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In the winter of 1947, Ursa Corregidora sings to a roomful of patrons at Happy’s Bar. Her husband, Mutt, arrives drunk and interrupts her show. Although he’s thrown out, he waits out back for her. She leaves the bar and a physical struggle ensues. Ursa ends up in the hospital, where she finds out she has lost the ability to have children as a result of her injuries. She refuses to see Mutt, but entertains another visitor named Tadpole, the owner of Happy’s. Tadpole aids Ursa by permanently banning Mutt from Happy’s Bar and by agreeing to help her recover. She stays with him when released from the hospital, and he makes her his top priority.
Through Ursa’s conversations with Tadpole and a series of flashbacks, it’s revealed that Ursa descended from women who were forced into sexual slavery. Ursa tells Tadpole that her great-grandfather, Corregidora, was a “slave breeder and whoremonger” who fathered his own prostitution ring (8-9). Ursa’s Great Gram often told her stories about having to sleep with both Old Man Corregidora and his wife.
While Ursa is recovering at Tadpole’s, Cat, the neighborhood hairdresser, visits Ursa. She asks Ursa if she was pregnant when Mutt attacked her, and Ursa says yes. Cat then tells Ursa that Mutt is waiting outside of Happy’s every night for her and that Tadpole is in love with her.
After Cat leaves, Tadpole returns to help Ursa bathe. He touches her scar when she asks him to and kisses her when she’s falling asleep. The next day, Ursa goes to the doctor for a checkup. The doctor is confused and thinks Tadpole is Mutt. Ursa corrects him and explains that she is no longer with Mutt. The doctor responds by saying, “I thought you’d stopped blaming him” (19). This upsets Ursa, but with Tadpole’s encouragement, she still asks for permission to go back to work. She tells Tadpole she can go back to work as long as she does so incrementally, instead of all at once. Back at his lodgings, Tadpole undoes Ursa’s blouse and asks her what she wants. She says she wants what all the other women in her family have had: the chance to be mothers.
Ursa then decides she wants to stay with Cat instead of Tadpole, so as not to be a “burden.” Cat agrees and Ursa has Tadpole move her. Her tenure at Cat’s is cut short after Jeffey, a teen neighbor girl whom Cat babysits, threatens to tell Mutt where Ursa is staying and then sexually molests Ursa while she is asleep. Ursa also overhears Cat telling Jeffey “I’ll give you a fist to fuck” (47). These two incidents lead Ursa to believe she is better off back with Tadpole, so she sneaks back to Tadpole’s and then has sex with him. She then returns to work, only to find Mutt’s cousin waiting for her. He tries to get her to talk to Mutt, but Ursa refuses. Tadpole proposes to Ursa and they get married quickly after, with Cat as witness. Avoiding Cat, Ursa quickly returns to her room, only to have a drunken Cat follow her and try to reconcile. An oblivious Tadpole then returns to their room, Cat leaves, and Ursa and Tadpole consummate their marriage.
Ursa is cooling off with a mid-afternoon beer at Happy’s when another worker named Sal starts asking Ursa about her ancestry. Annoyed by the inquiry and the implication that she could “pass” (that is, that Ursa’s light skin would allow her to pass as white), Ursa is happy when Sal is distracted by customers (70). Back at home, Tadpole tells her Cat is moving. Ursa lies to Tadpole and says she will say goodbye to Cat. Ursa continues to lie to Tadpole when he asks if she enjoys having sex with him, an experience she cannot feel due to her injuries. She does reveal that she never met her father, to which Tadpole responds, “You mixed up every which way, ain’t you?” (80). They try to have sex, but Ursa finally says, “Tapdole, I can’t, I can’t” (81). This causes to Tadpole to abandon and insult her.
Shortly after this incident, Ursa is offered a job singing at a different bar, the Spider. She takes the job and decides to work at both bars. While Ursa is singing at her new job, Tadpole hires a teenager, Vivian, to sing in her place at Happy’s. Shortly after the girl is hired, Ursa returns home from her job to find Tadpole sleeping with the young singer. He is unapologetic and tells Ursa this is because she doesn’t do anything for him sexually. She leaves and rents a room at the hotel she was staying at before the incident with Mutt. Two days later, Tadpole shows up at her hotel door to apologize, but she refuses him. Ursa never returns to Happy’s and gets a full-time job at the Spider. The owner, Max, then tries to sexually assault her, but she stands her ground, telling Max, “It ain’t gon be that way” (95). He backs away and agrees to let her be. She continues to keep working at the bar, but decides she needs a break to visit her mom.
Ursa visits her mom for the first time in years and presses her mom to give her more information about her biological father. Her mom is reticent at first, but then recounts how she met Ursa’s father because he was a waiter at a local restaurant she dined at. She describes how he slowly seduced her, married her, and then left her. She tells Ursa she tried to visit him once when Ursa was 2, but that he physically abused her, so she never tried to contact him again. Ursa’s mom also reveals that things were contentious between her biological father and Great Gram and Grandmama, and that he used what he learned about Corregidora against her family. Ursa leaves her mom’s place the same afternoon that she arrives, full of introspection about the state of her own life.
Chapters 1 and 2 set the tone for the tangle that is Ursa Corregidora’s life. So much of Ursa’s world initially appears innocuous, only to later be revealed as deeply disturbing. From the “fall” Ursa suffers that later turns out to have been a violent shove from her husband, to her roommate, Jeffey, who quickly swings from victim to assailant, Ursa lives in a world layered in lust and violence. It’s through Ursa’s relationships that readers can most acutely see the smoke and mirrors that make up her atmosphere. For example, her first husband, Mutt, starts out as an adoring audience member, but eventually ends up being the reason Ursa can’t have kids. Likewise, her second husband, Tadpole, starts out doting and supportive, only to end up unapologetically cheating on her. In fact, all of the men in Ursa’s life turn out to be predatory, whether it’s the barber from her hometown or the owner of the Spider. While this is certainly a comment on societal patriarchy and its often empty notion of chivalry, unfortunately for Ursa, the women in her life are deceptive as well. The neighborhood hairdresser, Cat, starts out providing nourishment and a valid warning about Tadpole, but as time goes on, Cat turns out to be abusive. Similarly, Ursa attempts to help Cat’s neighbor, Jeffey, only to have Jeffey threaten her and sexually assault her. Even her own mother refuses to be completely up front with her. Ursa, and eventually the reader, learn to move cautiously through Ursa’s world.
The first two chapters also provide the backdrop for the racism that defines Ursa’s life. Ursa is a light-skinned woman whose mixed ancestry is the result of generations of rape. Ursa’s awareness of her complexion drives much of the story: she consistently relates pieces of her family’s past to Tadpole and Mutt, as well as suffers from persistent nightmares. The dehumanizing world of slavery is often front and center, as Ursa obsesses over her Great Gram’s vivid re-hashings of being raped and abused by Corregidora and the men he sold her to. Her grandmother and mother suffered similar experiences growing up and thus Ursa approaches her life not as unique, but as the next link in an inevitable chain of women abused by men.
While Ursa suffers a lot of losses in the first two chapters—her first husband, her second husband, any hopes of having a relationship with her father—losing the ability to continue this chain of women is Ursa’s most prominent pain by far. From a young age, Ursa has been encouraged to have children (although this was only because her great-grandmother thought children provide solid evidence of rape), so having been robbed of this physical capability by Mutt, the rest of Ursa’s life is tinged with this deficit. She feels hopeless and purposeless when she eventually shows up on her mother’s doorstep after years of absence, searching for some answers to the present in the past, a formula that saturates the first half of this novel, as Ursa finds herself again and again to be another piece in a long pattern.