The Mess of Knots: Ponce, Patriarchy, and La Mujer Mala: An Interview with Eleanor Parker Sapia

The Mess of Knots: Ponce, Patriarchy, and La Mujer Mala: An Interview with Eleanor Parker Sapia

Ivelisse Rodriguez, PhD

Editor’s note: This interview is the sixth in a series that will focus on contemporary Puerto Rican authors. Puerto Rican-born Eleanor Parker Sapia is the author of the award-winning historical novel, A Decent Woman, published by Scarlet River Press. A Decent Woman was selected as a Book of the Month by Las Comadres and Friends National Latino Book Club in 2015, and Eleanor is featured in the anthology, Latina Authors and Their Muses, edited by Mayra Calvani. A writer, artist, and photographer, Eleanor currently lives in Berkeley County, West Virginia, where she is working on her second novel, The Laments of Forgotten Souls, set in 1927 Puerto Rico, and a collection of poems.


Ivelisse Rodriguez: Ponce, La Perla del Sur or La Ciudad Señorial, is considered the second city in Puerto Rico. In your novel, A Decent Woman, you note how Ponce used to be the capital of Puerto Rico; you detail the high-society life in Ponce and its mores. These particulars help bring the city to life. How does the city itself function as a character in your novel?

Eleanor Parker Sapia: Puerto Rico, a new possession of the United States in 1900 when the story opens, is very much a character in my novel—a woman lured into a relationship with the United States with hope and promises of safety, protection, food on the table, and a brighter future. The reality was that the US government had a business plan. They quickly devalued and began to replace the Porto Rican peso with the American dollar, taxes were raised, farmers were evicted from their lands, English was imposed as the co-official language, and new regulations were forced on the Puerto Ricans.

I was an exhibiting painter of still life and portraiture for nearly 30 years before I decided to write a novel. I’m told my first passion shows in descriptions and attention to small detail in my first published book—portraiture of place with words. In A Decent Woman, there are stark contrasts between Ana’s world of poverty, struggle, and racism as an illiterate, black midwife, and the world of the upper class and privilege that newly-widowed Serafina learns to maneuver after her second marriage. I chose to depict three barrios of that era, Playa de Ponce, San Antón, and el pueblo de Ponce, each with its distinct voice, mood, flavor, music, architecture, and history. As such, the actions and futures of my characters were limited by external forces, at times unbeknownst to them, and determined by the confines of the socio-economic condition of where they lived and worked. It was important that the setting/place of this book evolve as the women and society evolved, or lack thereof.

IR: The title of your book, A Decent Woman, immediately begs the question of what constitutes a decent woman, and, normally, this idea of decency is tied to the sexuality of women. In your novel, you mention throughout how prostitutes are treated in Ponce, how there are these systematic programs to exile them from “decent” society, how color and class are conflated with sexuality/prostitution, and how prostitutes are marked by the passbooks they have to carry, etc. This is the way Ponce treats prostitutes, but you have a different approach. Emilia and Maria, two prostitutes in your text, are humanized; they are women who laugh, who cry, who are mistreated, yet they are rendered as whole characters. What do these two characters help say about prostitution in Ponce?

EPS: The characters Emilia and Maria came to me in the rewrite and editing phases of the manuscript, and there was no doubt they would be fully-fleshed characters since I’ve previously worked as a counselor, refugee caseworker, and a Spanish-language family support worker. I have great sympathy for women of that era, who were played against each other in a patriarchal society.

Through further research, I was reminded of how intrinsically linked ‘la otra y la mujer mala’, the prostitute, were to women’s stories—as much a part of their stories as marriage and motherhood. It was important to include a more complete portrayal of society and the situations in which women found themselves—from begging in the streets to feed their children; to widowhood; playing the hostess at charity events and society balls; and to inviting politicians, clergy, and the men of ‘high society’ into their beds to make the rent and pay bills. Each woman sought to secure male protection and security, and hopefully, to keep a man from straying—that was the tapestry I attempted to weave, while discovering the mess of knots, changes of colored threads, and disarray on the underside as meaningful and beautiful as the finished product. Looking beyond the obvious—that’s what fascinates me about a character and a story.

Later, I was saddened to learn of the treatment of prostitutes in Ponce and later, about the forced sterilization of thousands of Puerto Rican women. That spoke loudly of the great hypocrisy in Ponce at that time: the myth of la sagrada familia, born of arrogance and racism, deceit and male dominance. The men who were wagging their fingers and agreeing with their wives about the dangers of prostitution were busy playing house with other women and fathering children out of wedlock. Their wives, the women of the upper class and early feminists, many of whom truly believed they were helping out their wayward sisters, were accomplices in two campaigns to rid Ponce of prostitutes, and in doing so, added to the desperation, poverty, and abuse of women of little means. The characters Emilia and Maria helped to tell that part of history.

IR: In your novel, male doctors advocate a shift toward modernity by having women give birth in hospitals, eclipsing the midwife and painting that practice as backwards. This limits Ana’s, the main character, work as a midwife. This is one way that “modern” medicine is used against women. For Emilia and Maria, their bodies are not their own in the medical world. When they are jailed, they are subjected to pelvic exams in front of others with instruments the women feel are not sanitized. And there are other moments where the medical treatment is even more invasive. How is medicine and so-called progress used against women’s bodies in Puerto Rico?

EPS: There were many issues and themes in the early days of so-called progress in Puerto Rico—colonialism, misogyny, population control, poverty, religion, male doctors invading the birthing room and pushing midwives out of business, and experiments performed on Puerto Rican women in the advancement of modern medicine, namely forced sterilization. Women were needed in the workforce to make money for American corporations, specifically the sugarcane industry. A good example is from the 1930s when clinics performing sterilization procedures were installed inside the factories, so the women wouldn’t lose time on the factory floor.

Men were in positions of authority and in control of the lives and bodies of women and of their children. Sadly, this is still the case in many parts of the world today.

Click on the picture for additional images

IR: In Adrienne Rich’s seminal article “Compulsory Heterosexuality and Lesbian Existence,” she posits her idea about the lesbian continuum which focuses on any strong bond between women. One of them being friendship. Friendship is central to your novel, and it is the relationship that is sustained throughout the life of the two main characters, Ana and Serafina. Discuss the significance of friendship in your text.

EPS: In 1900 Puerto Rico, while emotional relationships and friendship between women were considered important, especially between women and their comadrona, only men were thought to provide real security with financial benefits as they controlled every aspect of women’s lives. Even childbirth with a midwife, which for centuries had been strictly a female-dominated experience, was in danger of extinction in the cities as hospitals and clinics were built and male doctors entered the birthing room. The strong bonds of friendship between women were constantly tested in a patriarchal society.

Ana would agree with Rich’s assertion that women can benefit more from relationships with other women than with men, as she’d suffered at the hands of one man at an early age, and though she is still struggling, she is a self-made woman. Ana, who is forty when the story opens, has little use for men for the first half of the book. The teenager Serafina has lost her mother, so they inevitably develop a strong mother-daughter bond, which is an easy, yet complicated relationship. All is well until Serafina gets caught up in her second husband’s world of privilege, where Ana has no place as a poor, black woman. Much later in the story, Serafina is a mother of four children and a woman of society. She will come to believe that she has outgrown Ana until tragedy strikes in Serafina’s life. Ana is the first person she contacts and their friendship resumes with lessons learned about loyalty and friendship.

IR: Can you tell us what you are working on next, and what your objectives are with your writing?

EPS: I’m currently working on my second book, The Laments, set in 1927 Old San Juan and on the islet of Isla de Cabras, where once stood a maritime quarantine station that was later used as a lazaretto for containing patients of many diseases, primarily leprosy. It is the story of a highly imaginative and naïve Puerto Rican novice nun, who impulsively volunteers to serve the lepers at Isla de Cabras under the protection and tutelage of a rotund, secretive Spanish friar, who moonlights as a rum runner. Into the mix will arrive a young American Protestant minister on a clandestine mission for the American government at a time when the Spanish were being forced to leave the island, and Catholicism and Protestantism were in hyper-competition for souls on Puerto Rico.

My goal in writing novels is to transport readers to exciting, new worlds and to introduce them to the complicated history, rich culture, and beautiful people of Puerto Rico. I hope my books and poetry will stimulate, provoke, expose, and challenge myself and others. Here are two of my writing mottos: ‘Write through the scary bits; that’s usually where the meat and the essence of the story are found’ and ‘This is what we want for ourselves as writers and as readers—we want to reach others and we want to be moved.’ I hope that comes across in my books.


Born in Arecibo, Puerto Rico, Ivelisse Rodriguez grew up in Holyoke, Massachusetts. She earned a B.A. in English from Columbia University, an M.F.A. in creative writing from Emerson College, and a Ph.D. in English-creative writing from the University of Illinois at Chicago. Her short story collection, Love War Stories, is forthcoming from The Feminist Press in summer 2018. The Belindas, a fiction chapbook, is forthcoming from Tammy in summer 2017. She is the senior fiction editor at Kweli, a Kimbilio fellow, and a VONA/Voices alum. She is currently working on the novel The Last Salsa Singer about 70s era salsa musicians in Puerto Rico. To learn more about Ivelisse visit: http://www.ivelisserodriguez.com.

© Ivelisse Rodriguez. Published by permission in Centro Voices 13 December 2017.
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First 2016 Author Interview: K J Dixon

Happy Three Kings’ Day!

Welcome to The Writing Life and our first author interview of 2016!

Today I am very pleased to welcome the lovely and talented Kristen “KJ” Dixon, author of the newly released novel, ‘The Trouble with Red Lipstick’.

Profile pic Karen Dixon

Originally from Atlanta, Kristen “KJ” Dixon-Barnes was born the youngest daughter of a school teacher and a social worker. After receiving her undergraduate degree from Florida Agricultural & Mechanical University, she began working in the field of one of her many passions-women’s health. Her experiences while taking care of others during their most fragile and vulnerable moments taught her to respect and appreciate the many different paths and perspectives that help to grow, shape and sharpen women.

It wasn’t until she completed her Master’s program in Public Administration from Troy University and began writing policies and procedures for health care agencies and facilities that she started to write fiction.

To family and close friends, it’s no surprise that KJ Dixon began writing The Trouble With Red Lipstick after being inspired by several discussions with women through book clubs, women’s groups and personal friendships. Although it is a work of fiction, its themes surrounding self-love, mother-daughter relationships and self-actualization in the black community are familiar to many.

In her spare time, KJ Dixon actively participates in outreach events sponsored by her beloved sorority, Alpha Kappa Alpha Sorority Incorporated; hosts Tiny Tales (a book club for children developed to promote and improve children’s literacy rates); conducts events for underserved health care populations; and tries anything else she finds fun and rewarding. She lives in Atlanta with her family and is busy at work on her next novel.

Welcome, Kristen!

the-trouble-with-red-lipstick

What genre/category does ‘The Trouble with Red Lipstick’ fall under?

I know this is supposed to be an easy question but I still struggle with it! By most folks’ standards, ‘The Trouble With Red Lipstick’ is probably best considered Women’s Contemporary Fiction. The main characters in this story are black women but their issues, challenges and struggles are universal. It definitely has some elements of both humor and chick-lit too.

 

Please describe what your story/book is about.

It’s about a mother and her three adult daughters—so four women in total—and all of them are attempting to fix their brokenness. They’ve always done everything they believed they were supposed to do, and they’re now trying to figure out what’s still missing and why happiness continues to elude them. Then throw in a family secret that rocks everybody’s world and voila! The drama unfolds!

Oh, those family secrets! Love it. How did you come up with the intriguing title?

That’s a funny question. I wrote the whole book without even having one. Then I sat down and read it one day and I realized how much a particular line—one including the book’s title—was central to the entire book’s theme. I tried it and it just worked immediately. Besides, I love red lipstick. And maybe I like a little trouble, too.

Your catchy title makes me wonder what the trouble with red lipstick is! What inspired you to write this book?

Both everything and nothing. I started writing a scene one day with Karen—one of the book’s main characters—where she was falling in love with Tim, the truck driver. I wondered what would happen once Karen realized that she wasn’t feeling love at all—but that she was really just in need of a good orgasm and was confusing the two! Then I realized that Karen had a mother and a couple sisters and before I knew it, they were begging me to write their stories too.

I love when a character leads me into their inner world. It’s exciting to become a voyeur to their secrets and inner struggles. What is your favorite part of writing?

All of it. It’s thrilling for me to explore issues that I don’t fully understand by writing about them. It reminds me of solving a math problem. It might not make sense in my head at first, but as I start to work it out on paper the answers begin to slowly unfold. Real life is tricky like that sometimes. These characters have problems that they’re trying to solve just like everyone else.

What do you find is the most challenging aspect of writing?

Editing. Enough said. But wait. Let me erase that period and replace it with an exclamation point.

Who are some of your favorite authors?

Maya Angelou may be my absolute favorite. I’m also obsessed with James Patterson and John Grisham. Michael Connelly, Terry McMillan, Steven King and Amy Tan are pretty high up on my list as well. I’ll read anything by Mary B. Morrison, Lee Child, Dan Brown and Dr. Suess. And then Eleanor Parker Sapia stole my heart with A Decent Woman…

Great list and thank you for the mention, Kristen! I’m so pleased you enjoyed Ana and Serafina’s journeys.

What authors or person(s) have influenced you?

As a writer? That’s easy. Angelou. Patterson. Maybe even Beverly Cleary from my childhood days of reading Ramona books for all those hours at a time. As a person? There really are too many to name. Let’s say my family, my friends, and a dash of everyone else on planet Earth.

I wholeheartedly agree with your last sentence. Do you have a favorite place to write?

My kitchen table. Don’t you dare laugh.

No laughing here! The kitchen is the most important place in the home; it’s where a lot of living and sharing happens. Tell us something personal about you people may be surprised to know?

I had four or five moles as a child and now I’m up to nine, plus a new set of freckles across my cheeks. I’m terrified of spiders. And I never thought I’d end up a writer. I loved writing stories as a child, but I took several detours on my way here. Before going to college, I sold shoes and perfume, did make-up, was an actor in local plays, and tried several other things that seemed really exciting. At least they did at the time.

Our paths to the writing life are always so interesting to me. Looking back, what did you do right that helped you with this book?

Prayed really hard.

For real, I’m pretty sure that I didn’t get this book published because I did everything right. I just tried my best to listen in the characters’ voices in my head and to write their stories down in a way that most women could identify with. I’m surprised each time someone tells me that they’ve purchased and read the book. It’s hard to believe that anyone can take a story from their head and place it in the mind of someone else who they’ve never even met. It’s an amazing gift for which I’m very thankful.

Any advice or tips for writers looking to get published?

Keep writing until you get good at it. Stay true to yourself and to your characters. And as much as this part is always much easier said than done, try not to get discouraged when people tell you ‘no’. You persevere, you get better, and eventually you get matched with the person or group that you’re supposed to have your book baby with. It works out better for you in the end.

Great advice. Website?

Of course. Please hit me up at www.thekjdixonexperience.com. I love interacting with readers and other writers.

Twitter: @Dixon01K
Facebook: K.J. Dixon
website: www.thekjdixonexperience.com

Where can we find ‘The Trouble with Red Lipstick’, Kristen?

Amazon, Barnes and Noble’s online website, iTunes and a few local bookstores. If you don’t see it, please ask for it!

What’s next for you?

Another book. It’s untitled right now too, but it’s a hell of a lot of fun so far. Stay tuned.

Thanks for visiting with us at The Writing Life, Kristen. I wish you a world of happiness and happy writing in 2016!

About Eleanor

ellie

Puerto Rican novelist, Eleanor Parker Sapia, was raised in the United States, Puerto Rico, and Europe. Eleanor’s careers as an artist, counselor, alternative health practitioner, Spanish language family support worker, and a refugee case worker, inspire her stories.

‘A Decent Woman, Eleanor’s debut novel, set in turn of the nineteenth century Puerto Rico, was selected as 2015 July Book of the Month for Las Comadres & Friends National Latino Book Club, and is listed in Centro Voices, The Center of Puerto Rican Studies, ‘Essential Boricua Reading for the 2015 Holiday Season’. Book clubs across the United States continue to enjoy A Decent Woman. Eleanor is featured in the anthology, ‘Latina Authors and Their Muses’, edited by Mayra Calvani. She is a proud member of Las Comadres Para Las Americas, PEN America, and the Historical Novel Society, and she is a contributing writer at Organic Coffee, Haphazardly Literary Society. When not writing, she facilitates creativity groups, reads, and tells herself she is making plans to walk El Camino de Santiago de Compostela a second time.

Eleanor is the mother of two wonderful adult children and currently lives in West Virginia, where she is writing her second novel and a collection of short stories.

http://amzn.to/1kzKdGq

 

Sometimes a visit to crazy town is necessary.

Earlier this week, nearly twenty days after my debut historical novel, A Decent Woman was published, I set about creating a to-do list that included, answering emails, writing articles for ezines, replying to author interview questions, and trying to keep up on social media sites I’m part of. The list of what I needed to accomplish post-publication seemed overwhelming, and I didn’t expect to feel new, strange emotions–I was a bit disoriented, and felt flustered and overwhelmed. The book I’d worked on for five years was no longer in my hands–it was in readers’ hands. All I could do was stand on the sidelines and watch my protagonists, Ana and Serafina, take over–it’s their story. At this point, my book, the story, must stand alone. I just happened to write it. But, of course, I got in my own way.

When A Decent Woman first came out, I was overwhelmed with feelings of pride and joy, much like a parent when their firstborn goes off to school. I was grateful to Booktrope Publishing for taking a chance on an historical novel about an Afro-Cuban midwife, who lives and works in Puerto Rico, and thankful to my publishing team, who were a dream to work with on this project. I was thrilled and grateful when readers left wonderful comments and reviews. I was humbled and felt dizzy. Much like my experiences when my adult kids left the nest, who are doing wonderful things in the world, by the way, I knew post-publication that it was time to get a life.

I realized I had to write another book, but how? I couldn’t concentrate, and in the first ten days, I obsessively checked Amazon, looking for new reviews so I could thank the kind reader (if I knew them). Checking my rankings on Amazon was a daily ritual, which I didn’t know how to do until my marketing guru, Anne told me where to look. Then, I realized being a best selling author is an hourly thing, and I soon gave that up. I now look weekly and hope that stops. During the first ten days, I found it difficult to have ‘normal’ conversations, and discovered it was extremely difficult not to mention my debut novel to the mailman, the guy at the post office as I mailed out copies of my book, and to the guy behind the deli counter, who loves historical fiction. I went a bit nutty reminding my very kind and tolerant family members and friends not to forget to post an honest review for A Decent Woman on Amazon. Sheesh.

I was sick of me, and this isn’t me. Although I know how important social media is, and how very important reviews are to an author, I lived alone for five years, writing and rewriting a story that  loved. In the pre-publication days when I was writing, I wouldn’t speak to a soul for days on end, save for a quick phone call, emails and texts to family and friends to catch up and let them know I was alive. I did talk with my cat and my Chihuahua, Sophie, who as it turns out, is an extremely good listener if you don’t mind her licking your face. I knew how to do all that. I just didn’t know how to be humble and a social animal, when all I wanted to do was write more books. Life is all about balance, and I wasn’t feeling particularly balanced right after publication.

So, I wrote an email to my friend and writing mentor to many writers, including myself, the master storyteller, Jack Remick. Sensing that I was experiencing, as he calls it, “Firstitis”, he kindly wrote back with a diagnosis that was spot on. He gave me the definition of this curable illness and the cure–get back to writing. Immediately. He was absolutely right. It was sage and timely advice from an incredibly talented writer and a composed, generous man to a discombobulated, but well meaning, new author.

Thank you, Jack. The craziness has diminished. I’m getting down to the business at hand–writing my second book–and I’m at peace. I should have written sooner, but I learned valuable lessons, and I’ve always learned the hard way.

Ana Belén, you are on your own, my love. I’m onto The Island of Goats, my second historical novel set in 1920 Puerto Rico and Spain. I’m getting to know my characters, Alta Gracia and India Meath, and accessing my experiences on the medieval route of El Camino de Santiago de Compostela, The Way of St. James, in Spain, which I walked with my then-teenage children.

But, I’ll see Ana and Serafina again when I get to writing the sequel to A Decent Woman called Mistress of Coffee.

Sometimes, you must visit crazy town to find peace and sanity again.

About Eleanor

Puerto Rican-born novelist, Eleanor Parker Sapia, was raised in the United States, Puerto Rico, and Europe. Eleanor’s life experiences as a counselor, alternative health practitioner, a Spanish language social worker, and a refugee case worker inspire her stories. When Eleanor is not writing, she facilitates creativity groups, and is making plans to walk El Camino de Santiago de Compostela a second time.

A Decent Woman is her debut historical novel. Eleanor is the mother of two adult children, and she currently lives in West Virginia.

A DECENT WOMAN available now on Amazon 

Ponce, Puerto Rico, at the turn of the century: Ana Belén Opaku, an Afro-Cuban born into slavery, is a proud midwife with a tempestuous past. After testifying at an infanticide trial, Ana is forced to reveal a dark secret from her past, but continues to hide an even more sinister one. Pitted against the parish priest, Padre Vicénte, and young Doctór Héctor Rivera, Ana must battle to preserve her twenty-five year career as the only midwife in La Playa.

Serafina is a respectable young widow with two small children, who marries an older wealthy merchant from a distinguished family. A crime against Serafina during her last pregnancy forever bonds her to Ana in an ill-conceived plan to avoid a scandal and preserve Serafina’s honor.

Set against the combustive backdrop of a chauvinistic society, where women are treated as possessions, A Decent Woman is the provocative story of these two women as they battle for their dignity and for love against the pain of betrayal and social change.

amazon.com/-/e/B00U05ZO9M

 

What Would the World Look Like If We Did Nothing?

cropped-writing-at-the-river-015.jpgThis month we celebrate Women’s History Month, and today we celebrate International Women’s Day. It’s an important day to highlight and celebrate, but it’s also a day to remember the hundreds of thousands of our sisters around the world who have been silenced with ridicule, by verbal and physical abuse, and downright censorship on this day. It’s just another day for them—a day of hiding, suffering, and of waning hope.

This morning, I shared tweets and posts on Facebook, celebrating International Women’s Day (IWD), and as the morning went on, I read articles on IWD written by women from around the world, I felt a profound sense of sadness. While I recognize the importance of highlighting the demand for equality, and I support it 100% as a woman, a daughter, sister, and as a mother of a young adult woman, I am reminded of the missing and tortured women of Tijuana, the hundreds of girls still missing in Nigeria, the disruptions of women’s day celebrations in Peking, the stoning of women in the Middle East, and the list that goes tragically on and on. Let’s not forget them on this day.

Closer to home, I am reminded of families we serve dinners to at our local shelters, and how I felt when I first discovered that dozens of the families and single women we served live in the woods on the outskirts of my town with young children. I remember the frightened faces of young women who’d entered the US illegally with young children and babies in their bellies, hoping for assistance, a kind, respectful word, and a nonjudgmental smile when they walked through the doors of the Department of Health.

I think of the women I worked with as a refugee case worker in Belgium, the counseling clients we served in our Brussels counseling center for free, and the 27 women I worked with as a Family Support Worker of a non-profit organization in Northern Virginia. I am holding them close to my heart this morning, as well as the amazing women I worked with, who continue to serve as social workers, case managers, Family Support Workers, WIC staff, nurses, and staff members at different social service offices and organizations in Fairfax County, Virginia.  I like to believe we had a common goal—to ease the lives of women and their children who were suffering. It is hard work, and I thank them all for their huge hearts and commitment.

Before I left my job at Northern Virginia Family Services, I thanked my co-workers for their tireless work and wished them well. One co-worker replied, “We do our best, but it’s only a drop in a huge bucket of needs.” It’s true, yet imagine if we did nothing. I shudder to think of the state of our world if we stood back, watched, and did nothing to help our brothers and sisters.

We must do better at home and abroad for women, for equality, and in educating young children that we are not islands–we are all brothers and sisters.

And to the women of the past, our ancestors, the women who forged the path for me and for millions of women around the world, I say thank you. To the awesome women in my family, alive and now passed on, thank you for your teachings and lessons. To my daughter, who works with young adults who’ve experienced their first psychotic episode, thank you for doing such important work. I love you. To the men and women who have mentored me, advised and encouraged me on my path, my thanks to you.

About Eleanor

Puerto Rican-born novelist, Eleanor Parker Sapia, was raised in the United States, Puerto Rico, and Europe. Eleanor’s life experiences as a counselor, alternative health practitioner, a Spanish language social worker, and a refugee case worker inspire her stories. When Eleanor is not writing, she facilitates creativity groups, and is making plans to walk El Camino de Santiago de Compostela a second time.

A Decent Woman is her debut historical novel. Eleanor is the mother of two adult children, and she currently lives in West Virginia.

A DECENT WOMAN available now on Amazon 

Ponce, Puerto Rico, at the turn of the century: Ana Belén Opaku, an Afro-Cuban born into slavery, is a proud midwife with a tempestuous past. After testifying at an infanticide trial, Ana is forced to reveal a dark secret from her past, but continues to hide an even more sinister one. Pitted against the parish priest, Padre Vicénte, and young Doctór Héctor Rivera, Ana must battle to preserve her twenty-five year career as the only midwife in La Playa.

Serafina is a respectable young widow with two small children, who marries an older wealthy merchant from a distinguished family. A crime against Serafina during her last pregnancy forever bonds her to Ana in an ill-conceived plan to avoid a scandal and preserve Serafina’s honor.

Set against the combustive backdrop of a chauvinistic society, where women are treated as possessions, A Decent Woman is the provocative story of these two women as they battle for their dignity and for love against the pain of betrayal and social change.

amazon.com/-/e/B00U05ZO9M