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“Cuando las mujeres quieren a los hombres” or “When Women Love Men” is a
short story by Rosario Ferré that is translated from Spanish into English. It is part of a
wider collection called Papeles de Pandora, which has several concerns about Puerto
Rican society dissecting through the different stories in the anthology. The story is about
two women, Isabel Luberza and Isabel la Negra. One is the wife of Ambrosio and the
other a mistress who each inherit half of his estate. Through the language of dissent,
removal of the distinction between the sacred and ordinary and shifting narrators, Ferré
shows the fragility of upper class women, class and ethnic stratification and women’s
Ferré uses the language of dissent and resistance to destroy societal and linguistic
censorship. The language used by the two women reflects respective realisations of the
is used extensively in “When Women Love Men”. Isabel la Negra describes herself as
“the Cunt of Chichamba, the sharpest-shooting whore in Barrio de la Cantera, the harlot
of Cuatro Calles, the fuck of Singapur” 1 (Ferré, 259). Ferré’s purpose is not mere
vulgarity to entice readership, it serves the purpose of using chauvinistic stereotypes and
insults against the men that employ them. When those intended to be offended use the
inversion with Isabel la Negra. She says “here no one will know, here no one will care if
you’re another whimp, shit scared with fear in my arms” (Ferré, 264). She achieves a
sense of power through the use of profanity as it can no longer be hurled at her. The
words used to belittle her is undergoes a semantic shift. This is when speakers “may
1
Brown, Stewart and John Wickham, eds. The Oxford Book of Caribbean Short Stories. Oxford: Oxford
University Press, 1999. All quotations and page references will be taken from this anthology.
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begin to use a words in slightly different ways, and as these minor changes accumulates a
word can end up meaning something very different from what it started out meaning”
(Meyerhoff, 55). She reverses semantic derogation which is when “a word’s meaning
shifts and acquires more negative connotations” (Meyerhoff, 57). Therefore, she is a
whore, but now a whore is a woman who has refused to be sexually exploited by “the
kings that come and go leaving us behind, always poor” (Ferré, 265) and uses her
young chicks and charge fifty bucks a fuck or nothing” (Ferré, 265). Since profanity is
unintended effect. The answer lies in an article called “The Writer’s Kitchen”. “If
profanity had traditionally been used to degrade and humiliate women, I said to myself, it
should be doubly effective in redeeming them” (Ferré and Velez, 236). Redemption is
what Isabel la Negra achieves through sexuality. She is sexually exploited by men,
weakness. It is fear of loosing her that Ambrosio leaves her half his estate. With the estate
she ascends in the social ladder and owns a brothel, thereby exploiting men’s desires for
Despite the stigma associated with a prostitute, Isabel la Negra is transformed into
attributed to her. “Isabel la Negra, Brincaicógelo Maruca’s only girlfriend, the only one
who ever kissed his deformed feet and washed them with her tears, the only one who
danced with the children to the rhythm of his cry Hersheybarkissesmilkyways” (Ferré,
259). The prostitute is associated with a figure in Puerto Rican mythology that brings
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candy to the children.2 She is also considerate of Isabel Luberza’s pride and claims her
half of the house later so as to allow the initial scandal to cool, “out of consideration for
her namesake, had not decided till then to claim her part of the house” (Ferré, 262).
Knowledge of the other was constantly present, however with the death of Ambrosio and
the inheritance left to each it became necessary to face each other. Isabel la Negra
describes “this confusion between her and her, or between her and me, or between me
and me, because as time passed, from loving her so much, it became more difficult for me
to tell this story, it became harder to differentiate between the two” (Ferré, 260). It seems
that Ferré gifts Isabel la Negra with the initial realisation of the necessity of female
solidarity. This is due to the character being initially the stronger woman. The prostitute
La Negra’s strength seems to be sapped when she meets Isabel Luberza. “Above
all, I needed to convince her that I sought her friendship and her trust” (Ferré, 263).
Isabel la Negra, however, commits herself to the changing of men through her profession.
Through her sexual encounters with them she seeks to show them the necessity of loving
a woman not due solely to sex, and ornamental value but to love them as persons. She
seeks to teach men “that the most macho man is not the one that allures the woman but
who has the courage to let himself be allured” (Ferré, 264). Ferré here addresses the
practice of the upper class men of having submissive wives and mistresses whose only
2
Ventura, Cynthia, Translator’s note.
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wealth and colour, that Isabel la Negra “was convinced that it would be convenient to
take it out of the slum because in the slum it lost prestige and even gave the impression of
being an insalubrious business” (Ferré, 262). She refers to her brothel which is her means
woman like her who is more in tune with society’s realities falls into the trap of defining
prestige.
In contrast there is Isabel Luberza who initially never uses profanity. Instead she
relies on religious text to defend herself from the socially embarrassing position that she
has been flung into. “Because it was clearly said by Saint Paul, Ambrosio, adultery is one
thing when it is carried out with modesty and moderation, and another when it is public
pandering, a rape of coin machines and neon lights” (Ferré, 263). Isabel Luberza due to
social standing never speaks in a manner that would be termed in appropriate for a
woman. She believes that despite all her suffering salvation would be achieved through
self mortification instead of breaking the rules that constrain her. “In this way we had
reached, Ambrosio, without your knowing it, an almost perfect harmony among the three.
I loving her more and more began mortifying flesh, at first with small insignificant
actions, to make her return to the good path” (Ferré, 267). With the two women, Isabel la
Negra fights her exploitation, both sexual and social, wielding her sexuality and language
as a weapon. Isabel Luberza forgoes sexuality, expression and any other means of
defence for the sake of respectability. Her language represents the effects of the male
hierarchy. She even uses naturalization in the statement “a prostitute hides beneath the
skin of every lady” (Ferré, 258). Naturalization is the process in which, “people are often
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no longer aware of the hierarchies and systems that shape their social interaction”
(Simpson, 8). The result is that Isabel Luberza prolongs the myth that ironically she
fulfils.
In “When Women Love Men”, the sacred and ordinary are rigidly separated by
society to differentiate between the classes. Ferré elevates the ordinary aspects of the
lives of the characters to the level of the divine. This removes the barriers that separate
the worlds of Isabel la Negra and Isabel Luberza. In the face of an adulterous husband
Isabel Luberza invokes the words of Saint Paul. Isabel La Negra explains her sexual
experiences as a means of attaining god-like ecstasy. She uses the similitude “because we
know pleasure and pleasure makes us into gods, sonny, and although we may be mortals,
we have bodies of gods, because for a few moments we have robbed them of their
immortality” (Ferré, 264). Through the juxtaposition of texts in the epigraph, the plena
which is a local musical form3, is elevated to the level of the Epistle as a source to
understand the complexities of life, in particular love. In this musical form, its own origin
is explained in the line which means “The whore that I know is not from China or Japan
because the whore comes from Ponce, she comes from the neighbourhood of San
Anton4”. The importance of this lies in Ferre’s focus in her literature. The poor and
socially excluded are prominent; hence a prostitute from a slum is the focus of Ferré.
The plena speaks about the carnal love which Isabel la Negra seeks to educate
men about. This is opposed to divine love in marriage which Isabel Luberza has placed
all her faith in. The Epistle encourages coming face to face with the other. Hence, Ferré
3
Translator’s note.
4
Translation from: Puelo, Augustus. “The Intersection of Race, Sex, Gender and Class in a Short Story of
Rosario Ferré.” Studies in Short Fiction. (1995). BNET. 20 Jun. 2008 <http://www.bnet.com./findarticles>.
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shows that true love is only attained through a compilation of both. Both types of love
must be melted together. Hence, both women who represent the two types of love must
assimilate into one and discard the limited reality mentioned in the epistle. Ambrosio’s
actions were not intended to “push them both downhill at the same time” (Ferré, 257).
Alone the women will not prosper, one has the stigma of a prostitute and the other, that of
women’s outward accepted preoccupations and their hidden inner selves which find no
place in the social world in which they exist” (84). By elevating their actions and
responses to a spiritual level, Ferré takes the women out of the stifling social situation.
In addition to the sacred and real being juxtaposed in the epigraphs, there is also
ironic one. The Christian belief that humans were created in God’s image is placed with
the belief that sex or the orgasm elevates one to a divine level. Isabel Luberza also utilises
religion when she quotes Saint Paul, “if a woman’s husband is unfaithful to her for
another woman, let him beware of committing an even greater sin by remaining with the
prostitute rather than with an ordinary woman” (Ferré, 265). This seems to be mild on the
adulterous husband but Isabel Luberza neglects the part of the Epistle in the epigraph. It
tells of the imperfection of human perception but “for now we see in a mirror dimly, / but
then face to face.” (Ferré, 257). She needs to face that the cause of her pain is not the
prostitute but masculine sexism and chauvinism. Within the sacred is also the
her husband faithful (Ferré, 266). It also shows the precarious and insecure position of the
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upper class woman who is in constant fear of losing her husband who by nature strays
appearances equate status and the expectation of women to be passive, in addition to the
solution which is the fusion of the different faces of women into a cohesive whole. Isabel
la Negra is initially at the bottom of society “like the mud at the bottom of the gutter”
(Ferré, 264). However it is through Ambrosio’s money that she rises, “despite the
satisfaction of knowing that her social endeavours were recognised, her fundamental
prestigious appointments” (Ferré, 262). Ferré shows that it is not the only form of nobility
that she possesses, she has virtues that no others have. By initiating the white sons of
Ambrosio’s friends, Isabel la Negra protects the virginity and by extension status of the
white women. This shows that the status coveted and afforded to the likes of Isabel
Luberza is due only to societal myths. The society of Isabel Luberza can only be
Isabel Luberza conforms to the doll image that is expected by the men in Ferré’s
story. “When Women Love Men” comes from a collection that when translated into
English is The Youngest Doll. By portraying Isabel Luberza as a doll, Ferré attacks the
powerless and without voice or will. The greatest evidence for this is when she reveals
that she had knowledge of Ambrosio’s affair long before his death. “The first year of our
marriage, when I realized the relationship that existed between you two, I felt like the
unhappiest woman on earth” (Ferré, 265). The difference between the private and public
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lives of women are dealt with here. A woman is expected to have a consistent outward
appearance while suppressing her internal feelings. She accepts the affair “since the ideal
woman of her class is the wife who suffers in silence and passivity” (Puelo). Isabel
Luberza simply relegates the betrayal to “an evil necessity” (Ferré, 266). The doll image
is articulated by Isabel Luberza who lists her virtuous talents in dismay that her
respectability has been shattered by Ambrosio leaving half his estate to his mistress. She
says, “to that body which nobody has ever seen exposed to this day in the smallest sliver
of her white buttocks, in the most tenuous shavings of her white breasts, her chaste skin
that had protected her flesh, now snatched away from her, renounced at last that virginity
of a respectable mother, of a respectable wife that had never before stepped into a brothel,
that had never before been slandered in public as I have been so many times” (Ferré,
261).
Out of the two different women embodied in the two Isabels, Ferré seeks to create
a new character through the fusion of race and class. Isabel la Negra is a puta (whore) of
African origin and Isabel Luberza a European dama (lady). This fusion is termed
Mestizaje which is the “racial and cultural mixture that was produced by the conquest of
the so called “New World”” (Bost, 187). The reality of Puerto Rico is the creolisatoion
that occurred in the Anglophone Caribbean. This explains the need for the African
prostitute in the story. Traditionally this group has been oppressed in society, in particular
the women. Ferré has a woman who is breaking the holds placed on her race and gender
would be best suited to demonstrate the “confluence between two opposing identities: the
upper-class light skinned woman and the mulatto prostitute” (Bost, 196). The
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demarcations of class and ethnicity are viewed by Ferré as a barrier for empowerment, in
particular women’s empowerment. At first the women in the story acknowledge each
others presence and the inevitability of their meeting. Then they fuse together through
taste in perfume and powder. Isabel Luberza describes Isabel la Negra as “her perfume
Fleur de Rocaille, with which I anointed my body, her powder, Chant D’Aromes, with
which I whitened my breasts” (Ferré, 261). Their relationship evolves as each tries to
understand the other before the eventual physical meeting. This is seen through the
shifting narrations and when they narrate for each other. When the actual meeting takes
process of assimilation with the other. There is the use of the language of dissent for the
first time when she remembers her feelings about Ambrosio’s affair. “I imagined her in
the cot with you adopting the most vile positions, letting herself be fucked in front and
from behind” (Ferré, 268). Also, the presence of Isabel la Negra had a previously
unsettling effect on Isabel Luberza. Her presence was foreboding and represented the
destruction of the marriage, “I would always keep my eyes wide open and look over your
shoulders as they bent down over and over again, so as not to loose sight of her” (Ferré,
266). Isabel la Negra feels the power through self awareness that has been attained and is
assimilated. “When Isabel Luberza opened the door, Isabel la Negra felt her knees
weaken” (Ferré, 263). Isabel Luberza grasped the necessity to leave the impotent attempt
affirmation. Negation and rejection of the previously held societal myths that she
conformed to and tried to maintain and affirmation and acceptance of the new character
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of women comprising every aspect of womanhood. She “escapes her illness, decay,
confinement, anonymity and physical powerlessness by fusing with the other” (Puelo).
She no longer hates the prostitute but embraces her fulfilling the statement that every lady
is a prostitute. “Because until now on her account, I haven’t yet understood all this
suffering, all the things that have tormented me, but obscurely, as though seen through a
darkened mirror, but now I will see clearly for the first time, now I will confront at last
that face of perfect beauty with the face of my sorrow to understand” (Ferré, 268).
The symbol of the Cherries Jubilee nail polish occurs throughout the short fiction.
It is thought by Isabel Luberza to be the colour of the ‘negroes’. Eventually she dons the
nail polish, placing herself with the general women of the society. The colour itself is
symbolic as the intense brightness represents passion that Isabel la Negra embodies. By
embracing la Negra and the ideals she represents Isabel Luberza finally becomes the
Ferré employs irony that involves the writer splitting into different, opposite
selves. This is realised in the constantly shifting narrations of the opposite Isabels. The
narrations conform to Fowler’s Internal Type A narrative. This is a first person narration
that included modality or the grammar of explicit comment and verba sentiendi or words
that denote thoughts feelings and perceptions. The narration “is located entirely within
characters, and their opinions on both realised and unrealised events in the story”
(Simpson, 39). According to Ferré, “there is a third type of irony, which consist mainly in
the art of dissembling anger, of refining the foil of the tongue to the point that it can more
accurately pierce the reader’s heart” (147). Anger refers to the response made by female
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Spanish American writers in response to the initially patriarchal canon. Therefore, there is
a historic and literary first person narrator. Each woman represents a feature of
womanhood; the historic exploitation sexual exploitation of the African woman and the
oppressive, rigid world that stifles the European woman. Hence, the irony lies in
juxtaposing opposing characters that reach a symbiosis at the end. This “historical
empiric self, as well as … linguistic self” (Ferré and Paravisini-Gebert, 901), allows Ferré
The shifting narrators serve to create two opposing women, Isabel Luberza and
Isabel la Negra who are extensions of different ideologies and worlds. Isabel Luberza
restates the patriarchal belief that “a prostitute hides beneath the skin of every lady”
(Ferre, 258). This statement by the character representing the social elite exposes the
chauvinistic reality of the setting of the story. However, it shows how the two women are
of mind. The charade of external possessions that equate to dignity and respectability of a
lady such as Isabel Luberza is attacked and the material possessions are stripped away to
expose the degraded image of the woman that Isabel Luberza represents. “Because we
have always known that each prostitute is a potential lady drowned in the nostalgia of a
white house like a dove that will never be held, of that house with a balcony of silver
amphoras and plaster fruit garlands hanging over the doors, drowned in the nostalgia of
the sound of china when invisible hands set the table” (Ferre, 258). When Isabel la Negra
sees the dejected wife she feels pity. “God damn it, Ambrosio, you had to have a heart of
stone to make her suffer the way you did” (Ferre, 265). The process of accommodation
between the two women is a constant one throughout the narrative. Each eventually
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realizes that their future lies only through discovery of the suppressed femininity in them
and reliance on each other. Ironically the two are linked by the same man, Ambrosio who
is a respective husband and lover. The shifting narrative serves to highlight the separate
The title “When Women Love Men” projects timelessness about the subject. It
seems that women always love men and in turn will always suffer because of that love. It
is because of the suffering from loving men that the women must learn to love each other.
“So in the end, when one of us won over the other, it was our most sublime act of love”
(Ferré, 258). The author creates an epic from an event rooted in reality. Isabel Luberza
speaks about the house, half of which was inherited by the prostitute, as “this house that
will now become part of the same legend, the legend of the prostitute and the lady”
(Ferré, 260).
The characters use sexually explicit language as a means of dissent. The insults
hurled against women are inverted by them and used to defend themselves. The
separation between the sacred and ordinary which was used to maintain class and colour
distinction is removed. This creates a unity amongst the characters that joins the women
of different backgrounds in the struggle against the male chauvinist society. With the
shifting narrators the different lives of the women that represent opposite realities are
explored. The similar forms of oppression in the separate lives are identified highlighting
the common state of women. Through this, Ferré develops a new personality of woman,
one not bound by class and race but a mixture of all women and their respective struggle
Works Cited
Bost, Suzanne. “Transgressing Borders: Puerto Rican and Latina Mestizaje.” MELUS
<http://www.jstor.org/search.>.
Brown, Stewart and John Wickham, eds. The Oxford Book of Caribbean Short Stories.
Ferré, Rosario. “How I Wrote ‘When Women Love Men’”. The Youngest Doll. Lincoln:
Ferré, Rosario and Lizabeth Paravisini-Gebert. “From Ire to Irony.” Callalo 17.3 (1994):
Ferré, Rosario and Diana L. Velez. “The Writers Kitchen.” Feminist Studies 12.2 (1986):
Fishburn, Evelyn, ed. Hispanic Texts: Short Fiction by Spanish –American Women.
Puelo, Augustus. “The Intersection of Race, Sex, Gender and Class in a Short Story of
<http://www.bnet.com./findarticles>.
Simpson, Paul. Language Ideology and Point of View. New York: Routledge, 2000.