(5.) Thematically, Hortense Spillers's influential article "Mama's Baby, Papa's Maybe" (1987) suggests itself here: the "matriarchal" descent of the Corregidora
women is verifiable.
On one hand, it signals that the violence and exploitation of black women has been perpetuated throughout the history of slavery in the Americas, whether the narrative is situated in the years closer to the aftermath of slavery--as it is the case of Beloved--or many years later as in Corregidora
and Poncia Vicencio.
The B3/3.mx ratings assigned to the municipality of Corregidora
(1: 127-2.8) Then the narrator summarizes the evidence leading to the recognition of Costanza: "El pecho, los dedos, los brincos, el dia senalado del hurto, la confesion de la gitana y el sobresalto y alegria que habian recibido sus padres cuando la vieron, con toda verdad confirmaron en el alma de la Corregidora
ser Preciosa su hija" (1: 128).
She discusses maternal healing in Morrison's Beloved and Cha's Dictee, reliving African matrilineage in Perry's Stigmata and Jones' Corregidora
, childhood scars and women's love in Perez's Gulf of Dreams and Allen's The Woman Who Owned the Shadows, and chaos and the absence of female bonds in Acker's works.
It is this practice of attempting to control and silence black female bodies that Gayl Jones's Corregidora
(1975) simultaneously reflects and responds to.
This is illustrated via an ethical re-evaluation of Toni Morrison's Beloved and Gayl Jones's Corregidora
in their encounter with trauma theorists, but mainly with Jacques Derrida's overwhelming reflections on mourning, spectrality, and testimony.