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Negron-Muntaner concludes that the most vital cultural productionsthat deal with boricua identity have "sprung not from the denial ofshame, but from its acknowledgment into wounds that we can be touchedby" (xviii). It is in this context that I wish to examineSantiago's negotiations of shame, pride, and identity in her memoirs.Tracing her development from a young girl in Puerto Rico to a young woman inthe States, I will also examine the way that a "constitutive shame"operates in the arena of gender and sexual politics as well as cultural andcolonial politics. These political axes, which are all defined byasymmetrical power relations, interact with each other; but the primarysignificance shifts from a focus on culture and colonialism to a focus ongender and sexual relations in a roughly chronological pattern as Santiagomoves from Puerto Rico to the States and as she transforms from Negi (a termof endearment that establishes her as a favored child in her parents'home) to Chiquita (a term of endearment that establishes her as favoredprotege and companion to her lover Ulvi). These multiple arenas become moreclosely linked, however, as she matures into Esmeralda (an official name thatshe reclaims when she begins to assert more control over her own life) andstruggles, in her final identifications and values, to come to terms with theshameful bases of her sense of self and her possibilities. (2)


Negi first picks up on the shame of being a "spik" whenher father tries to explain why Puerto Ricans call Americans gringos and thenseems embarrassed to admit that Puerto Ricans are themselves called"spiks" by Americans who make fun of Puerto Rican accents when theysay "I don spik inglish" (73). When she next enters the centrocomunal, she notices the posters that depict American parents who teach theirchildren hygiene, as well as a giant chart of the major food groups. When shethen looks at the Puerto Rican seal, it seems to emblemize submission toslaughter and humiliation; flanked by the US and Puerto Rican flags, as wellas by portraits of Eisenhower and Don Luis Munoz Marin, it looks to her"like a lamb on a platter" (75). Though Negi doesn't admit it,she might feel ashamed, because, for example, she has had intestinalworms--the ugly result, according to the experts, of poor hygiene, of puttingdirty, unwashed hands into her mouth--and this shameful invasion of her bodyhad to be eliminated with a purgante that her mother concocted (69).


(2.) In accordance with this trajectory, throughout this essay Iwill use the names used for the character in the text: Negi for the daughterin the Santiago household, Chiquita for the self named by Ulvi, and Esmeraldafor the independent self that a mature Santiago creates. I will use Santiagoonly when referring to the mature authorial presence. 041b061a72


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