Into this situation, Ortiz Cofer, writing vividly and poetically about the family, introduces Uncle Guzman, a relative about whom the parents have talked quite darkly.
In a sense, this surface conflict provides the pretext Ortiz Cofer requires to frame her deeply felt, sweeping questions about humankind. Ortiz Cofer, fortunately, had Puerto Rico to fall back on when her isolation and alienation Judith cofer latin women pray her equanimity; Woolf was less fortunate.
Unlock This Study Guide Now Start your hour free trial to unlock this page Judith Ortiz Cofer study guide and get instant access to the following: Guzman, quite unwittingly, enables Each has different aspirations for the children.
The conflict that most engages her attention cannot be viewed only as Puerto Rican culture versus mainstream American culture. In her prose writing, as in her poetry, moreover, Ortiz Cofer is ever aware that words, whether written or spoken, have sound.
Her novel The Line of the Sun is equally divided between the stories of her family in southwestern Puerto Rico and in Paterson, New Jersey; the first half of the book is set in Puerto Rico, the second half on the U. The father Judith cofer latin women pray they will gracefully, inconspicuously become typical Americans; the mother that they will preserve and reflect their Puerto Rican heritage.
To shield his family from this coldness and to avoid open hostility, he demands that his family members keep to themselves, realizing the near hysteria that the influx of Puerto Ricans into a formerly middle-class Jewish neighborhood has generated among the Anglos who remain.
The contrasts Ortiz Cofer builds are sharp and apparent. The entire section is 3, words.
She has an inherent sense of the cadences of human speech, capturing those cadences with extraordinary verisimilitude. The father, able to pass for an Anglo, contrasts strikingly to his wife and children, who are clearly Latino and cannot pass.
Each story in this book has elements of both worlds in it. The father has been assimilated; the mother never will be. He fled his island for New York, going there as a migrant farmworker. Ortiz Cofer handles these perceptions with disciplined consistency, revealing what she needs to reveal, never allowing a child to have adult perceptions or an adult to have those of a child.
In Silent Dancing, Ortiz Cofer achieves an even greater contrast by intermixing stories of her island home with stories of her mainland home. Puerto Rico is warm, both thermally and in terms of its people, whereas Paterson, New Jersey, is cold in the same terms.
Since her old mother died, buried in black,she lives alone. Her poetic lines are wholly appropriate to the atmosphere she seeks to build. Marisol, through stories she hears from her mother, has enough direct and immediate contact with her heritage that she feels strongly impelled to cling to it—as her mother, who wants her to retain the values and culture of her forbears, thinks she should.
This narrative poem, gaining much power from what is left unsaid, achieves its major metrical impact by moving at its exact center from two anapestic feet to trochaic and iambic feet, all in one line; the next line is iambic dimeter: Her own life provided Ortiz Cofer with the built-in conflict between two cultures that her writing successfully depicts.
At about the same time, Guzman, fifteen and the wilder of the two brothers, was involved in a scandal in his native Salud, where he lived with a prostitute known as La Cabra. Out of the lace she made curtains for her room,doilies out of the veil.
She takes satisfaction in killing the chickens she sells, because in that act, she is killing him, annihilating troubled memories that haunt her. The Line of the Sun First published: She had known this uncle largely through reputation; the family talked about him in hushed tones.
Ortiz Cofer continues in the next lines with two dactylic feet, followed in the same line by two trochaic feet, and continuing to two lines equally varied metrically: She has managed to place the two major elements of this conflict into the kind of symmetrical juxtaposition that permits her work to bristle with dramatic tension.
Her Puerto Rican father, having struggled successfully to become assimilated, wants Marisol and her brother to adopt the manners and customs of the United States so that they can blend in inconspicuously, thereby improving their economic opportunities.
She roves the streets, chickens dangling from her waist; in her mind, their yellow eyes mirror the face of the man who shunned her.
During part of this time, he is confined to bed after he is attacked by a neighborhood thug. They are nowyellow as malaria.
Her poems never seem strained or unnatural, despite their somewhat bewildering metrical scheme.“Latin Women Pray” Judith Ortiz Cofer is a Puerto Rican author whose work includes a range of literary categories such as poetry, short stories, autobiography, essays and young-adult fiction.
She was born on February 24,moved to Paterson, New Jersey with her family in There she attended Butler High School. Ortiz Cofer’s poetry deals with the same dualities found in her short stories and in her play Latin Women Pray. The conflict that most engages her attention cannot be viewed only as Puerto Rican culture versus mainstream American culture.
May 07, · Latin women pray In incense sweet churches They pray in Spanish to an Anglo God with a Jewish heritage.
And this great white father Imperturbable in. Cofer, Judith Ortiz. “Latin Women Pray.” Literature: The Human Experience. Ed. Richard Abcarian, Marvin Klotz, Samuel Cohen. New York: Bedford St. Martins, Print.
Important Lines/Symbols 3 stanzas, free verse, no rhyme Synesthesia- incense sweet churches "They pray in Spanish to an Anglo God"(3). Sep 06, · In Judith Ortiz Cofer’s poem, “Latin Women Pray”, she examines and dissects the relationship between God (or the “Great White Father”) and heavily devoted religious Latin women.
In her work, she displays the woman’s devotion to a God in which they share no commonalities. Judith Ortiz Cofer: "Latin Women Pray" (p.
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