The Dominican Republic and its relationship with Dominican America have often been studied in relation to the brutal regime of Rafael Trujillo, tíguere masculinity, and the political sphere. Writers like Julia Álvarez and Junot Díaz, as well as anthologies of Dominican women’s writing, form a literary archive that conceives of women’s writing as a perpetual act of rebellion, mostly against Trujillo and Trujillista models of masculinity. Starting from Lorgia García-Peña’s conception of “contradiction” (2016) and Kevin Quashie’s The Sovereignty of Quiet (2012), this article argues that Angie Cruz’s Soledad (2001) and Naima Coster’s Halsey Street (2017) are a counter-archive of woman-centered, Dominican American narratives of return dependent on feminized forms of expression and belonging—namely art, quiet, secrecy, surrender, and interiority. These novels reclaim the power of these acts and spaces along a spectrum of quietude, ranging from acts of alienation to tools for bonding, healing, and growth.

多米尼加共和国及其与多米尼加美国的关系经常与拉斐尔·特鲁希略（Rafael Trujillo）的残酷政权，蒂盖尔（Tíguere）男性气概以及政治领域有关。朱莉娅·阿尔瓦雷斯（JuliaÁlvarez）和朱诺·蒂亚兹（JunotDíaz）等作家以及多米尼加妇女写作选集，形成了一个文学档案库，将妇女写作视为永恒的叛逆行为，主要是反对特鲁希略和特鲁希利斯塔的男性气概。从“魂斗罗Lorgia加西亚-培尼亚的概念开始措辞”（2016）和凯文Quashie的安静的主权（2012），本文认为，安吉克鲁兹的索莱达（2001）和奈马科斯特的哈尔西街（2017年）以女性为中心的多米尼加裔回归叙事的反存档，这些叙事依赖于女性化的表达形式和归属感，即艺术，安静，保密，自首和内在。这些小说在一系列安静的环境中回收了这些行为和空间的力量，从疏远行为到联系，治愈和成长的工具，不一而足。