"The Hungry Woman, grounded in the Medea legend and Mesoamerican mythology, reinvents the story of Aztlan in the "near future," visualizing a world in which the Chicano/a nation has won a living space but betrayed the principle of equality of the fighters for the revolution. Passionate, earthy, and tragic, full of heroism and villainy, the play calls on a new audience to deal with an imagined political reality."
"The Hungry Woman, grounded in the Medea legend and Mesoamerican mythology, reinvents the story of Aztlan in the "near future," visualizing a world in which the Chicano/a nation has won a living space but betrayed the principle of equality of the fighters for the revolution. Passionate, earthy, and tragic, full of heroism and villainy, the play calls on a new audience to deal with an imagined political reality."
Antígona González is the story of the search for a body, a specific body, one of the thousands of bodies lost in the war against drug trafficking that began more than a decade ago in Mexico. A woman, Antígona González, attempts to narrate the disappearance of Tadeo, her elder brother. She searches for her brother among the dead. San Fernando, Tamaulipas, appears to be the end of her search.
But Sara Uribe’s book is also a palimpsest that rewrites and cowrites the juxtapositions and interweavings of all the other Antigones. From the foundational Antigone of Sophocles passing through Griselda Gambaro’s Antígona furiosa, Leopoldo Marechal’s Antígona Vélez, María Zambrano’s La tumba de Antígona all the way to Antigone’s Claim by Judith Butler. And this book’s writing machine includes testimonies from family members of the victims and fragments and fragments from news stories that provide accounts of all these absences, all the bodies that we are missing.
