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Corregidora Paperback – February 15, 1987
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From the Back Cover
Top Customer Reviews
Although Ursa had a black father, she resembles the Portuguese Corregidora. Her light skin and fine hair causes her to be ostracized by black women and desired by black men. She expresses her lifelong frustrations in the form of song and has moderate success as a blues singer in the small local club circuit. Ursa finds herself suffering emotionally, verbally, and physically at the whim of her husband, Mutt, who begins to exhibit the same jealousy, possessiveness, and envy that her great-grandmother shared regarding her relationship with Corregidora.
Through flashbacks and internal memories, we understand Ursa's mental anguish when trying to discern between the painful slave legacy and her present day household situation. True to the mindset of the time, a woman's childbearing ability is looked upon as her only source of power and we see Ursa's torment further exacerbated when her ability to pass "the evidence" to her children is jeopardized.
This book addresses racism, slavery, and sexism on several different levels.Read more ›
When I first heard the title of this book -- CORREGIDORA (1975) -- I thought it was "corrigenda."
Corrigenda: a list of errors in a published manuscript.
* * * * *
When a literary artist belongs to a community that is denied cultural, economic, and political authority, she is often expected to write in the name of that community. All of her work, it is assumed, deals with the common experience of "her race" -- and has no other significance besides. She becomes the spokeswoman of "her people," a substitute voice for the members of her oppressed group, who have the same problems as her. Since racism is based on the assumption of an identification between race and personhood, it should hardly be surprising that literary artists who belong to minority cultures are regarded as the surrogates of these cultures, as representatives who are predetermined to write about "their culture's" marginal status.
The writing of Gayl Jones has been traditionally received in this way. Like Toni Morrison, Jones is customarily referred to as an "African-American novelist," as if the totality of her literary output were reducible to the problems of "her community," as if the communal experience of racialization were imprinted on every page that she has ever produced. The significance of Jones's Corregidora (1975), however, is not reducible to the race of its authoress.
At the novel's opening, lounge singer Ursa Corregidora is shoved down a staircase by her husband, Mutt -- a catastrophic blow that results in her infertility. After she renounces her husband, Ursa enters into a relationship with Tadpole, the owner of the Happy Café, the bar at which she performs.Read more ›
Most Recent Customer Reviews
Intimate storytelling that wraps you in the blues. Explores the troubling issues of slavery, colonialism, abuse ... a side of America many would rather not acknowledge.Published 3 days ago by Margaret V. Williams
I read G. Jones second book, Eva's Man, first and was prepared to find this one difficult to read. It wasn't. Read morePublished 3 days ago by ColorOrange
I had to read this for a literature class and it was a bit too crass and vulgar in parts for me, otherwise the tonality of the story isn't bad. Read morePublished 3 months ago by Amazon Customer
This is such an amazing book! I must-read for African American womenPublished 19 months ago by Shakkaura Kemet
It is an interesting read. It is an easy read. I wanted to continue reading, which is a good sign for a book. Read morePublished 20 months ago by stefan hendriks
The beauty and often unheard sadness of the female blues singer is finally heard in this lovely yet anger infused fictional novel.Published 20 months ago by Mark Twain Jr. Jr. Jr.