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Feminist Refiguring of La Malinche in Sandra Cisneros’ 
Never Marry A Mexican

Dian Natalia Sutanto
ELS Sanata Dharma University
(dian_natalia_s@yahoo.co.uk)

Abstract
La Malinche, the mistress of Spanish conquistador Hernán Cortés, has evolved from 
a  historical figure into Mexican national myth that connotes all the negative aspects 
of woman’s sexuality in Mexican and Mexican-American Culture. Sandra Cisneros 
in her Never Marry A Mexican reinterpretsLa Malinchein a more positive light and 
points out how women sexuality can be the site for women empowerment.By drawing 
on insights from feminist theories on motherhood, marriage, and incest taboo, this 
study identifies the way Cisneros revises the negative image of La Malinche as a 
dupe, passive and submissive mistress. This study identifies that Cisneros has created 
a strong protagonist character named Clemencia, who exerts her subjectivity and 
claims for her sexual agency totransgress patriarchal construction of woman passive 
sexuality, imposition of maternal identity as asexual mother and taboo on incestuous 
relationship. Cisneros’s La Malinche is no longer depicted as the victim duped by the 
patriarchy, but as the survivor who is able to preserve her sense of herself in the 
dominating patriarchal world. 

Keywords: Feminist Refiguring, La Malinche, Mexican-American Literature

A. INTRODUCTION
Sandra Cisneros is a Hispanic 

American novelist, short-story writer, 
essayist, and poet whose works bring the 
perspective of Mexican American women 
into the American literary mainstream. In 
her short story Never Marry a Mexican, one 
of the short stories in the collection Women 
Hollering Creek, Cisneros reinterprets 
historical figure that has constructed the 
sexual and maternal identities of Mexican 
and Mexican-American women, La Malinche 
the whore, lover of foreigners, mistress, and 
traitor. 

The figure of La Malinche has been 
connoted negatively in Mexican culture as 
a representative of native land conquest by 
Spain in particular, and outsiders in general. 
La Malinche was an Aztec woman who became 
the translator and mistress of the sixteenth 
century Spanish conquistador Hernán 

Cortés. Her role as Cortes’ translator had 
significantly contributed to the downfall of 
Aztec and imposition of Spanish rule over the 
native peoples. Besides, as Cortes’ mistress, 
La Malinche had borne a son for Cortés, Don 
Martin, the first mestizo, or Mexican, thus 
ushering the pollution of native ancestry 
with European blood. La Malinche indeed 
had unique positions both as the creator 
and the destroyer. On the one hand, she was 
considered as the Mexican Eve or the Mother 
of the Mexican race. On the other hand, her 
sexual complicity with the white man had 
brought the downfall of her native culture. 
La Malinche has been seen with shame and 
contempt by the Mexicans because of her role 
in the destruction of the native culture. The 
figure of La Malinche has come to represent 
the rape of the indigenous people and 
their land by the Spanish conquistadors in 
Mexican and Mexican-American mythology 



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(Wolfe, 2013).La Chingada, the ‘penetrated 
one,’ is commonly associated with La 
Malinche (Wolfe, 2013:7). La Malinche has 
been an iconic mythical figure behind the 
construction of the gender stereotype in 
Mexican and Mexican-American culture 
in which men are seen as dominating and 
active, whereas women are submissive and 
sexually inactive. In contemporary Mexican 
and Mexican-American culture, La Malinche 
is iconic for women who depend on men for 
social advancement, conformity and security 
and are later left violated or abandoned 
(Campbell, 2004). Moreover, according to 
Krauss negative interpretation on the figure 
of La Malinche in Mexican national myth 
has been responsible for the men’s low 
perceptions of women which are evident in 
the nation’s current high rate of infidelity 
and domestic violence (Campbell, 2004).

During the 1970s the paradigm of La 
Malinche as the victim is prevalent among 
Mexican and Mexican American feminist 
writers (Townsend, 2006). However, in the 
1980s and 1990s a number of feminist writers 
adjusted this notion that La Malinche perhaps 
is not entirely victimized, but a resourceful 
and intelligent survivor (Townsend, 2006). 
Recent Mexican-American feminist writers 
have endeavored to recover La Malinche’s 
negative image as a traitorous whore by 
claiming her power as a strong female figure 
who is able to survive between the two 
worlds and disrupt patriarchy. According to 
Cypress, La Malinche’s role as translator and 
white man’s spokesperson has disrupted 
the patriarchy on both the indigenous and 
European sides (Wolfe, 2013). Her language 
ability has helped her to negotiate her power 
between the Spanish and Indian culture 
and thus, helps her to survive. Moreover, 
her maternity is interpreted by the feminist 
writers in a more positive light because it 
has created the new mixed-blood race, the 
Mexican. 

Cisneros’s Never Marry A Mexican 
joins that of many feminist writers who 
attempt to reinterpret the figure of La 
Malinche in the positive light a survivor,
rather than as a victim of patriarchal 
domination. Cisneros is particularly 
interested in revising the negative 
representation of La Malinche as a passive 
and submissive mistress. She creates a female 
protagonist, Clemencia, who shares some 
similar characteristics with La Malinche. 
Similar to La Malinche who lives between 
two worlds and cultures, the Spanish and 
the Indian, Clemencia also lives between two 
cultures, the Mexican and American. Both of 
them are working as translator to mediate the 
communication between the two cultures. 
Both of them are the mistress of White man 
and suffer from betrayal. The difference 
is that, to revise the negative image of La 
Malinche as a dupe, a passive and submissive 
mistress, Cisneros creates Clemencia as a 
strong woman who exerts her sexual agency 
and transgresses the patriarchal construction 
of woman passive sexuality and maternal 
identity. In Never Marry A Mexican Cisneros 
points out that women sexuality can be the 
site for women empowerment. Cisneros’s La 
Malinche is no longer depicted as the victim 
duped by the patriarchy, but as the survivor 
who is able to preserve her sense of herself 
in the dominating patriarchal world. 

B. FEMINIST REFIGURING OF LA 
MALINCHE IN SANDRA CISNEROS’ 
NEVER MARRY A MEXICAN

Never Marry A Mexican is told from 
the perspective of the heroine, Clemencia, 
in a form of monologue to recount her 
inharmonious family life and her sexual life 
and affair with married men. Clemencia is 
born from a Mexican father and a Mexican-
American mother. Because of the cultural 
discrepancy, her family life is not harmonious. 
Her Chicana mother cannot meet the gender 

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expectancy of his father. As a Mexican, his 
father demands for a typical submissive wife 
and mother. Being unhappy as Mexican’s 
man wife, Clemencia’s mother always warns 
her for never marrying a Mexican. 

Never marry a Mexican, my ma said 
once and always. She said this because 
of my father. She said this though she 
was Mexican too. But she was born here 
in the U.S. and he was born there and 
it’s not the same, you know. (Cisneros, 
1991: 68)  

Defying the expected gender role, 
Clemencia’s mother cheats on her father 
while her father is sick and bedridden. Her 
mother has an affair with a white man, 
the foreman at the photofinishing plant 
where she works. Her mother’s agency and 
transgression of patriarchal prescribed 
gender role and racial difference certainly 
impresses Clemencia, thus she follows her 
mother’s defiance. She follows her mother 
‘s counsel for not marrying a Mexican man 
which she arbitrarily interprets and expands 
to include all Latino men.  

Mexican men, forget it. For a long 
time the men clearing off the tables 
or chopping meat behind the butcher 
counter or driving the bus I rode to 
school every day, those weren’t men. 
Not men I considered as potential 
lovers. Mexican, Puerto Rican, Cuban, 
Chilean, Colombian, Panamanian, 
Salvadorean, Bolivian, Honduran, 
Argentine, Dominican, Venezuelan, 
Guatemalan, Ecuadorean, Nicaraguan, 
Peruvian, Costa Rican, Paraguayan, 
Uruguayan. I don’t care. I never saw 
them. My mother did this to me. 
(Cisneros, 1991: 69)  

Clemencia has misinterpreted her mother’s 
counsel because what her mother means 
as Mexican is the Mexican descent like her 
father. She arbitrarily interprets it that it is 

okay to have an affair with a white man as 
her mother does. Hence Clemencia follows 
her mother’s defiance by having an affair 
with his art teacher, a married white man 
named Drew. This affair has deeply affected 
Clemencia because she comes to love Drew 
deeply. However, for Drew, Clemencia is just 
his La Malinche, his courtesan, his mistress, 
his sexual object that does not need to be 
committed to and can be abandoned anytime 
he wishes. After his wife has borne a son, he 
makes love with Clemencia for the last time 
before he breaks the liaison. This betrayal 
deeply affects Clemencia’s love life in the 
future. 

Besides being betrayed by Drew, 
Clemencia has also been betrayed by her 
mother. After marrying her white lover, her 
mother becomes powerless under her white 
husband’s domination. Her new husband 
and son take over Clemencia family’s 
house. Clemencia and her sister are soon 
ousted from their own house. Clemencia 
feelsbetrayed by her mother submissiveness. 
She cannot accept that her mother has 
cheated her father and abandoned her family 
just for being dominated by another man. 
She witnesses how marriage is complicit 
with patriarchy to oppress women.

Marriage and nuclear family become 
primary patriarchal institutions to enslave 
woman sexually, physically, emotionally, and 
economically. According to Rowland and 
Klein (1996) the enslavement can be done 
through physical manifestation in assault, 
economic manifestation in male control of 
resources and decision-making, ideological 
control through the socialization of women 
and children, and control on women’s energy 
in emotional and physical servicing of men 
and children The enslavement of Clemencia’s 
mother by her new husband is manifested in 
the male control of economic resources and 
decision-making that make Clemencia and 
her sister get ousted from their own house. 



22

Having betrayed both by her white 
lover and her mother, Clemencia decides to 
never submit herself into marriage.       

So, no. I’ve never married and never 
will. Not because I couldn’t but because 
I’m too romantic. Marriage has failed 
me, you could say. Not a man exists who 
hasn’t disappointed me, whom I could 
trust to love the way I’ve loved. It’s 
because I believe too much in marriage 
that I don’t. Better to not marry than 
live a lie. (Cisneros, 1991: 69)

Here Clemencia is being sarcastic about 
marriage by claiming that she is too romantic 
and believes too much in marriage. Having 
affair with a married man and witnessing his 
infidelity to his spouse and also the powerless 
of women within marriage (Drew’s wife and 
her mother), she defies marriage and claims 
her agency as an independent single woman 
who has freedom to express her sexuality. 

In the story it is told that Clemencia 
makes her living as a freelance translator, 
substitute teacher and painter. After breaking 
up from Drew, she continues her affairs with 
many married men. She perceives her status 
of mistress as power and agency to express 
her sexuality without being subordinated 
under patriarchal domination as happened 
in the role of wife. In this aspect, it can be 
seen how Cisneros reverses the negative 
stereotype of La Malinche as passive mistress 
and sexual object of male desire into active 
and aggressive sexual subject. Cisneros 
empowers Clemencia status as mistress by 
allowing Clemencia to exercise her sexuality 
aggressively in her affairs. Even though, in 
the eyes of his lovers, she is just their La 
Malinche, a mistress and sexual object, it 
is Clemencia who actually takes control on 
them. 

I’ve witness their infidelities, and 
I’ve helped them to it. Unzipped and 
unhooked and agreed to clandestine 

maneuvers. I’ve been accomplice, 
committed premeditated crimes. I’m 
guilty of having caused deliberate 
pain to other women. I’m vindicative 
and cruel and I’m capable of anything. 
(Cisneros, 1991: 68)

From the above passage, it is only 
with Clemencia’s consent that her affairs 
are conducted. She is no longer the victim of 
male desire. Without a doubt, she asserts her 
complicity in the liaison. When Clemencia 
is still having affair with Drew, her sexual 
aggressiveness is foregrounded by Cisneros. 

When we forgot ourselves, you tugged 
me. I leapt inside you and split you like 
an apple. Opened for the other to look 
and not give back…You were ashamed 
to be so naked. Pulled back. But I saw 
you for what you are, when you opened 
yourself for me...When you slept, you 
tugged me toward you. You sought me 
in the dark. I didn’t sleep….I was taking 
you in that time. (Cisneros, 1991: 78)     

From the above passage, it is certain 
that Drew’s La Malinche is no longer the 
‘La Chingada’ the penetrated one, but 
the penetrator. In this scene, Cisneros 
reverses the role. Clemencia’s sexuality is 
masculinized, whereas Drew’s is feminized. 
Certainly, Cisneros reinterpretation of the 
figure of La Malinche is not simply done 
by reversing the gender binaries, but 
allowing Clemencia to move forth and back 
between the binaries. Besides appropriating 
masculine traits in expressing her sexuality 
to Drew, ambiguously, Clemencia is also 
expressing her maternal instinct in it. Rather 
than treating Drew as a dominating man, 
Clemencia treats him as powerless child that 
has to be embraced and protected by her. 
Clemencian fuses her maternal instinct with 
sexual desire. 

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You’re almost not a man without your 
clothes. How do I explain it? You’re so 
much a child in my bed. Nothing but a 
big boy with needs to be held. I won’t let 
anyone hurt yo. My pirate. My slender 
boy of a man. (Cisneros, 1991: 78)         

The fusion of maternal instinct with sexual 
desire is subversive due to its transgression 
of patriarchal notion of asexual mother who 
has pure maternal love untainted by sexual 
desire.

Clemencia also expresses her 
maternal instinct in her sexual intercourse 
with Drew during the night Drew’s wife is 
giving birth his son. She positions herself in 
parallel to the birth process.

While his mother lay on her back 
laboring his birth, I lay in his mother’s 
bed making love to [Drew]. (Cisneros, 
1991: 75)         

She symbolizes her sexual 
intercourse with Drew as the act of 
impregnation, conceiving and giving birth in 
the same time. Clemencia always thinks of 
Drew’s son as her pseudo-son.        

Your son. Does he know how much I 
had to do with his birth? I was the one 
who convinced you to let him be born. 
(Cisneros, 1991: 74)         
…
You could be my son if you weren’t so 
light-skinned. (Cisneros, 1991: 76)         

Clemencia has reenacted this 
imitation of birth many times with her other 
lovers

“And it’s not the last time I’ve slept with 
a man the night his wife is birthing a 
baby. Why do I do that, I wonder? Sleep 
with a man when his wife is giving life, 
being suckled by a thing with its eyes 
still shut. Why do that? It’s always 
given me a bit of crazy joy to be able 

to kill those women like that, without 
their knowing it. To know I’ve had their 
husbands when they were anchored in 
blue hospital rooms, their guts yanked 
inside out, the baby sucking their 
breasts while their husband sucked 
mine. All this while their ass stitches 
were still hurting.” (Cisneros, 1991: 
76-77)         

Through parallel imagining on the 
pleasure of coitus and the pain of birth giving, 
Clemencia is defying patriarchal ideology and 
mocking the woman who has been deceived 
to fulfill maternal instinct; one has to be a 
biological mother, the one who conceives and 
suffers from giving birth. Clemencia asserts 
that she can also fulfill her maternal instinct 
through her liaison with their husbands. She 
can express her maternal instinct without 
becoming a biological mother and suffering 
the pain of giving birth. Clemencia resists 
the patriarchal imposition of maternal 
identity as a biological mother. Therefore, 
besides resisting the institution of marriage, 
Clemencia also resists motherhood as 
patriarchal institution. Adrienne Rich (1986)
argues that motherhood has been the most 
pervasive patriarchal institution to control 
and subordinate women. Motherhood has 
been imposed by patriarchy as the ideal 
of womanhood that must be embodied by 
every woman. Patriarchy imposes that it is 
only through motherhood that women can 
achieve full self-realization of their maternal 
instincts, while in fact women are confined 
within domestic sphere and excluded from 
public sphere. For Clemencia patriarchal 
institution of motherhood is not the only 
channel to realize her maternal instinct 
because it can be actualized in various 
forms, and in her case it can be actualized 
through her affairs. Moreover, Clemencia 
shows that to be (imaginary) mother should 
not in conflict of being sexual. She fuses 



24

sexual desire with maternal instinct to 
subvert patriarchal ideology that reifies 
motherhood as an innate of pure and chaste 
maternal instinct.Clemencia’s maternal 
instinct is always imbued with sexual desire 
that it is almost impossible to demarcate 
the two. The fusion of sexual desire and 
maternal instinct enacted by Clemencia 
fits to Weisskopf ’s concept of maternal 
sexuality, that is, a woman’s sexual feelings 
or behaviors while she is involved in tasks 
normally associated with motherhood 
(1980). Clemencia enacts this maternal 
sexuality during her coitus with her Drew and 
Drew’s son whom she imagines as her sons. 
Rossi proposes that the strict demarcation 
between maternity and sexuality is connected 
to male dominance (Weisskopf, 1980). 
Asexual motherhood is patriarchal myth to 
control women’s sexuality toward their own 
children. To secure patriarchal system the 
internalization of asexual motherhood is very 
important because it effectively prohibits 
incestuous relationship. By depicting the 
fusion of sexual and maternal instinct in 
Clemencia’s affairs, Cisneros attempts to 
subvert patriarchal oppressive myth that has 
alienated mother from their own sexuality 
and body. Accordingly, Clemencia’s sexual 
affairs have been crucial for her to actualize 
her sexual and maternal identity while in 
the same time transgressing and subverting 
patriarchal ideology.    

Another revision done by Cisneros 
on the figure of La Malinche is her agency 
to take revenge for betrayal. La Malinche 
in Cisneros’ work is no longer a submissive 
victim who is silent in enduring malebetrayal 
and humiliation. Cisneros’ La Malinche has 
turned into one of the Furies who seeks 
for vengeance. The first revenge is done 
soon after Drew breaks their affair in his 
house. Clemencia deliberately announces 
her presence to Drew’s wife by putting her 
gummy bears in the most private belongings 
of Drew’s wife. 

I went around the house and left a trail 
of them in places I was sure she would 
find them. One in her Lucite makeup 
organizer, One stuffed inside each 
bottle of nail polish. I untwisted the 
expensive lipsticks to their full length 
and smushed a bear on the top before 
recapping them. I even put a gummy 
bear in her diaphragm case in the very 
center of that luminescent rubber 
moon. Why bother? Drew could take 
the blame…I got a strange satisfaction 
wandering about the house leaving 
them in places only she would look. 
(Cisneros, 1991:81)

However, Clemencia’s attempt to 
separate the spouses fails. Drew’s wife 
chooses to ignore her presence and his 
husband’s affair. It is clearly seen when 
Clemencia deliberately calls Drew at dawn

Once, drunk on margaritas, I telephoned 
(Drew) at four in the morning, woke the 
bitch up. Hello, she chirped. I want to 
talk to Drew. Just a moment, she said in 
her most polite drawing-room English. 
Just a moment. I laughed about that for 
weeks. What a stupid ass to pass the 
phone over to the lug asleep beside her. 
Excuse me, honey, it’s for you. When 
Drew mumbled hello I was laughing 
so hard I could hardly talk. Drew? That 
dumb bitch of a wife of yours, I said, 
and that’s all I could manage….Excuse 
me, honey. It cracked me up. (Cisneros, 
1991:77)

In the above passage Clemencia is 
laughing and mocking the submissiveness 
of Drew’s wife. Rather than invoking conflict 
into her household, Drew’s wife chooses to 
ignore the fact of her husband’s treachery. 
Having failed to break up Drew’s household,   
Clemencia finds another way to have her 
revenge that is by seducing Drew’s son. 

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I sleep with this boy, their son. To make 
the boy love me the way I love his 
father. To make him want me, hunger, 
twist in his sleep, as if he’d swallowed 
glass….I can tell from the way he looks 
at me, I have him in my power. Come, 
sparrow. I have the patience of eternity. 
Come to mamita. My stupid little bird. I 
don’t move. I don’t startle him. I let him 
nibble. All, all for you. Rub his belly. 
Stroke him. Before I snap my teeth. 
(Cisneros, 1991:82)

By choosing this kind of revenge, 
Clemencia has extremely transgressed the 
patriarchal strongest taboo on incestuous 
relationship between mother and son. 
Adrienne Rich (1976) states that mother-
son incest has been the strongest and most 
consistently taboo in every culture because 
mother-son relationship is considered as 
regressive, circular and unproductive that 
hinders the son’s further development to 
make his way to the world of patriarchal law 
and order. Incest taboo has been constructed 
by patriarchy as the mechanism to enforce 
discrete and internally coherent gender 
identities within a heterosexual frame 
(Butler, 2007). Butler explains further 
that incest taboo is necessary to establish 
basic patriarchal kinship structure and 
identification to gender identities. 

The incest taboo that bars the son from 
the mother and thereby instates the 
kinship relation between them is a law 
enacted “in the name of the Father.” 
Similarly, the law that refuses the 
girl’s desire for both her mother and 
father requires that she take up the 
emblem of maternity and perpetuate 
the rules of kinship. Both masculine 
and feminine positions are thus 
instituted through prohibitive laws 
that produce culturally intelligible 
genders. (2007:38)

As explained by Mitchell(1974), basic 
kinship structure requires three types of 
family relationship: consanguinity (brothers-
sisters), affinity (husband-wife), and descent 
(father-son). Incest threatens to disturb 
basic kinship structure if it is not socially 
and culturally prohibited. Mitchell argues 
further that incest taboo is “the subjective 
expression of the need for exogamy” 
(1974:373). Exogamy is the basis of society 
because it is a form of reciprocal exchange of 
values between kinships. Exogamy expands 
and builds alliance between kinships that 
sustains the societal structure. In the exogamy 
system women become family commodity 
for exchange with other families to expand 
the patriarchal kinship alliances. It is due 
to these reasons that patriarchy prohibits 
incest. Cisneros’s portrayal of Clemencia’s 
sexual relationship with Drew’s son whom 
she always considers as her pseudo son 
symbolizes Clemencia’s transgression on 
the patriarchal interest in terminating a 
mother-son liaison. Clemencia’s affair is also 
the modification of Oedipus Complex. The 
mother is no longer the object of the son’s 
desire, but she asserts her agency of sexuality 
in seducing her own son for desiring her. 

C. CONCLUSION 
Cisneros’s reinterpretation of La 

Malinche through her character Clemencia 
has subverted patriarchal construction 
of passive female sexuality,imposition of 
maternal identity as asexual mother and 
taboo of incestuous relationship between 
mother and son. Without being confined 
into patriarchal institution of marriage 
and motherhood, Clemencia asserts her 
subjectivity and claims her agency in 
expressing the fusion of her sexuality and 
maternal instinct in her role of mistress. The 
figure of mistress is no longer seen as the 
passive and the victimized, but the one who 
controls and is liberated from patriarchal 
oppression.



26

REFERENCES
Campbell, Tether A. (2004) A Victimized 

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edu>historia>campbell.pdf   

Cisneros, Sandra. (1991). Woman Hollering 
Creek and Other Stories. New York: 
Random House.

Butler, Judith. (2007).Gender Trouble: 
Feminism and the Subversion of 
Identity. New York and London: 
Routledge.

Mitchell, Juliet. (1974).Psychoanalysis and 
Feminism: A Radical Reassessment of 
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Rich, Adrienne. (1976). Mother And Son, 
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Rowland, Robyn and Renate Klein. (1996). 
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Townsend, Camilla. 2006. Malintzin’s Choices: 
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Weisskopf, Susan(Contratto). (1980). 
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Wolfe, Andrea Powell. (2013).Refiguring 
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