This panel explores the representations of motherhood in its possible reiterations and variations, that is, women having to be a mother, choosing not to be it, or the impossibility of becoming one, in cultural production by Latin American women writers and playwrights, and Spanish cultural discourses. By analyzing literary tropes and feminine archetypes from various national cultural imaginaries, the panel illuminates the multifaceted experiences of motherhood and mothering as well as their complexities as a social institution and practice.

Despite it being a significant theme within cultural discourses, the convolutions of the women experience around the gender expectation of being a mother (and how to be a mother) do not get as much attention as the “rule of the father” literary tropes, and other male-centered symbolism that refer to the man-descendancy dyad. We aim to combat this inequality by challenging existing narratives, bringing attention to ignored perspectives, and promoting interdisciplinary dialogues.

This topic relates to the existing scholarship of feminist discourse in which women authors problematize the traditional notions of motherhood -established by heteropatriarchal society- by using decolonial and sexuality studies, as well as media studies, and feminist theory about femininity and motherhood as societal constructs. The panel expands on feminist theory from the Western perspective (Addriene Rich, Susan J. Douglas, Meredith W. Michaels) and includes Latin American voices (María Lugones, Cherrie Moraga, Pilar Melero, Lina Meruane, and Maria Galindo).

The panel has a wide scope of contemporary cultural productions of Mexico, Dominican Republic, Bolivia, and Spain, making it a comparative conversation about how gender expectations relate to each national literary, artistic, and sociopolitical context. While looking for particularities, presentations may also converge in some points, such as the resistance to constructed standards of motherhood and the use of the mother figure in cultural artifacts to point to other aspects of national narratives. In her presentation, Elena Valdez analyzes Martha Rivera's novel "I've Forgotten Your Name" and how it caused a stir in Dominican intellectual circles for its political implications and themes of friendship, same-sex relations, and unfulfilled motherhood desires. Drawing on feminist theories, the presentation examines how the protagonist's struggles with family support, failed relationships, and societal pressures, and argues that these aspects symbolize the political turmoil and loss of national identity in 1980s Dominican Republic. Additionally, the analysis explores the protagonist's lesbian relationship as a reflection of repressed maternal instincts amid homophobic and patriarchal forces, posing questions about non-biological motherhood and its impact on Dominican national identity. Katelyn Smith’s study delves into Mexican women authors' works, "Casas Vacías" by Brenda Navarro and "La hija única" by Guadalupe Nettel, to challenge patriarchal notions of motherhood entrenched in Mexican culture. Drawing on feminist theorists like Pilar Melero and Lina Meruane, the analysis navigates the complexities of motherhood, gender norms, and family structures, aiming to redefine mothering beyond societal constructs. Through literary analysis, it offers insights into alternative narratives of motherhood that defy traditional Mexican cultural and national imaginaries. Ana Marques Garcia’s work examines the maternal personas of Spanish celebrities Isabel Pantoja and Carmen Romero in the 1980s. This presentation explores how they embody both traditional and contemporary aspects of motherhood. Analyzing their portrayals in the popular magazine ¡Hola!, it investigates the dichotomy of the working mother, drawing parallels with contemporary ideals of celebrity motherhood. Through the lens of "the new momism," it uncovers the conflicting expectations placed on mothers in both historical and contemporary contexts. Finally, by analyzing "Los habitantes del tercer patio," an interactive-immersive play set in 1950s Bolivia, Natalia Chávez offers an exploration of maternal grief and societal perception of the childless woman. Focusing on the character of the murdered girl's mother, the analysis draws parallels with Latin-American archetypes like La Llorona and Greek allegories like Démeter-Perséfones. By examining two versions of the mother in the play –one in despair and the other delusional– the presentation highlights the complexity of maternal pain and its broader symbolism of justice and freedom, transcending cultural and physiological constraints of womanhood.

The panel consists of four female panelists who are Ph.D. candidates and early career scholars from various institution types that include a medium size suburban liberal arts university as well as public and private research level universities. They come from different cultural backgrounds and from across the United Stated. The organizer will open the session with a brief introduction of the panel and will read a brief bio of each of the panelists, who will have 10-12 minutes to present, allowing 15 minutes for discussion after all the presentations.