Acceso usuarios
Rubén Rojas Yedra
La narrativa de Espido Freire presta habitualmente mayor atención al sexo femenino, aunque no por eso calificaríamos su discurso como “femenino”. La autora vasca ha llevado a cabo una relectura del pasado de la mujer occidental para identificarla como sujeto, no solo como objeto. Incrustada en el “yo íntimo” de sus personajes femeninos, los somete a conflictos personales y sociales: la imposición de símbolos masculinos, para descubrir sus identidades inestables. Narrativamente se nos presenta como una lucha interior cuyo desencadenante es el amor y que deja al descubierto el intervalo de la diferencia. A pesar de que Diabulus in Musica se inserta en un mundo onírico, hemos rastreado ciertos rasgos “feminolectos” para circunscribir el comportamiento de sus “heroínas” en la denominada literatura femenina.
Espido Freire’s work usually focuses on female sex, but it is not a reason enough to qualify her narrative as “feminine”. Embeded in “me myself” of each of her female characters, she subjected them to a personal and social conflicts —as imposition of male-symbols—, in order to make them show their unstable identities. The Basque female author has done a reinterpretation of Western women’s past to identify her as a subject (individual), but not only as an object. The narrative idea is presented as an inward struggle which trigger is the love and reveal the range of the difference. Even though Diabulus in Musica could be added to the oneiric’s world, we have traced certain features called “feminolectos” in order to deal exclusively with the behavior of her heroines in that concept called women’s literature.
