Popular Culture Review Vol. 24, No. 2, Summer 2013 - Page 48

44 Populär Culture Review M aria Herrera-Sobek, professor o f Chicana studies at the University o f California, Santa Barbara, pointed out the measure o f La M alinche’s resilience. “She survived all the indignities o f being a slave as a young child traded from one master to another. Later she survived as best she could the many years she served the Spaniards” (131). The Chicana movement is inclusive, vibrant, and employs the Services o f a variety o f muses: poetry, art, literature, and commentary. Chicana poets see Malinche as a woman who struggled to be heard in a male dominated world. Dr. Carmen Tafolla, poet laureate o f San Antonio, in her poem “M alinche” (Women in W orld History website) Starts with the declaration “Yo soy La M alinche” (“I am Malinche”) (1). She continues: But Chingada I Was not N ot tricked, not screwed, not traitor. F o r i was not a traitor to m y self— I saw a dream And I reached it Another world ...la ra z a La raaaaa-zaaaaa... (51-58) Rosario Castellanos, the Mexican poet and author, spoke eloquently about issues o f cultural and gender oppression using M alinche’s point o f view. “I was sold to the merchants, on my way as a slave, a nobody, an exile“ (Castellanos). In her book, El Etemo Femenino (1975), Castellanos credits Malinche for telling Cortes to wear his armor because it gave him the aura o f a god, and advising him to bum his ships to strengthen the resolve o f his soldiers (Cypess, La Malinche 127). Claribel Alegria, a Nicaraguan poet activist and winner o f the prestigious Neustadt International Award for Literature, in her poem “M alinche” asks this question: To whom must I render accounts? To whom? Teil me To whom? (38-41) The answer is obvious, “only to yourself’ (Romo 151). Artists ask and answer sim ilar probing questions. Santa Barraza, a Chicana artist from Texas, portrays a beautifiil life-giving image o f Malinche. It is small, 8” x 9”, painted on metal, and