Antología de pensamiento feminista español edited by Roberta Johnson and Maite Zubiaurre (review)

An anthology focusing solely on feminist Spanish thought is both welcome and long overdue. Only two other anthologies on Spanish feminism exist (Antología del feminismo, by Amalia Martín-Gamero [Alianza, 1975] / Sevilla, Instituto Andaluz de la Mujer, 2002, and Mujeres y hombres: La formación del pensamiento igualitario by María Ángeles-Durán–Castalia, 1993–); however, they either do not focus exclusively on feminism relating to Spain or they concentrate on limited approaches to feminism (gender equality to be specific). This Antología de pensamiento feminista español, edited by Johnson and Zubiaurre, differs from the others in two specific ways: first, it locates Spanish feminist thought within the trajectory of Spanish history and Spanish feminism. Second, it covers a wide range of themes including but not limited to equality, education, personality, workplace, social class, marriage, fashion, and sex. Since the book approaches feminism through poignant themes as opposed to relying only upon well-known scholars, the editors admit that their work leaves out various recognized Spanish intellectuals. However, in an effort to reconcile the various intentional exclusions, they have included an extensive bibliography at the close of the volume.

A valuable feature of the book is the insightful and informative introduction that explains the structural basis for this anthology. The editors have organized the collection chronologically by dividing it into five different time periods. It begins with essays from the eighteenth century, since, as the editors rightfully assert, that is when explorations into the subject of the woman began to be approached philosophically and theoretically. Hence, the first stage of feminist thought is presented from 1726–1808, and is titled El primer feminismo ilustrado español. This is followed by El ímpetu liberal y sus consecuencias (1808–99), El feminismo español toma vuelo (1900–39), Luces en la sombra (1939–75), and, finally, Eclosión y diversidad del pensamiento feminista español (1975–2011). Each section is introduced with a critical essay regarding Spanish history and women’s place in it, while each writer is presented through a brief biographical sketch and a bibliography. The volume boasts 41 female writers, which include Carmen de Burgos, Rosa Chacel, Lidia Falcón, Mary Nash, and Montserrat Roig; and two male contributors (Benito Jerónimo Feijoo and Aldofo Posada).

As the section headings indicate, the trajectory of feminist thought in Spain parallels the patterns of candor and suppression in Spanish history. For instance, the title Luces en la sombra alludes to the few voices undetected during the Francoist repression that attempted to protest women’s position in a patriarchal society. Though at that time the novel was the primary tool used to covertly defy the authoritarian regime’s subjugation of women (among other suppression of rights), the editors have chosen to exclude this literary genre and only include essays due to their more straightforward nature. This proves to be a refreshing approach since Carmen Martín Gaite’s essays are not studied in the critical realm as in depth as her novels Entre visillos and El cuarto de atrás. Two contributions of particular interest incorporated from this time period include “¿Qué es lo femenino?” by María Laffitte; and “Feminismo y masculinismo” by Lili Álvarez. Contrary to their female counterparts of the day who chose to indirectly speak on feminism in the form of the novel, these two women are able to produce essays blatantly feminist with no negative repercussion. As the editors note, these women were able to capitalize on their social position (both women were countesses), in order to bring attention to women’s position in Spanish society.

Another appealing aspect of the book is the manner in which the editors compiled various essays to juxtapose varying schools of thought on and approaches to feminism. For example, both Concepción Arenal’s and Emilia Pardo Bazán’s pieces focus on education as a driving force of...