Here, Cofer brings back the symbol of “María” in order to show how such mainstream representations of Latina women become so prevalent that they come to shape perception of
all Latina women, even those who share nothing in common with such characters. “Evita,” another one of the characters that the man stereotypically associates with Judith, references the popular musical of the same title, which focuses on the Argentine political leader Eva Perón (more commonly known as Evita). This reference, as well as the inclusion of the song “Don’t Cry for Me, Argentina,” demonstrates how the “myth of the Latin woman” flattens and simplifies all Latina women into one homogenous category despite their differences. Judith is, of course, not from Argentina, but that does not matter to the man in the tuxedo, who sees her as a
mere idea of what he thinks a Latina woman represents. Finally, when Judith tells the man’s daughter to ask her father about what he did in the army, she is referencing the reputation of American soldiers’ unsavory or objectionable sexual behavior while serving abroad—by saying this, Judith effectively flips the association of “María” with “gonorrhea” on its head. In doing so, she points out the hypocrisy of the stereotype that Latina women are sexually promiscuous, suggesting that it is actually far more likely for a white American man to be hypersexual, especially when seeing a Latina woman or woman of color (i.e., a woman whose individual agency he completely disregards) as the object of his desire.