Abstract: This paper briefly describes the story today written by women in La Guajira, San Andrés y Providencia and El Chocó. Suggests, also, the names of three narrators who deserve the attention of readers inside and outside their regions and within and outside the country: Lollia Pomare, Vicenta Siosi and Estercilia Simanca.
The rich oral tradition of these three departments of Colombia does not allow questions about the importance of art in them count. However, judging by the marked absence of the authors from these regions in most Colombian story anthologies, denounced the lack of awareness in the country about the variety of stories that are written in such departments.
This paper briefly describes the current crop of genre story in these regions, particularly the story written by women, and suggested the names of three narrators whose works deserve attention from readers inside and outside their regions and country: Lollia Pomare, Vicenta Siosi and Estercilia Simanca.
This work focuses on the authors who live in their respective departments and who have published at least one book of short stories between 2000 and 2007. The visit to the capitals of the departments studied allowed the gathering of materials in public libraries and private libraries, houses of culture and Joint Funds for the Promotion of Arts and Culture. (1) In addition to reviewing the printed material available, the visits allowed to consult on the matter to writers, critics, promoters of culture, college and university professors and locals without any employment relationship with literature. Importantly, there was agreement among those consulted about who were the storytellers of each region.
The ignorance of the existence of the short story, in La Guajira and San Andrés and Providencia and El Chocó, as elsewhere in the country, have contributed several extra-literary circumstances, including lack of institutional support for the publication of books of short stories, a certain arbitrariness in the management of programs that encourage literary production, absence of local and national libraries proposed distribution of literature from these regions and, finally, with regard to cultural policies, lack of copies of this literature in local and national libraries. Such factors have made it very difficult reading, dissemination and study of literary production of regional authors and hampered the already precarious circulation Nationwide them.
In the literary output of women writers add further difficulties. Several authors point out as an obstacle the fear of censorship, especially by men partners. The double (and triple) working hours of women remains a major obstacle to devote himself to writing, in general, cite lack of time as the main cause of their poor literary production. In the case of the authors of La Guajira, they added that in her department this problem is exacerbated because the Wayuu culture assigns much more work for women than men and makes women even more to the custody of the boys community. Another impediment to mention both authors and authors of these three regions is the fear of political consequences, even for their lives, if their reports of the disgraceful conditions in which they live their communities. Despite these and other adverse circumstances to writing, at this time women in La Guajira and San Andrés y Providencia write and publish stories, not in El Chocó.
In La Guajira La Guajira, the two volumes of the anthology criticism made by Victor Bravo Mendoza, Stories Generic guajiros authors (1989) and Tales of peasants authors (1992) are a reference to the status of gender in the decade of the eighties and nineties. Some of the authors included here have been published subsequently storybooks. Among them: Vicenta Siosi, The sweet heart of the copper skin (2002), Abel Medina, Amazing land of the yolujás (1999) and Polish Rosado, Guanebucanes Tales (1997).
It is worth mentioning some personal and institutional initiatives have contributed to the culture of gender, among these we have the Departmental Competition tale of La Guajira, Tell a Story, made in 2002, the creation of workshops that encourage creative writing , although its emphasis has focused on poetry such as "Solar," "Dreamcatcher" and "Songs of Julia" and the work of cultural magazines Rancheria, and Arte y Parte Journal of the University of La Guajira. It is worth mentioning the systematic work of Victor Bravo Mendoza in promoting the story and in literary creation. Apart from his work as a storyteller, poet and critic, he must be a radio to the promotion of literature and literary workshops address many, among them that of the Guajira RENATA (National Network of Creative Writing Workshops) gave as one of its consequences the publication of the first volume of short stories in 2007.
Most books published by women reflects poetry, some of these authors are Altagracia Carrillo Vega, Poetry for All Ages (1999); Suanny Cerchar Solano, Absence, seed from oblivion (2000) and Maria Teresa Hinojosa, a life made poems (2004). Of creative writing workshops "El Solar" and "Dreamcatcher" the authors who have spread over his writings are Solenys Herrera, When no gender gap (2004), Betsy Barros, La Guajira in verse (2003), Belgium Quintana Marquez, Selene Romero and Lindantonella Solano. (2) Often the writers of La Guajira is linked to teaching and research, as is the case of Vicenta Siosi, Verenitce Selene Romero and pepper. In all there is a clear concern for the social, economic, political and cultural department.
appear in story Island names of authors who have been included in anthologies, including Mary Daza, (3) Maria Lorena Fernandez, Tatiana Britto González, Liliana Escobar Díaz, Belgium Quintana Marquez and Alba Vega Amaya. The last two were winners of the Short Story Competition Department of La Guajira in 2002. There are two widely recognized authors with only a book of short stories each, their stories have been reproduced in collections department storytellers themselves: Vicenta Siosi and Estercilia Simanca. Although many media, read and studied in schools and colleges in La Guajira, brought to the stage and commented on by their own authorities in the frequent invitations to educational institutions receiving in the region. Vicenta
Siosi Pino is the author of eight stories in one volume, The sweet heart of the copper skin, published in 2002 under the auspices of the Joint Fund for the Promotion of Culture and Arts of La Guajira. (4) These stories show different attitudes of indigenous Wayuu or their descendants to their own culture and to the interaction of cultures arijunas with no Wayuu. (5) The stories are told from the questioning eyes of women, children and animals. In the story's title volume, Wach, Wayuu a child of twelve, upon entering the school learns that although the indigenous world is mocked by his colleagues, also raises enormous curiosity in some of them. Three of these companions embark on a secret trip to a village Wayuu, but the community arijuna assumed that infants were abducted by the Indians. The report denounces the ignorance, disrespect and absurd display of power by arijunas to the Wayuu community. The end of the story is very encouraging, as children figure in the possibility of a change of attitude and a future arijunas of respectful coexistence. An optimistic view is also prevalent in "Mrs. Iguana" story winner of the National fairytale, Atlantic Comfamiliar 2002. Here again, from the mediation of children, it is possible coexistence friendly and happy between beings of different origin, in this case, including garden animals and humans. The respectful use of the epithet 'lady' for female representatives of the two groups makes the condition of equality between them. In this story, an iguana convinces humans of the right that she too has to sunbathing, playing and living, as expressed in the letter addressed to Mrs. Josefa: "I want kids to get sunburned and walk them through the gaps sucking the aroma of cherries after rain while listening to the music of the birds. Please do not kill me "(93). Siosi
Another story, "That horrible habit to get away from you," also deals misunderstanding, but this time, misunderstanding that displays a girl Wayuu alienated from their own culture. Here a mother goes to the town Wayuu his little daughter (which is not known) to be left in a house arijuna where "educate and teach good manners", as expressed by the mother. After years of suffering and assimilation, the girl rejects his ancestral community and the world yearns arijuna expelled. Unlike this story, in "The loophole proud of my heritage," a descendant Wayuu tells the story of their indigenous ancestors, but from the proud assertion of their ancestry, especially of powerful female figures in his clan.
I have not listen to the birds of the world "is the most restrained and lyrical tales of Vicenta Siosi. In this, a girl of nineteen Wayuu remembers his childhood and puberty in girls beautiful and full of illusions, and contrasts this time with when living, married to a man much older than her, with his three children, sick, an existence marked by hunger that "tighten with three hands and steals the light from their eyes" (98) . From this reflection, the girl questions the rigid laws Wayuu women do not allow any decision about his marriage and his destiny, I lay in a chinchorrito and saw the full moon lighting the sandy roads of La Guajira and I saw that night, still in mourning, bring her light and I thought good things, but the moon also illuminated my blanket and my fingernails ragged eaten away by dirt. And I heard the faceless voice whisper that is ugly and the abyss of heat rose in there. Before starting the fire went to the house out of town and asked the arijuna a mirror. Stubble hair sunburnt, blackened skin, mouth, face, and eyes infinitely sad in nineteen rains experienced. I ran with all my strength / And running away from who? Of law, I said, she already made use of you said a flock of buzzards and ran more and he ran remembered glad I do not pick cherries, nor had he heard again the world's birds singing in the dawn of the Wayuu and clutching his chest pain I was sure he had died the night half a century a man fell on me (103).
This story also shows the ignorance of and arijunas have on the lives of the Wayuu, as evidenced by the following passage: One day God told me arijuna woman did not stop more and I did not know how not deliver more, but I said nothing, never said anything. When was the third baby I lost the second tooth and said arijuna pairs have much money so much and did not say anything because if I had money I would have bought a red gas know what was or would prove a ball of chocolate. (102) Wayuu
world is also the main reference in the accounts of Estercilia Simanca Pushaina. His stories have been resefiados in Cuatrogatos, El Colombiano, El Tiempo, Journal of Family Com Magazine Fundalectura Atlantic. In one of his most famous, titled "Is not able to sign. Born: December 31," from the unsuspecting eyes of a young Indian, shows disrespect, the abuse and exploitation of indigenous Wayuu are subjected by the politicians. The narrator sees the hypocrisy and absurdity of the political maneuvers of arijunas. This story, which in 2004 was winner of Metropolitan National Tale of the Universidad Metropolitana de Barranquilla, takes its title from alienating practices imposed by the Colombian government to the Wayuu community. Such disregard the individuality of indigenous figure in the personal name, the name that points to the maternal clan they belong to and date of birth of each. In the rush to schedular to the Indians to become voters, officials from the National Registry declare them all "born on December 31" and unable to sign his name. The mockery of arijunas to the Wayuu is also obvious in the gross rename practice to call in many cases, with terms ridicule: All my family was a long row along with other people who came from other villages to receive a card plastic card they called. Were the same as they had taken a week before the
. That day I learned that my uncle was called Tarzan Tanko Pushaina Cotes, [...] that dike was called Cosita Rica, [...] who was John F. Anuwachón Kennedy, who was named head [...], Ashaneish quoted called Alka-Seltzer (43).
disrespect another way of observing the narrator is the seductive behavior and sometimes abusive toward indigenous women candidates. She shows disturbed by the kiss he received from one of these candidates, "I remember that kiss took my sleep for many moons. That moment was repeated in my mind over and over again while trying to sleep in my hammock, wanted Mr. Candidate back and kissed me again, but not did. not even looked at me when we went to the big house "(42). The narrator's emotional distress due to the expectations we have about a possible romance with 'Mr Candidate', resembles the conflicts faced by the community to see betrayed the trust placed in the promises of politicians.
Another well-known story is Simanca Estercilia "The closure of a small girl," a finalist in the 2003 National Short Story Competition Kids Comfamiliar Atlantic Fundalectura nominated and included in 2006 in the honor roll of IBBY (International Book Committee for Youth). This story is told from the perspective of a young woman passing Wayuu confinement, ancient custom to enclose and hide the women of the tribe to begin their reproductive years. In this period the girls are trained by other women in the community in the tasks that correspond to them once they are taken in marriage, such as weaving, grinding corn, preparing chicha and meet her husband sexually. In the story, learning of the fabric is made possible by the appearance Waleket dreams of the weaver. In all the tales of Estercilia Simanca exalts the role of dreams to guide the actions of the Wayuu. All stories also end with an epilogue that reviews the events from the perspective of the protagonist - now adults - who relates to others, probably children, their experiences as a member of the Wayuu community. This procedure enhances the educational dimension narrative ancestral story.
By: Patiño Mejia, Ana MercedesPublication: Colombian Literature Studies Date: Sunday, July 
