Moranga and Anzaldua

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Cheerie Moranga's The Hungry Woman explores a surreal histrionic borderlands between fact and fiction. Playing upon the story of Medea, Cheerie's story utilizes already understood stereotypes to quickly articulate the situation. The stereotypes being the old Meixcan story of "The Weeping Woman" described in Anzaldua. Also the classic Greek story of Medea. In the spirit of Oregon Shakespeare Festival's American Night, old stories and mythos are turned upside down to articulate a purely latino/latina struggle in American society. And, like Anzaldua's theory of La Llonana (spelling), we see her idea of borderlands come to life; a place where two realities exist. In the case of The Hungry Woman, we see a place where Medea is a deeply troubled Mexican woman. In Medea it is woman v. woman in a sense that they are both craving Jason's affection, in this circumstance, it is woman v. woman in who will give in to her lesiban tendancies. Story of the partiular lesiban/gay struggle in the latino community, which didn't get drection attention during the early 1990's movement enlightening and releasing stereotypes in the gay community in new york Luna and Medea explore what it means to be a woman, medea through her relationship with her children, luna through her "castration" Explores the ways in which Latina women have explored particular difficulty in the fight for equality between straight and lesiban, and women and men. The interactions of Luna and Medea play upon the story of Medea, a woman who drowns her own children after her husband decides to marry a younger princess. Her actions are in a sense, simply to get back at Jason, who has robbed her of her sense of feminity, youth, and sexuality. Moranga's Medea plays a much different story. Medea's story if one much different, when her marriage is interrupted by a lesiban love affair that lasts some seven years.

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