The following article is an English translation of an original article by El Tivípata, a Spanish blogger specialized in antifeminism. Originally published on 24th August 2015. Published with his explicit permission. Link to the original in Spanish:
A socialist and feminist woman named Aurora Rodríguez Carballeira had a project in mind: creating the woman of the future. She would be the vanguard of a new generation of cultivated, educated and independent women; above all, they would be the guardians of Marxist and feminist ideas. In order to undertake this remarkable project, Aurora had to choose the appropriate partner: a man who wouldn’t demand his paternity rights. An army chaplain, being a priest, was the perfect choice. This way, Aurora made sure that she would be a single mother, for that was necessary for her project. As soon as she managed to get pregnant, the passionate feminist moved to Madrid from her hometown, Ferrol.
Aurora didn’t leave anything to chance. Even the name she chose for her woman of the future was thoroughly planned: Hildegart. According to her, the name meant “garden of wisdom” in German (although Aurora committed a huge etymological mistake). The education that Hildegart received was planned down to the last detail, and it is only fair to recognise that Aurora’s pedagogical methods worked… maybe too well. When she was eight years old, the woman of the future could speak four languages. When she was eleven, she wrote an essay on female sexual hygiene. When she was sixteen, she graduated in Law. As she couldn’t practice yet, due to her age, she started Medicine studies. Educating her “in excess” was Aurora’s greatest mistake, because she sculpted her “Galatea” to be too intelligent, and we all know that trait is incompatible with the Marxist-feminist dogma.
And so it happened: the brilliant young woman wrote a book entitled Was Marx wrong? That was obviously not well received in the socialist party PSOE and the union UGT, of which she was a member. In 1932, she criticised the socialist party again, earning her expulsion. Hildegart was rebelling against the ideas that her mother had rigidly tried to inject in her during her whole life. That was when the relationship between mother and daughter was damaged beyond repair. Hildegart tried to get away from the demented yoke that her mother/manager had imposed onto her, but Aurora threatened to commit suicide if the young woman “abandoned her”. The terrible emotional blackmail and harassment she used against her “Galatea” succeeded, and she managed to retain her for some time. However, Aurora’s project was endangered again by the menace of her daughter escaping the prison that her life had become.
One day, the biggest fear of this female “Pygmalion” became true. The relationship between Hildegart and a young man named Abel was going beyond mere friendship. This had a devastating effect for both Aurora’s project and Beatriz Gimeno’s pseudoscientific theory of heterosexuality being a social construct of heteropatriarchy [Beatriz Gimeno is a Spanish lesbian feminist, currently a member of the Spanish Parliament]. Although Aurora had “sculpted” Hildegart not to get involved sentimentally or sexually with any man, the hormone cocktail she was at her age prevailed. The relationship between the woman of the future and Abel was strengthening: Aurora told a friend of hers that her daughter would ruin everything if she eloped with Abel.
One night, while Hildegart was sleeping, Aurora sneaked into her room and shot her daughter three times in the head and a fourth time through her heart. Aurora turned herself to the police and she calmly announced that she had finished a sublime work. She was sentenced to 26 years in jail. In 1936 she was lost track of, fuelling all sorts of fantasies. It was said that she had been freed during the civil war before the arrival of the rebel army; it was also said that she had been executed by firearm, but in 1977 her medical history was found. Aurora died in jail in December 1955. She never repented. The multifaceted Spanish actor and director Fernando Fernán Gómez narrated this story in his movie Mi hija Hildegart (“My daughter Hildegart”).
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