TLDR/OPinion: 6/10
Hosseini's harrowing microcosmic tale of ​the wider degeneration of his native country, Afghanistan, tells the story of its oppression and corruption at the hands of other nations and terrorists groups from the unique perspective of 2 children. The book travels through history and across countries, a tale of betrayal, heartbreak, inequality and redemption.
Book Reviews and Analysis
Frederico garcía Lorca
1898 - 1936
about the author:
In 1932 Lorca was the director of La Barraca, a touring University theatre group (often performing in rural areas). Filled to the brim with metaphorical language Lorca had the dual aim of entertainment and enlightenment for the 'receptive minority'
His works owe simultaneously to dedication to artistic standards and responsible service to society, though it can be said that his didactic message is subordinated to the wider artistic vision. It cannot be denied, however, that his works and mindset is imbued with some of the chastisement and sincerity otherwise lacking in contemporary Spanish theatre, instead focalising on a commercial applicability.
​
his works:
Lorca, as an artist, valued to the educative potential of theatre. The audience are the school children to the plays teaching where even adults can be taught new lessons. He commented repeatedly that the cheapest seats in the theatre are 'where the most appreciative spectators are to be found'. The wealthier ones blur the lines of true theatrical enjoyment and showing of material wealth.
​
In the following page I've analysed, described and given my opinion on 2 out of 3 of his rural tragedy trilogy, La Casa de Bernarda Alba and Yerma.
​
​
1. La casa de bernarda Alba:
2. yerma (1934)
TLDR/Opinion: 6/10
Determinism? The idea of her name, meaning barren or infertile, predetermines her future, as though to throw up the question which came first? Her childlessness or her name and whether one was causational to the other. But she has an obsession with her inability to have children or lack of them, a sensitive topic amongst the married couple and society as a whole. Yerma is burdened by the lack fo children yet acknowledges how it is a woman's lot in life and without, children she is almost stripped of her femininity. Aware of the lack of social movement Yerma takes matters into her own hands - perhaps too literally. As though projecting her desire externally, she sings to the non-existent baby as though to aid its materialisation. There is tragedy in her false hope and Lorca reflects on the stagnant nature of society and the pressure on women to conform and the result for those who cant so strong is the influence of society.
​
Favourite Quote: 'quiero beber agua y no hay vaso ni agua, quiero subir al monte y no tengo pies'
-
Stigmatisation
-
Infertility
-
Expectations
-
Misconceptions
-
Traditional gender roles
-
Una Mujer Verdadera (a real woman)
Themes:
Blurb:
Yerma and her husband are unable to have children, much to Yerma's denial and disappointment. The book describes Yerma's management of this personal crisis, jealousy of other mothers, delusions, attempts to change her circumstances and ultimate self-sabotage. Aware of the lack of social movement and natural impossibility of her situation - Yerma takes matters into her own hands - perhaps too literally.
analysis/spoiler alert:
OBSESSION:
She has done exact calculations of her own later initiation to motherhood in direct comparison with others so as to reassure herself that in comparison to the success of other older mothers she still has time - shows her preoccupation with it. She has many a superstitious habits in order to supposedly engender conception. Pathologically caresses her stomach or compulsive behaviours of a phantom mother as though to manifest a baby through sheer will. Her desperation even manifests the sound of a boy crying - so strong is her delusion is audible/tangible to her.
​
INFERTILITY:
Different myths and reasonings behind a woman's infertility - not loving or being enamoured enough with the person who is expected to father the child. Yerma herself alludes to a lack of sexual instigation on Juan's part being partly to blame for their situation
​
DELUSION:
Yerma romanticises everything about pregnancy - the cracked breasts - a worthy, good, natural pain, diminishes or wilfully ignores children's irritating idiosyncrasies and behaviours - dismisses it all and instead favours a warped, deluded viewpoint; to her, every woman is predisposed for 4-5 children and without having them their natural corporeal reaction is rancour of the blood, a poison retaliating at the woman's negligence to her body's 'right' to children as though the woman were to blame and castigated.
​
SOCIETAL STIGMATISATION:
Too much weight and pressure is put on the miracle of birth and the beneficence of children. Yerma experiences incidences of awkward misunderstandings combined with the prosaic nature of those that surround her (Victor) and the contextual prerequisite for women to have children and the starkness when they dont. Their harsh appraisal of her childless home only exacerbates her anguish and its uncomfortable to experience as a reader. The idea of culpability and that sense of societally-informed guilt barren women feel at not fulfilling their 'duty'.
​
Adopts adrogyny/ostracisation/eunuch status upon have no children - so alienating is this status that she no longer feels she can claim her femininity. With her lack of a child she feels she may as well be or is transforming into a man. So strong is the taboo of a childless mother is that, without a child she has no perspective, no grasp on reality. She has lost purpose.
​
GENDER ROLES:
The ingrained expectation that women are the mothers, the sewers, the feeders of the family and to be bereft of one of these 'responsibilities' is to lose purpose and esteem. Juan incarnates the epitome of patriarchal gender standards - his orders, his reference to her as 'that woman' - she is clearly his inferior. The wife is an extension of her husband and therefore his honour - therefore in order to watch over his 'honour' and his 'reputation' he employs his sisters as spies for his own wife and she knows that they are in place as her guards. The lines of gender alterity and disequilibrium are drawn in bold. His woman is commodified like the sheep he tends to. Juan is controlling and, with an authoritarian complex, monitors her exits and her behaviours in much the same way he would compartmentalise his sheep.
​
MARRIAGE:
The lack of choice in marriage and how women are married off to the most suitable person. The 'muchacha' perhaps purposefully anonymous (so as to represent the usually unspoken nature of her words her attitude, like her name is not usually acknowledged) is the most rebelliously minded - she is cognisant of her cyclical, blatantly mundane life.
​
The idea of 'talking with someone' not being a sin is repeated in the play - almost to counteract or undermine this conviction, in fact suggesting that it depends on the intention of the words or the person with whom you are talking to determine sinful behaviour. Talking itself is not sinful but it can be. Juan also suspects her of being with another man - always suspicious with his sisters in tow. The sisters are always keeping watch - appearing every now and again mid conversation - its is paranoia inducing.
​
COMMON MOTIF'S ACROSS THE TRILOGY:
Juan has a similar preocupation with 'el que diran' like Bernarda in 'La Casa de Bernarda Alba' however where her concern is reputation his is his honour - a common obsession for males for whom their wife is a manifestation of their own social standing and esteem. Also similarly is the motif for thirst and hunger representing sexual repression.
​
SOCIETY:
Yerma wishes to escape her cyclical sitatuation - wishing to go far from here however, Victor (ever the realist) says that 'es todo lo mismo. las mismas ovejas tienen la misma lana'.
​
Finally this obsession culminates in a horrific crime out of derangement and desperation - killing Juan eradicates any possibility of her having a child - hence her words 'i have killed my son' upon his death. Psychologically her motive for killing him could be founded in a deep rooted lack of desire for children - perhaps her overwhelming need for a child merely reflected the macrocosmic attitude towards a woman's role and this murder is her subconsciously eliminating the obligation. This is further emphasised in her refusal to have an affair with a fertile man, offered to her on a platter. Her underlying machinations and behaviours (the murder, the refusal, the lack of sexual drive - If she could she would conceive without her husband) alludes to an actual aversion to child rearing.