Milli mála - 01.06.2016, Síða 130

CENTRAL AMERICAN COASTAL IDENTITY
130 Milli mála 8/2016
Aisha discovers that she has no place in this particular struggle:
“She is a part of the white supremacy, as Garvey would put it” states
Sylvia, one of the CoRev activists.34 Laura/Aisha’s marginalization
is a multiple, complex and permanent condition. Her sudden,
firsthand discovery of this multiple marginality and lack of belong-
ing leads her to continue searching for a place of her own and to
engage in the Central American civil wars. Key parts of the novel
revolve around her active involvement in the Salvadoran guerrilla
movement and also discuss the armed conflict in Guatemala and
Nicaragua, thus reflecting the well-known international involve-
ments, in forms of brigades of fighters, arms trade or US military
operations, in the Central American conflicts of the 1980s.35
However, Limón is a part of Laura’s existence and self. It runs
through her veins, and its symbolic music; “not rock nor jazz nor
calypso nor gospel nor blues, but […] the desperate and rebellious
black music, African music” – el reggae – resonates with her and
strengthens her spirit of struggle.36 “Stand up for your rights” and
“Do not give up the fight” are phrases that contribute to her iden-
tification with a greater cause. She gains confidence that “every
little thing is gonna be alright”, and pain and rejection disappear.
For some years Laura participates in the armed struggle, but little
by little discovers the dishonest intrigues and corruption of power
within and outside the guerrilla forces. Furthermore, to her dismay,
women’s inferior rank in the movements becomes evident and unac-
ceptable. She questions this reality, opposes gendered marginality
and requests answers about the new woman next to the new man
(125). Her male superiors within the movement simply respond
with: “Ah, those pods of yours, you. Capitalism is the principal
enemy. The oppression of women will disappear when men’s op-
pression disappears. And it is not just talk”.37 Hand in hand with
witnessing ever increasing and exaggerated violence, she comes to
34 Rossi, Limón Reggae, “Ella es parte de la blancocracia, as Garvey would put it”, p. 48.
35 Chapters 5, 6 and 7 take place outside Costa Rica, predominantly in El Salvador.
36 Rossi, Limón Raggae, “no rock ni jazz ni calipso ni góspel ni blues pero [ ] una música negra, una
música afro, desesperada y rebelde”, p. 107.
37 Rossi, Limón Reggae, “Ah, qué vainas las tuyas, vos. El enemigo principal es el capitalismo. La
opresión de las mujeres desaparecerá cuando desaparezca también la del hombre. Y no es asunto de
lenguaje”, p. 126.