This essay argues that Moraga's recent play, "The Hungry Woman," is a meditation on the failure of the "Queer Aztlan" project articulated in 1993 as part of her collection "The Last Generation." It views the play through the lens of Mexican dramatic structures and historiography, explicating how Moraga interrogates the possibilities of indigenismo by dramatizing the failed revolution and the fallen warrior. Inspired by the work of John Ochoa, particularly his reading of Octavio Paz, I claim that while the play stages the failure of a revolution based on cultural nationalism, this lack of success is a productive one. Viewed within this frame, "The Hungry Woman" emerges as a play almost, but not quite, weighed down by pessimism. The essay concludes by exploring why this Mexican form of failure was so difficult to convey to a U.S. audience and analyzes recent productions of the play, including the one I directed at Brown University in spring 2006. (Contains 2 figures and 14 notes.)