Download Synergy and Subversion in the Second Stage Novels of Rosa by Mary C. Harges PDF

By Mary C. Harges

Rosa Montero is among the many well known newshounds and writers of fiction who've emerged in post-Franco Spain. This booklet makes a speciality of Montero’s prose fiction written among 1983 and 1993, the «second degree» within the slow transformation of her inventive improvement. It explores the cutting edge ideas utilized by Montero to interrogate the social building of identification and to show the underpinnings of hierarchical energy. hoping on a number of subgenres, starting from romance to homicide secret to speculative fiction/fantasy, Montero’s paintings constitutes a synergetic exploitation of the conventions of journalism in addition to different well known and literary modes. The ensuing eclectic, subversive narrative, educated by way of ambiguity and experimentation, offers a blatant critique of patriarchal culture and Francoist ideology.

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Additional resources for Synergy and Subversion in the Second Stage Novels of Rosa Montero

Example text

Benigno’s life revolves around his job, his novel, and Antonio’s sister, Antonia. Although he has met her only once, he idealizes her. Both Benigno’s unrealistic literary aspirations and his dream of marrying Antonia, are built on fantasies. Since Antonia’s disappearance following her brother’s devastating assault, Benigno is so upset that he is unable to work on his book. This is to be expected since traditionally a male writer’s creative imagination fades in the absence of his muse. By casting Antonia in the role of the “angel,” whose opposite is the “monster,” Benigno’s discourse feeds the stereotype of the mad double, an image of women which many contemporary women writers seek to destroy.

Like the other characters in the book, Vanessa’s identity is fragmented. Her given name is really Juana, but the plain-Jane image it implies does not accurately describe her promiscuous lifestyle. Vanessa’s two names denote the duality of her personality, in Bella’s words: “Juana la asistenta por las tardes y Vanessa la putilla por las noches” (TR, 159). Poco’s suggestion that she can learn a great deal from Bella is misguided given Bella’s contempt for the girl. It is significant that Bella applies a double standard to Vanessa.

The effect of the atmosphere created by the stylized paintings of mermaids which decorate the walls of the hotel room is a comical example of the influence of popular culture. Upon their arrival, Vanessa immediately turns on her finely tuned seductive charms. Afraid of his inability to perform sexually, Antonio backs away from her and runs into the wall and the stomach of one of the mermaids. Vanessa, unrelenting, continues her pursuit while the paintings, precariously balancing, seem to be saying, “Ñac, ñac” (TR, 174).

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