlepoint—women’s work that is typically undervalued or dismissed as “decorative” and essentially useless—has actually provided her with the precision and the skills required for the delicate operation of making explosives. Notably, the pipe bombs are known as “nipples,”  indicating the connection between resistance to Trujillo's regime and women's bodies. 

What is the role of women in the movement against Trujillo? Does it differ from the role of men?

Where else in the novel does Alverez link femininity to resistance? 

Romance or Revolution: Marriage in In the Time of Butterflies

        I will be focusing on the ways marriage is portrayed in In the Time of Butterflies. The associations with marriage are sometimes negative, especially in the perspective of the Mirabal sisters. It is connotated with unfaithfulness, separation, and a sort of death of a woman's independence.
        Trujillo is married, yet has multiple "national treasures" whom he collects. Going along with that, Enrique Mirabal has a secret family in the midst of his married life. When Minerva asks her father why he would cheat on her mother, he says "things a man does" (Alvarez 92). There is a suggestion that he has no other explanation for his infidelity other than being a man. It is revealed that the Mirabal parents sleep in separate beds. There is this juxtaposition of being one in their commitment to a union, yet separate emotionally or physically. I think it speaks to the climate of the regime; citizens feel an obligation to Trujillo because of his power in their state, yet are emotionally fed up in ways that conjure revolutionary feelings.

        At the start of Maria's classes, the girls are all shown wearing "white dresses like [they] were his brides" (Alvarez 131). These women seem to be taking a step toward independence when they pursue their own education, yet are still claimed as brides of Trujillo. As long as they are "his brides", they can never truly be independent or live in a free state. One cannot both be married with a family and revolt against Trujillo; it is an ultimatum. In chapter ten we learn that Patria's husband could be free if he divorced "his Mirabal wife" (Alvarez 204). So quite literally, marriage is keeping Pedrito from freedom. We get another glimpse of this mindset as Minerva grapples with the question: "what's more important, romance or revolution?" There is also the image of death connected to marriage. When Maria is frantically searching for her wedding dress in a nightmare, she finds its limbs in her father's coffin (Alvarez 119). Alvarez infers that marriage during the regime leads to unfaithfulness, separation, or death.

From Kassandra to Olive Oyl

Rhiannon Martinucci

Women, at large, are a critically underrepresented group in terms of discussions at both the classroom and national level of most every "western" country", but especially for America. However, the stereotype abounds that women, especially women of color, are loud, brash, and unwilling to stop talking, ever. Compound this with the emotional stereotypes that are assigned to women, like that of the "angry" Black woman, and you create a society that ignores or dismisses over half its population anytime they talk, while the men around them are often lauded for simply repeating the ideas and statements women have already said.

This problem, of course, is not something that is just tied to the colonial past and after-effects of America, but also to a number of European countries as well. Places that were colonized by England, Spain, and France all have troubles similar, but these problems are most evident when we look at language. In Gloria Anzaldúa's "How to Tame a Wild Tongue", we get an upclose look her her relationship with languages and her "bilingual" nature, which seems to me to be more than bilingual because she's effectively speaking seven different languages, each with their own variations in grammar, word formation, situational appropriateness, etc. But what stands out to me the most is on page 76, when she points out that words like hocicona, repelona, and chimosa are all words that "[in her culture] are derogatory if applied to women--[she's] never heard them applied to men."

Unfortunately, this isn't uncommon, and what it leads to are schools, governments, and communities where women are unable to speak without being judged, to quote Anzaldúa, for having a "wild tongue".

Discussion Questions:
1. How can we, in our classrooms/schools, create a more understanding environment for female and femininely identified people in our community?
2. What are some long term of supporting women in public spaces when they are attempting to have their voices be heard?