{"id":428,"date":"2024-05-05T19:53:25","date_gmt":"2024-05-05T23:53:25","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/?p=428"},"modified":"2024-05-16T20:16:53","modified_gmt":"2024-05-17T00:16:53","slug":"violeta-yolanda-arroyo-pizarro","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/country\/puerto-rico\/violeta-yolanda-arroyo-pizarro\/","title":{"rendered":"Violeta – Yolanda Arroyo Pizarro"},"content":{"rendered":"

Violeta <\/span><\/span>(<\/span>Puerto Rico, Boreales, 2013)<\/span><\/span>\u00a0<\/span><\/p>\n

 <\/p>\n

Resumen de la trama<\/span><\/b>\u00a0<\/span><\/p>\n

Violeta <\/span><\/i>por Yolanda Arroyo Pizarro <\/span>es una novela compleja e interesante. Habla de temas <\/span>fuertes, como el lesbianismo, el colorismo, el cuerpo de las mujeres afrolatinas, el incesto y el trauma que viene con este, la salud mental y el suicidio<\/span><\/b> en una novela corta de 135 p\u00e1ginas. La novela est\u00e1 narrada desde el punto de vista de Iolante, una mujer negra puertorrique\u00f1a que, seg\u00fan el texto, tiene piel p\u00farpura, lleva un afro y tiene un cuerpo bien mantenido y a la misma vez voluptuoso. Iolante ha tenido una amistad y relaci\u00f3n sexual con otra mujer, Vita Santiago, por m\u00e1s de veinte a\u00f1os. La relaci\u00f3n entre ellas cambia a lo largo de los a\u00f1os, aunque lo que no cambia es que cada vez que ellas se ven, se hacen el amor. Aunque parecen amarse, en el curso de la novela se revela cu\u00e1n da\u00f1ina es esta relaci\u00f3n para la salud f\u00edsica y mental de las protagonistas. <\/span> Pero la misma Iolante no se entera de los profundos padecimientos de Vita hasta que Violeta, la esposa de su amante, se los revela, a\u00f1os despu\u00e9s, cuando Vita ha tenido que volver al tratamiento psicoterap\u00e9utico despu\u00e9s del parto de su hija por una profunda depresi\u00f3n. Para entonces, Vita ha sufrido las consecuencias del abuso del alcohol y las drogas, y tenido tres intentos de suicidio.<\/span>\u00a0La novela se narra en varias voces, incluyendo la de Iolante en una carta a Violeta,<\/span> la pareja de Vita Santiago al final de la novela. De modo que la trama se teje como un tri\u00e1ngulo amoroso entre las tres, aunque no escuchamos mucho desde la perspectiva de Violeta, y durante toda la novela, Iolante nos cuenta de las varias relaciones que han tenido ella misma y Vita Santiago con otras personas. Iolante dice, \u201cNo asisto a la boda de Vita Santiago en Nueva York. Ni a esa [se refiere a otra en Connecticut], ni a la que realiza en Canad\u00e1 seis meses m\u00e1s tarde con una chica llamada Gwendolyne\u201d (Arroyo Pizarro 89). El hecho de que Iolante le hable directamente a Violeta, interpela asimismo a los lectores, que sentimos como si Iolante nos hablara a nosotros. <\/span>\u00a0<\/span><\/p>\n

El nombre de Violeta, que da t\u00edtulo a la novela,<\/span> tiene a su vez m\u00faltiples sentidos. En la vida de Iolante, la narradora principal, \u201cvioleta\u201d es, “Un color. Una mujer. Una flor. Una t\u00eda c\u00f3mplice. La variaci\u00f3n de un nombre desde el calco idiom\u00e1tico de griego del lat\u00edn\u201d (Arroyo Pizarro 7). Esta frase provee una gu\u00eda a mi acercamiento a esta novela.<\/span>\u00a0<\/span><\/p>\n

 <\/p>\n

\u201cUn color\u201d: el deseo del cuerpo negro por Vita Santiago\u00a0<\/strong><\/p>\n

Iolante es una mujer caribe\u00f1a de piel violeta oscura. Desde el principio, Iolante nos dice que piensa que Violeta no le gusta porque tiene piel tan oscura, lleva un afro y tiene un cuerpo con una \u201cvisible voluptuosidad…carnes grandes de mujer grande…caderas y amplios gl\u00fateos\u201d (Arroyo Pizarro 10) \u00a0 Sin embargo, m\u00e1s tarde en la novela, Iolante revela que ella tambi\u00e9n es una mujer de piel oscura y que las dos son bonitas. La \u00fanica cosa que las separa, desde la perspectiva de Vita, es la edad. Iolante es mayor que Violeta y dice que a Vita le gusta Violeta porque ella es una versi\u00f3n m\u00e1s joven de Iolante. Iolante se pregunta: \u201cSer\u00e1 que contigo me tiene de nuevo, otra vez joven, con la raza mejorada y un tongoneo de seducciones interminables. Tu [Violeta] juventud es elixir de inmortalidad. Tu juventud le hace creer que no se pone vieja [a Vita]\u201d (Arroyo Pizarro 98). Con esto, los lectores aprenden que, a Vita, como mujer blanca, le gustan a las mujeres negras, aunque es verdad que ella ha tenido relaciones rom\u00e1nticas con algunos hombres de ra\u00edces que no se nos dicen. Sin embargo, el color violeta es una representaci\u00f3n del cuerpo caribe\u00f1o negro, lo que desea Vita Santiago, la causa central de la mayor\u00eda de los problemas de la novela. <\/span>\u00a0<\/span><\/p>\n

Tambi\u00e9n es interesante que Iolante y Vita nunca se casan. Ellas han sido amigas por m\u00e1s de veinte a\u00f1os, haciendo el amor siempre que se ven, pero no se casan. Muchas veces ellas dos, Iolante y Vita, dicen que se aman, pero Iolante sigue \u201cjugando el rol de amante pasajera, o de querida ex\u00f3tica, y hasta el de concubina geisha\u201d (Arroyo Pizarro 11). Vita ha tenido muchas relaciones a lo largo de la novela, con hombres y mujeres, pero a Vita le da igual con qui\u00e9n est\u00e9 en alg\u00fan momento porque su deseo por Iolante supera todo. Pero hacia al final de la novela, Iolante se cansa de todos los juegos de Vita. En un instante, despu\u00e9s de que Vita le dice que tiene una amante nueva, Violeta, Iolante le dice a Vita, \u201cEst\u00e1s enferma y deseas arrastrarme en tu sicosis. Vas a entrar a una nueva relaci\u00f3n con alguien, es muy probable que sea una muy seria relaci\u00f3n, \u00bfy quieres que nos veamos a chingar antes\u201d (Arroyo Pizarro 93)? \u00a0El deseo del cuerpo negro por Vita es una enfermedad y una de las razones por las que al final de la novela es internada en un hospital psiqui\u00e1trico. <\/span>\u00a0<\/span><\/p>\n

Pero \u00bfpor qu\u00e9 Vita no puede dejar de ver a Iolante como un deseo ex\u00f3tico? \u00bfPor qu\u00e9 puede estar en una relaci\u00f3n con Violeta, pero no con Iolante? Es comprensible que Iolante est\u00e9 celosa de Violeta. En todo caso, la piel oscura de estas mujeres juega un papel importante en el tenso tri\u00e1ngulo entre las tres.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u201cUna mujer\u201d\u00a0<\/strong><\/p>\n

La mujer es el personaje de Violeta. Adem\u00e1s de su piel oscura, su relaci\u00f3n con Vita y el hecho de que ella cuide a Vita cuando est\u00e1 en un instituto psiqui\u00e1trico, no sabemos mucho m\u00e1s de ella. Al principio de la novela, Iolante nos dice que Violeta le teme por su piel, su cuerpo y el querer presente entre Iolante y Vita. Sin embargo, la \u00fanica manera en la que los lectores pueden saber m\u00e1s detalles de ella es desde la perspectiva de Iolante. <\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u201cUna t\u00eda c\u00f3mplice\u201d y la capacidad destructora de Vita Santiago\u00a0\u00a0<\/strong><\/p>\n

A trav\u00e9s de la trama con la t\u00eda y el padre de Vita, nos damos cuenta de que Vita ha sido v\u00edctima de un incesto por su padre a los diecis\u00e9is a\u00f1os. Este trauma es sin duda la raz\u00f3n m\u00e1s importante por la que ella es un personaje tan destructivo en todas sus relaciones, igual con hombres que con mujeres. Es probablemente tambi\u00e9n la verdadera raz\u00f3n del desequilibrio mental que sufre a lo largo de la novela. La \u201ct\u00eda c\u00f3mplice\u201d se llama tambi\u00e9n Violeta y fue c\u00f3mplice porque no puso fin al abuso de la ni\u00f1a por su padre. Iolante nos dice, \u201cVioleta es tambi\u00e9n el nombre de la t\u00eda c\u00f3mplice que guard\u00f3 silencio durante nuestra adolescencia cuando se enter\u00f3 de lo que le hac\u00eda el padre de Vita Santiago a esta\u201d (Arroyo Pizarro 17). <\/span>\u00a0<\/span><\/p>\n

Vita no es una mujer normal. Iolante la describe como un \u201cescombro es el asteroide que colisiona, es lo que mantiene conectadas a un odio ancestral\u201d (Arroyo Pizarro 8). El abuso y la complicidad de su t\u00eda, la cual era la \u00fanica figura maternal que ella ten\u00eda (esto se presume porque la novela no menciona su madre ni una vez), comenz\u00f3 su camino de relaciones destructivas con hombres y mujeres.<\/span>\u00a0<\/span><\/p>\n

\u201cLa variaci\u00f3n de un nombre desde el calco idiom\u00e1tico de griego del lat\u00edn\u201d\u00a0<\/strong><\/p>\n

Iolante es la traducci\u00f3n al espa\u00f1ol de un nombre de ra\u00edz grecolatina: Violeta. Iolante dice que \u201cPareciera que Vita Santiago colecciona todo tipo de violetas a su paso\u201d (17)., una de las cuales es Iolante,. que en el siglo VIII significaba \u201cTierra de riquezas\u201d y en lat\u00edn es \u201cla que da regocijo\u201d (Arroyo Pizarro 53). Las traducciones a estos idiomas antiguos acent\u00faan el contraste de edad con Violeta, la pareja joven de Vita. <\/span>\u00a0<\/span><\/p>\n

La relaci\u00f3n t\u00f3xica entre Iolante y Vita Santiago\u00a0<\/span><\/b>\u00a0<\/span><\/p>\n

La relaci\u00f3n entre Iolante y Vita afecta tambi\u00e9n las otras relaciones rom\u00e1nticas de Iolante<\/span>
\n Este choque aparece cuando Yu\u00edsa, la nueva pareja de Iolante, quiere que Iolante<\/span> \u00a0le deje conocer a Vita. Iolante las presenta. Es obvio que Iolante le ha dicho a Yu\u00edsa algunas cosas sobre su relaci\u00f3n con Vita, pero claro que no todo. Despu\u00e9s de que ellas se conocieran, Vita le dice a Iolante que Yu\u00edsa ha sido lo mejor que le ha pasado a Iolante. Como respuesta, Iolante le responde que \u201cLo mejor que me ha pasado eres t\u00fa\u201d (Arroyo Pizarro 114). Aunque ellas dos han estado con otras personas a lo largo de su amistad de m\u00e1s de veinte a\u00f1os, no han sido capaces de querer a otras personas como se quieren entre s\u00ed. <\/span>\u00a0<\/span><\/p>\n

Perder a Vita se convierte tambi\u00e9n en el mayor miedo de Iolante, que pasa de temer el asma adquirida por la contaminaci\u00f3n ambiental del barrio en que creci\u00f3, a temer, m\u00e1s que nada ver a Vita con otra persona: “Este dolor de pecho que siento al enterarme de la boda de Vita [con un desconocido], es, sin embargo, peor que la dolama de asma, peor a\u00fan que el sofoco bronquial…Peor que una pulmon\u00eda, mucho m\u00e1s terrible que un paro respiratorio\u201d (Arroyo Pizarro 73). <\/span>\u00a0<\/span><\/p>\n

Al final de la novela, cuando Vita es diagnosticada con una sicosis parcialmente atribuida a la inestabilidad de su relaci\u00f3n con Iolante, es ingresada en el hospital psiqui\u00e1trico donde Violeta la cuida. Iolante, que siente que la ha perdido, habla entonces de la vuelta de su asma, que no la hab\u00eda afectado por mucho tiempo: \u201cHoy tengo asma. Hoy respiro a buchecitos. Ya no tengo miedo a que un d\u00eda mi pecho detenga su \u00f3rbita y yo pare de respirar\u201d (Arroyo Pizarro 135). Como ella ha anticipado, el dolor de no estar con Vita o no tenerla en su vida es peor que un ataque de asma es otra forma de morir. <\/span>\u00a0<\/span><\/p>\n

Conclusi\u00f3n<\/span><\/b>\u00a0<\/span><\/p>\n

Violeta <\/span><\/i>es una novela bien interesante y complicada. Se puede leer en una sesi\u00f3n, pero con esta facilidad vienen temas fuertes y delicados de los que a la gente normalmente no les gusta hablar, como la homosexualidad, el fetiche del cuerpo negro, el incesto y la violaci\u00f3n, el suicidio y m\u00e1s. La trama de la novela est\u00e1 muy bien escrita y habla de estos temas de una manera sencilla como si fuese algo com\u00fan, facilitando la lectura y, al mismo tiempo, introduciendo a los lectores en el fascinante mundo de sus protagonistas<\/span>\u00a0<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

Plot Summary<\/strong><\/em><\/p>\n

“Violeta” by Yolanda Arroyo Pizarro is a complex and interesting novel. It deals with strong themes such as lesbianism, colorism, the bodies of Afro-Latina women, incest and the trauma that comes with it, mental health, and suicide in a short novel of 135 pages. The story is narrated from the perspective of Iolante, a Black Puerto Rican woman who, according to the text, has purple skin, wears an afro, and has a well-maintained yet voluptuous body. Iolante has had a friendship and sexual relationship with another woman, Vita Santiago, for over twenty years. Their relationship changes over the years, although what remains constant is that every time they meet, they make love. Although they seem to love each other, the course of the novel reveals how harmful this relationship is to the physical and mental health of the protagonists. However, Iolante does not learn about Vita’s deep sufferings until Violeta, the wife of her lover, reveals them to her years later, when Vita has had to return to psychotherapeutic treatment after the birth of her daughter due to deep depression. By then, Vita has suffered the consequences of alcohol and drug abuse and has attempted suicide three times.<\/em><\/p>\n

The novel is narrated in several voices, including Iolante\u2019s in a letter to Violeta, Vita Santiago\u2019s partner, at the end of the novel. Thus, the plot weaves a love triangle among the three, although we don’t hear much from Violeta\u2019s perspective, and throughout the novel, Iolante tells us about the various relationships that both she and Vita Santiago have had with other people. Iolante says, “I do not attend Vita Santiago’s wedding in New York. Neither that one [referring to another in Connecticut], nor the one in Canada six months later with a girl named Gwendolyne\u201d (Arroyo Pizarro 89). The fact that Iolante speaks directly to Violeta also addresses the readers, making us feel as if Iolante is speaking to us.<\/em><\/p>\n

The name “Violeta,” which gives the novel its title, has multiple meanings. In the life of Iolante, the main narrator, \u201cviolet\u201d is, “A color. A woman. A flower. An accomplice aunt. The variation of a name from the Greek idiom through Latin” (Arroyo Pizarro 7). This phrase provides a guide to my approach to this novel.<\/em><\/p>\n

 <\/p>\n

“A Color”: The Desire for the Black Body by Vita Santiago<\/strong><\/em><\/p>\n

Iolante is a Caribbean woman with dark violet skin. From the beginning, Iolante tells us she believes Violeta dislikes her because of her dark skin, afro, and body with \u201cvisible voluptuousness…large flesh of a large woman…hips and ample buttocks\u201d (Arroyo Pizarro 10). However, later in the novel, Iolante reveals that she too is a dark-skinned woman and that both are beautiful. The only thing separating them, from Vita\u2019s perspective, is age. Iolante is older than Violeta and says Vita likes Violeta because she is a younger version of Iolante. Iolante wonders, \u201cCould it be that with you [Violeta], she has me again, once more young, with a better race and an endless swaying of seductions. Your youth is the elixir of immortality. Your youth makes her believe she isn\u2019t getting old [Vita]\u201d (Arroyo Pizarro 98). From this, readers learn that Vita, as a white woman, likes Black women, although she has had romantic relationships with some men of unspecified roots. However, the color violet represents the Black Caribbean body, which Vita Santiago desires and is the central cause of most of the novel’s problems.<\/em><\/p>\n

It is also interesting that Iolante and Vita never marry. They have been friends for over twenty years, always making love whenever they see each other, but they don\u2019t marry. Many times, both Iolante and Vita say they love each other, but Iolante continues \u201cplaying the role of passing lover, or exotic mistress, and even concubine geisha\u201d (Arroyo Pizarro 11). Vita has had many relationships throughout the novel, with men and women, but it doesn\u2019t matter to Vita who she is with at any moment because her desire for Iolante surpasses everything. But towards the end of the novel, Iolante grows tired of all of Vita’s games. At one point, after Vita tells her she has a new lover, Violeta, Iolante says to Vita, \u201cYou are sick and want to drag me into your psychosis. You are about to enter a new relationship with someone, very likely a serious one, and you want us to meet and screw beforehand\u201d (Arroyo Pizarro 93)? Vita\u2019s desire for the Black body is a sickness and one of the reasons why at the end of the novel she is admitted to a psychiatric hospital.<\/em><\/p>\n

But why can\u2019t Vita stop seeing Iolante as an exotic desire? Why can she be in a relationship with Violeta, but not with Iolante? It\u2019s understandable that Iolante is jealous of Violeta. In any case, the dark skin of these women plays an important role in the tense triangle between the three.<\/em><\/p>\n

“A woman”<\/strong><\/em><\/p>\n

The woman is the character in Violeta’s life. Aside from her dark skin, her relationship with Vita, and the fact that she takes care of Vita when she is in a psychiatric institute, we don’t know much else about her. At the beginning of the novel, Iolante tells us that Violeta fears her for her skin, her body, and her wanting presence between Iolante and Vita. However, the only way readers can learn more details about her is from Iolante’s perspective.<\/em><\/p>\n

 <\/p>\n

\u201cA complicit aunt\u201d and the Destructive Capacity of Vita Santiago”<\/strong><\/em><\/p>\n

Through the plot with Vita’s aunt and father, we realize that Vita has been the victim of incest by her father at the age of sixteen. This trauma is undoubtedly the most important reason why she is such a destructive character in all her relationships, both with men and women. It is probably also the real reason for the mental imbalance she suffers throughout the novel. The \u201caunt accomplice\u201d is also named Violeta and was an accomplice because she did not put an end to the abuse of the girl by her father. Iolante tells us, \u201cVioleta is also the name of the aunt accomplice who remained silent during our adolescence when she found out what Vita Santiago’s father did to her\u201d (Arroyo Pizarro 17). <\/em><\/p>\n

Vita is not a normal woman. Iolante describes her as \u201cdebris, it is the asteroid that collides, it is what keeps us connected to an ancestral hatred\u201d (Arroyo Pizarro 8). The abuse and complicity of her aunt, who was the only maternal figure she had (this is presumed because the novel does not mention her mother even once), began her path of destructive relationships with men and women.<\/em><\/p>\n

 <\/p>\n

“The variation of a name from the linguistic calque of Greek from Latin”<\/strong><\/em><\/p>\n

Iolante is the Spanish translation of a name with Greco-Latin roots: Violeta. Iolante says, \u201cIt seems that Vita Santiago collects all kinds of violets as she goes\u201d (17), one of which is Iolante, which in the 8th century meant \u201cLand of riches\u201d and in Latin is \u201cshe who brings joy\u201d (Arroyo Pizarro 53). The translations into these ancient languages accentuate the age contrast with Violeta, Vita\u2019s younger partner.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

The Toxic Relationship Between Iolante and Vita Santiago<\/strong><\/em><\/p>\n

The relationship between Iolante and Vita also affects Iolante’s other romantic relationships. This clash appears when Yu\u00edsa, Iolante’s new partner, wants Iolante to let her meet Vita. Iolante introduces them. It is obvious that Iolante has told Yu\u00edsa some things about her relationship with Vita, but clearly not everything. After they meet, Vita tells Iolante that Yu\u00edsa has been the best thing that has happened to Iolante. In response, Iolante answers, \u201cThe best thing that has happened to me is you\u201d (Arroyo Pizarro 114). Although they have both been with other people throughout their more than twenty-year friendship, they have not been able to love others as they love each other.<\/em><\/p>\n

Losing Vita also becomes Iolante’s greatest fear, shifting from fearing asthma acquired from the environmental pollution of the neighborhood where she grew up to fear, more than anything, seeing Vita with someone else: \u201cThis chest pain I feel upon learning about Vita\u2019s wedding [with a stranger] is, however, worse than the asthma pain, worse yet than bronchial suffocation… Worse than pneumonia, much more terrible than respiratory arrest\u201d (Arroyo Pizarro 73).<\/em><\/p>\n

At the end of the novel, when Vita is diagnosed with psychosis partially attributed to the instability of her relationship with Iolante, she is admitted to the psychiatric hospital where Violeta cares for her. Iolante, feeling that she has lost her, then talks about the return of her asthma, which had not affected her for a long time: \u201cToday I have asthma. Today I breathe in little puffs. I am no longer afraid that one day my chest will stop its orbit and I will stop breathing\u201d (Arroyo Pizarro 135). As she anticipated, the pain of not being with Vita or not having her in her life is worse than an asthma attack\u2014another way of dying.<\/em><\/p>\n

 <\/p>\n

Conclusion<\/b><\/em><\/p>\n

“Violeta” is a very interesting and complex novel. It can be read in one sitting, but with this ease come strong and delicate themes that people usually don’t like to talk about, such as homosexuality, the fetishization of Black bodies, incest and rape, suicide, and more. The plot of the novel is very well-written and addresses these topics in a straightforward manner as if they were common, making it easy to read while simultaneously introducing readers to the fascinating world of its protagonists.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Violeta (Puerto Rico, Boreales, 2013)\u00a0   Resumen de la trama\u00a0 Violeta por Yolanda Arroyo Pizarro es una novela compleja e interesante. Habla de temas fuertes, como el lesbianismo, el colorismo, el cuerpo de las mujeres afrolatinas, el incesto y el… Continue Reading →<\/a><\/p>\n","protected":false},"author":1790,"featured_media":433,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,48,30],"tags":[],"class_list":["post-428","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-puerto-rico","category-violeta","category-yolanda-arroyo-pizarro"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts\/428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/users\/1790"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/comments?post=428"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts\/428\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/media\/433"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/media?parent=428"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/categories?post=428"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/tags?post=428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}