Romantic dreams and career dreams appear differently in Melba Escobar’s novel than in Western chick litas. It is due to the status of the woman.
Melba Escobarin novel Beauty parlor (Finnish) Taina Helkamo, Aula & Co) starts with questions familiar to Western young women ‘s entertainment literature: how could a middle – class, working, independent woman – in this case Karen, who works in a beauty salon – succeed in her career and find love in the capital of Bogotá?
The only difference is that instead of going to the West, Karen lives her life in Colombia, where the boundary conditions for a woman’s life are different than in the West.
“Or so are if you don’t fall into the top categories,” Escobar explains (HS 9.10.2018). “People in classes five and six live in the West, even though they live in Colombia. Triplets and quadruples belong to the middle class, those living below are poor. ”
Escobar himself is six. The cube is based on the estrata system established in the 1980s, which cements Colombia’s class society. The original intention was to make life easier for the poor in the capital: under the estrata system, the poor pay less for social infrastructure, such as water.
In practice, it means that all Colombians know where and how you live and live when they get to know which category you belong to.
Being six means one of the richest six to seven percent in the country.
Sixth grade woman life is what women in all other classes aspire to. There is one surefire way to get in and stay in the sixth: marriage with a sixth.
It is impossible unless there is a beautiful and pleasant man.
Beauty, on the other hand, means having to be as white a woman as possible with the most straight hair possible.
“Cheating, drunkenness, violence, and sexual violence are so common that women in the lower classes don’t even assume they can live their daily lives without constant violence,” Escobar notes.
“In the first and second grades, some women expect to die at a young age, either from intimate partner violence or from general slum violence.”
You can’t really write about it, says Escobar, who has previously made reportage trips to the poor. No one would want to read them. That’s why he wrote about Karen, who is third.
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