History compiles the best and worst events and aspects of humanity. Among the worst consists of racism and antisemitism that has bled among the history pages upon present time. Another fascinating aspect is generational conflict that plagues societies and families alike. As much progress, tolerance and acceptance, and channels of communication are present, there seems to always be a negative aspect that can completely ruin a household. The three particular issues are present in the narrative Lygia Fagundes Telles tells within her short story “The Corset” surrounding a Brazilian family during World War II. Telles explores various issues such as racism, antisemitism, and generational conflict of ideologies and values through Margarida, Ana Luisa, and Grandmother, respectively.

            Margarida’s struggle originates from her Black heritage. Grandmother—the matriarch of the family—looks down on her Black roots. This would serve as a significant source of conflict between the two as Grandmother is a racist. No matter what Margarida does, her genetics would always betray any chance of approval from Grandmother. As she was exposed to Grandmother’s racial cruelty at an early age, Margarida expresses the ugly truth to Ana Luisa who forces ignorance of it. In one of their arguments over Grandmother and the family’s history, Ana Luisa comments, “Despite being in a daze, I was able to notice that Margarida was turning darker and darker, Margarida, who had succeeded in making herself almost white-skinned while primping herself to meet her boyfriend” (198). Ana Luisa, who is still young and unaware of the nuances about racism, already has an internal belief that Black is bad. By associating Margarida lightening her skin to an extreme point of look white-skinned as a “success,” she inadvertently upholds racist standards Grandmother placed in her. This aspect, in conjunction with the association of Margarida turning “darker” during conflict, shows readers how cruel society was to a Black person in Brazil. Since the belief that blackness is a terrible trait was present in upper society of Brazil during the forties, Margarida had to deny a significant part of herself to conform. In the end, she chooses to free herself from Grandmother and run away from the house. Grandmother simply expresses her disappoint as she found Margarida to be a pretentious mulatta and got what she deserves by ending up with a Black man.

            Ana Luisa’s storyline ran parallel to Margarida’s struggle for being part Black. Not only is Grandmother racist against Black people, but she is extremely antisemitic as well. Ana Luisa has Jewish blood in her, which Grandmother sought to deny the girl any association with that part of her. Thus, in Ana Luisa’s journey of self-discovery she must come to terms with this side of her that Grandmother—as well as many other Brazilians—resent. As Margarida’s struggle parallels Ana Luisa, Ana Luisa looked toward Margarida’s experience to make sense of her own. In a moment of reflection, Ana Luisa ponders, “The accursed half was obvious in her [Margarida]. And what about me? I examined my hands. Was it in my damp hands? In my hair? In my squint? I walked around the room. The sign must be in my evil half, in the half given to scheming, to wheedling, to betraying. But why was I always doing such things?” (203). By using terms such as “accursed” and “evil” to describe someone’s heritage, Telles communicates how vicious racism in the form of antisemitism can be on a Jewish person. To be raised in shame of an unchangeable aspect is no way for a person to confidently grow up. Ana Luisa grows insecure of her damp hands, hair, and squint, viewing any sort of misbehavior as a sign of her Jewish heritage. Grandmother was noted as despising Jews much more than Black people. Thus, in her journey of self-discovery, Ana Luisa realizes that what Margarida faced for being part Black would be exponentially worse should Ana Luisa show signs of her Jewish heritage.

            Telles not only incorporates Ana Luisa’s self-discovery to convey antisemitic beliefs in Brazil during World War II, but to show how generations can be at odds with what they believe is right or wrong. Telles’ short story is a commentary of the women’s experience to issues like racism. The response, however, differs from generation to generation. Grandmother willfully traps herself in her old ways—tradition must reign above anything else. Any liberal notion of diversity must be denied as it threatens the natural order of things. Thus, Margarida’s blackness and Ana Luisa’s journey of self-discovery and acceptance of her Jewish heritage is an aggressive threat to the tradition Grandmother aligns with. Telles places Grandmother as the central antagonist who opposes these young women that do not want to fit into the rigid corset of oppression. As Ana Luisa realized that Grandmother’s behavior was as if she were playing a game, she knew that the only way she would get Grandmother’s affection was to lose to her. In a moment of realization, Ana Luisa muses, “As she [Grandmother] saw it, she had won the game, and was now displaying compassion mingled with kindness. With sympathy. Her eyes kept telling me: come, darling. I’m here, I can help you. I’m just a bit tired, it. was a tough game, I’ve aged a lot over the past two months” (219). Telles highlights the fact that Grandmother has aged significantly over the past two months to juxtapose Ana Luisa’s position of barely beginning her prime. The two women have a major age difference yet engage in a warring game of dominance over self-autonomy. As Grandmother believes she won, she could now accept Ana Luisa and mold her, like a corset, into the woman she thinks she should be. Even in her advanced age, Grandmother strives to impart her oppressive will upon Ana Luisa. However, she underestimates Ana Luisa’s belief in her own ideology of self-autonomy. This is symbolic of how a younger generation will always have dreams and aspirations beyond the past, as Ana Luisa decides to move away. Telles leaves young readers with the hope that they can fight for their dreams—for their freedom—away from their ancestors’ will.

            Telles weaves multiple female characters’ storylines to provide readers with a massive view of Brazilian attitudes towards racism and antisemitism during World War II. It all yields to an overarching tale of freedom from oppression that belongs in the past. The world is progressing, and so should attitudes towards race, religion, and gender. What good would it do to ensnarl oneself into a rigid, oppressive order of the past? To Margarida and Ana Luisa, the risk is worth their freedom from Grandmother’s grip. This is synonymous of world events during the story’s timeline, as the Second World War was fought for the freedom of Jews and all those oppressed by vile dictators trying to impart their will. In her own grueling battle, Ana Luisa would emerge victorious, having the strength and hope to live freely.

Work Cited

Telles, Lygia Fagundes. “The Corset.” A Hammock Beneath the Mangoes, edited by Thomas Colchie, Penguin Group, 1992, p. 194-221.