By Licia Fiol-Matta
Gabriela Mistral, inner most and public. there is been a lot debate in regards to the topic yet Fiol-Matta takes it extra 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 picture. The publication isn't effortless to learn, yet brings new features on Mistral's lifestyles to counterback her "Mythical" and "Sanctified" photograph. and because the writer says, it truly is a chance to re-read the author's paintings, certainly one of Latin America's most interesting.
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Extra info for A Queer Mother for the Nation: The State and Gabriela Mistral
Although Vasconcelos acknowledges the black people in Latin America, he happily reports that “they have been transformed almost entirely into mulatto populations” (37). , Anglo-] Americans are very ﬁrm in their resolution to keep their lineage pure, but of course that is possible because they have the Negro in front of them—the other pole, the exact opposite of the element that they could elect to mix with. In the Ibero-American world, the problem is not as crude. We have very few blacks, and the majority have been transformed into mulatto populations.
Conservative Latin Americans may have felt that their identity as national subjects suﬀered no threat from the elevation of a queer like Mistral, but there is more. 5 Mistral’s ﬁgure enabled citizens to take part in the productive nature of power, speciﬁcally in the pleasures of identiﬁcation—pleasures that underwrote both liberationist and repressive actions, to be sure. It was not simply a posing pro patria of the kind Molloy observes in José Enrique Rodó’s Ariel—a posing meant to hide homoerotic desire, visible only at the moment when Prospero caresses the bronze statue of Ariel and “ﬁnds Rodó out”;6 Mistral’s example provides a model for the incorporation of queerness into the state’s project and makes the case that Latin American queerness was not as invisible as one may have thought.
Mulataje, a derogatory word indicating the racial mixing of white and black, is responsible for the disappearance of the (white) family. In other words, it interrupts the harmonious mix of mestizaje and destroys the national family. The black subject becomes excessive once again, but this time it is overtly rendered as violent, criminal, and cynical.