The Changing Face of Motherhood in Spain by Ross Catherine Bourland;

Author:Ross, Catherine Bourland;
Language: eng
Format: epub
Tags: undefined
Publisher: Bucknell University Press
Published: 2012-08-15T00:00:00+00:00

Society’s social mores teach women to “keep their dresses down, their pants up, and their bodies away from strangers” causing women to then “experience their own sexual impulses as dangerous.”[22] However, pleasure and desire figure as central aspects of wanted sexual experiences. Women should be able to enjoy their sexuality as they see fit, without fearing their own reaction or that of society. The character Lola, the stepmother of Mario in Lo verdadero es un momento de lo falso, embodies the sexual female who seeks to fulfill her own desires while ignoring society’s dictates. Through her energetic sexual partnership with her stepson, her exploitation of her husband, and her desire for material wealth, Lola illustrates the pleasure of using one’s body and the repercussions that accompany the outcome of intercourse.

Through her sexual relationship with her stepson, Lola demonstrates how the sexual use of the body of a woman in her mid-thirties causes both pleasure and danger and ends in reproduction. In order to start their relationship, both parties had to ignore the fact that Lola was Mario’s stepmother. They had to remove the father from the equation. Mario explains that, from the beginning, “era imposible que viera a Lola como su madre o como su madrastra, si ni siquiera llegaba a tener diez años más que él”[23] [it was impossible to see Lola as his mother or his stepmother, as she wasn’t even ten years older than he]. When they return from their first outing, Lola refers to the house that she lives in with Mario’s father as “mi casa”[24] [my house], and Mario replies, “Vale . . . pues vamos a tu casa” [Okay . . . then let’s go to your house], establishing “un pacto tácito de complicidad” [a tacit pact of complicity] between the two partners, not to mention the father. At this point, “Lola había dejado de ser su madrastra. Era sólo una chica corriente, simpática, divertida, con la que se acababa de correr una de tantas juergas de Madrid en verano”[25] [Lola has stopped being his stepmother. She was only a normal girl, nice, fun, with whom he had just spent one night partying in Madrid in the summer]. Once they begin their sexual encounters, Mario admits that “por supuesto que se le pasó por la cabeza que ella era la mujer de su padre. Pero también era una chica guapa, apetecible, mojada, y era una mañana limpia de verano, recién estrenada, luminosa y fresca, y todo parecía perfecto, el escenario ideal”[26] [of course it passed through his head that she was the wife of his father. But she was also a beautiful, appealing, wet girl, and it was a clean, summer morning, recently debuted, luminous and fresh, and everything seemed perfect, the ideal scene]. Anything can be forgiven under the right circumstances, and through their pact of silence and their young, sexual bodies, these two characters begin a summer-long relationship that skirts the boundaries of acceptable and suggests an incestual aspect.

Through the voice of

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