In Gayl Jones’ Corregidora one of the main texts focus and themes is centered and founded upon the blues. Through Ursa; the main characters singing of this specific genre of music, the reader is forced to recognize that Ursa’s singing ties in completely to her defined belief that her sole purpose is to “make generations” and her singing in a way fulfills that purpose as she in body can’t. The reader is given evidence to this by past recollections in the text, current statements that repeatedly happen through the text and based completely on factual information that is available to anyone willing to do the research, concerning a connection to the text and both past and present events that have occurred on a worldly scale. The music
…show more content…
Ursa loses her chance to make generations when her unborn child dies in the first pages of the work and that’s when the reader is given light to the fact that singing has always been a means for Ursa to make generations. As a woman to “make generations” a man is necessary, “you told me that when you sang you always had to pick out a man to sing to.” (page 42) and ““sing for me here”, he said. He unbuckled his pants and lay down on the bed. I sang for him, then we made love.” (page 54) are statements from the text that support the fact that Ursa utilizes her ability to sing the blues to “make generations”, Ursa’s singing is a means to an end. Her singing is her self-explanation that even though she can’t bodily “make generations” she can voice all the pain both her and the past Corregidora women have been forced to feel. Not in words but in the blues, in song. She also uses her singing in a sense to receive physical punishment (sex) because she can’t actually fulfill her task that was given to her by her past generations (the Corregidora women) and the reader is given a multitude of oppurturnity to see this in the text when Gayle Jones writes about Ursa’s and her families current and past sexual endeavors. One specific event being on page 39 when Tadpole and Ursa have sex and she
Ursa loses her chance to make generations when her unborn child dies in the first pages of the work and that’s when the reader is given light to the fact that singing has always been a means for Ursa to make generations. As a woman to “make generations” a man is necessary, “you told me that when you sang you always had to pick out a man to sing to.” (page 42) and ““sing for me here”, he said. He unbuckled his pants and lay down on the bed. I sang for him, then we made love.” (page 54) are statements from the text that support the fact that Ursa utilizes her ability to sing the blues to “make generations”, Ursa’s singing is a means to an end. Her singing is her self-explanation that even though she can’t bodily “make generations” she can voice all the pain both her and the past Corregidora women have been forced to feel. Not in words but in the blues, in song. She also uses her singing in a sense to receive physical punishment (sex) because she can’t actually fulfill her task that was given to her by her past generations (the Corregidora women) and the reader is given a multitude of oppurturnity to see this in the text when Gayle Jones writes about Ursa’s and her families current and past sexual endeavors. One specific event being on page 39 when Tadpole and Ursa have sex and she