Una vida para Lucía (Spanish Edition)

Casa Lucía (Apartment), Besalú (Spain) Deals

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This introverted graduate student, so different from the glamorous jazz musician who offered her champagne in bed in the morning and bought her expensive designer clothes, wins her over with his chicken soups, dinner table conversations, and loving care. After a life of excess, Eva needs tranquility; thus, after the commotion of her youth, she settles down in a soothing relationship which represents the victory of conformity over excess and transgression.

In its pages, Riera proclaims the cause of motherhood, not as an alienating service to the cause of patriarchy, as de Beauvoir had indicated, but as an empowering female experience. The all-too-familiar image of the suffering mother, the mater dolorosa, is supplanted by a joyous and sensual female subject who lives her sexuality and reproduction with intelligence and pleasure.

Llevamos demasiados siglos pariendo con dolor. A mirar el mundo con ojos maternos. This is a common feature in her work, from her debut novel Amor, curiosidad, Prozac y dudas to her more recent Cincinnati Romance Review 32 Fall Like Grandes, she gives voice to uninhibited women who approach sex in an uncensored way. Yet while on the surface she presents sexually liberated women, at bottom she portrays their uninhibited sensuality in such a way as to suggest that they remain imprisoned within traditional gender models.

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With a postmodern twist, Etxebarria offers her personal and seemingly transgressive maternal narrative, seasoned with her particular kind of tremendismo centering on sex and drugs. Once again, in exposing the myths of motherhood, especially the claim of an innate maternal instinct, her iconoclasm is confined to the form, rather than the substance, of her discourse. Abandoning the pastel- color tones of the Hallmark cards, Eva resorts to a comparison that her audience can easily understand, as when she likens maternal love to the experience of being on ecstasy.

Like Cristina, who was addicted to ecstasy, Eva, after giving birth, feels a rush of elation. With her unconventional diction Extebarria replaces syrupy descriptions with crude ones that have the power to reinforce the very same conventional message they seem to challenge. In this way, Extebarria creates the illusion of a transgressive maternal discourse without actually undermining its foundation. By choosing to compare her relationship with her daughter to the feelings caused by the nineties recreational drug par Cincinnati Romance Review 32 Fall Behind the curtain of alternative language, her discourse about maternal love preserves the image of the adoring mother, madly in love with her child.

Although at various points in her narrative Eva expresses her ambivalence towards her daughter, nonetheless her narration re-masks what it pretends to unmask. A woman could experience the same abysmal distance between her feelings as a new mother and the ecstatic descriptions of Un milagro en equilibrio. Many women, in fact, struggle with their own sense of maternal inadequacy when they realize that holding their newborn baby does not necessarily fill them with joy.

Eva, instead, insists on the positive, even therapeutic effects of her daughter even in light of her post- partum depression. To that end she tells Amanda: Etxebarria is reaching out to a specifically Gen X audience born in the late sixties and early to mid seventies who, like Etxebarria, grew up in democratic Spain, in an affluent, hedonistic society characterized by a profound desencanto.

At a time when Spanish women harbor serious doubts about the value of maternity, Eva, who, like Etxebarria, had garnered considerable media attention after the publication of her first book Enganchadas, receives numerous invitations to share her experience.

One of them comes from a certain Nuria. During a book-signing session on the feast day of San Jordi in Barcelona, when Catalans celebrate their patron saint by giving a book or a rose to their beloved, Nuria writes: A self-declared former cocaine addict, Nuria is a GenXer who has moved beyond the transgressions of the nineties to consider adopting a more traditional lifestyle. Consequently, the young woman is concerned first and foremost with the aesthetic effects of pregnancy. She worries that she will lose her slender figure. This fear is accompanied by deeper questions.

Given her financial difficulties, therefore, Eva decides to give a written account of her personal experience, including its intrauterine phase and the pueperium. Eva therefore resorts to the same commercial strategies employed by Etxebarria herself in her previous books.

Eva thus behaves like her real-world creator, offering her experiences to a faithful reading public that, after the excesses of the late nineties, is weighing the pros and cons of childbearing. As Tsuchiya indicates with regard both to Almudena Grandes and to Etxebarria: Like many educated women, Eva faces mothering in loneliness, but her solitude is especially pronounced because her own mother and the traditional, prescriptive culture she embodied are both fading fast.

Cut off from a female genealogy that could provide her with knowledge of maternal matters, Eva, like many first-time mothers turns to parenting books and magazines for lack of better options. In spite of her reservations about these dubious resources, she acknowledges their allure: Her words demonstrate her awareness of the sense of helplessness and anxiety that comes with the birth of a child, as well as the need for support and guidance to face the physical changes of pregnancy and the demands of mothering.

By voicing Cincinnati Romance Review 32 Fall Conscious of the paucity of texts centering on the maternal, Etxebarria embarks on a mission to challenge some of the myths and stereotypes regarding sexuality and gender. She sets the tone for a more nuanced portrait of mothering that includes realistic descriptions of the physical and psychological effects of pregnancy and puerperium.

While it dismantles the fantasy of idyllic representation of pregnancy, it also presents a woman who lacks agency in reproduction.

Against the cloying propaganda of parenting guides and magazines, with El club de las malas madres Etxebarria presents what she considers a progressive book in response to the growing debate about parenting. Indeed the conflicting models of motherhood presented by the media make it impossible to escape guilt and frustration in mothering.

Writing in a post-ideological age, Extebarria reveals the impossibility of escaping contradictions in her articulation of a maternal narrative. Her Un milagro en equilibrio advances a dubious feminist agenda: Adalgisa Giorgio, Oxford, New York: The Bonds of Love: Psychoanalysis, Feminism and the Problem of Domination. Cambridge Scholars Publications, New York and London: Kathleen Glenn and Kathleen Mcnerney. Amor, curiosidad, Prozac y dudas.

Beatriz y los cuerpos celestes. Un milagro en equilibrio. Etxebarria, Lucia and Goyo Bustos. El club de las malas madres. History, Violence, and the Hyperreal.

Girasoles para Lucía (TV Series – ) - IMDb

Representing Culture in the Contemporary Spanish Novel. A World of Difference s. Diario de una madre imperfecta.

Num Colegiada: CV00728

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Libros para Niños: Bilingual Books or Spanish Editions

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