Ana Castillo’s novel, So Far From God, propels the reader on a vibrant and surreal journey through the tragic ordeals of Sofi and her four daughters. The first chapter, which offers certain similarities to the Bible’s story of Jesus Christ, in that Sofi’s three year old daughter, La Loca, seems to succumb to a violent and horrifying death, and at the wake, she returns to life with a tale of her journey beyond the veil. This scene creates a notable comparison between the patriarchal religiosity of the story of Jesus Christ and the Chicana-centered resurrection, complete with the hypocrisy of a male-centered system of beliefs, the acts of acquiring selfhood as a female centered savior, and the phenomena of the “death” of the saviors.
The story had only just begun when La Loca died in an unsettling fashion; her tiny body thrashed so violently that it was thrown from the bed and foam, mixed with a dash of blood, escaped her mouth. While she was in the powerful throes of death, Sofi and her daughters wailed and watched helplessly, because they were too frightened by the girl’s seizures. It was a sad time for the people of their village, because no one likes to bury a child, especially a young one. After La Loca’s wake, her mother wanted to give her a Mass before placing her corpse into the ground. It was here, as Father Jerome, offered some comforting words that the girl pushed open her coffin and “returned” to the waking world.
So far, there are a few comparisons that can be made between La Loca and Jesus, which preceded their resurrections. There is the notion of innocence that the two share and symbolize. Despite the fact that there is debate amongst scholars, Jesus was believed to be between thirty-three and thirty-five ye...
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... rife with suffering away from the benevolent god. La Loca mentions that Sofi’s husband, who has returned towards the end of the first chapter, has been to hell and is no longer afraid. Essentially, in this alternate religion that she has created, through her unnaturalness, Hell is a place of healing, where the individual understands the truths about themselves.
All these things cultivate a rousing story full of suffering and self-realization. While the youthful, yet undeniably strange, La Loca resembles the messiah of the Christian faith, there are significant differences. However, as we indicated through discussion of the abortion and prayer, the child cultivated a sense of selfhood for the Chicana sense of voice and power. Essentially, the two are not the same, but Ana Castillo’s tale proves that, cast in a certain light, the two are not so different.
The fourth Chapter of Estella Blackburn’s non fiction novel Broken lives “A Fathers Influence”, exposes readers to Eric Edgar Cooke and John Button’s time of adolescence. The chapter juxtaposes the two main characters too provide the reader with character analyses so later they may make judgment on the verdict. The chapter includes accounts of the crimes and punishments that Cooke contended with from 1948 to 1958. Cooke’s psychiatric assessment that he received during one of his first convictions and his life after conviction, marring Sally Lavin. It also exposes John Button’s crime of truancy, and his move from the UK to Australia.
Celianne, a fifteen-year-old pregnant girl, was raped when a dozen men raided her home and forced her brother and mother to sleep together. She found out she was pregnant and boarded the boat as soon as she’d heard about it. The child represents the hope of a new life, away from the persecution awaiting back in Haiti. Celianne finally gives birth to a baby girl and the acting midwife prays for the baby to be guided by God, “Celianne had a girl baby. The woman acting as a midwife is holding the baby to the moon and whispering prayers . . .
Throughout time, stories have been passed down from generation to generation in order to make sense of our world and to share that understanding with others. “Los tres hermanos (The Three Brothers)” and “El indito de las cien vacas (The Indian and the Hundred Cows)” are two Tales of the Hispanic Southwest that I feel the reader could truly relate to in terms of the important moral lessons that were meant to be taught, inferred and understood. The lesson in “Los tres hermanos (The Three Brothers)” involves understanding that the characters involved failed to reflect on the needs of the thirsty, hungry and poor, the lonely, as well as the elderly and are ultimately fairly served by means of moral ruin, death, and worst of all, eternal damnation, while “El indito de las cien vacas (The Indian and the Hundred Cows)” in due course, involves the notion that God helps those who help themselves.
The study of religion is often a rigorous process because the central tenets of the subject: image, ritual, and myth are often copious in their complexity. For example, consider the multiple meanings that are inherent in the image of a crucifix. Some Christians might view it as an image of suffering, whilst others would reject that notion and instead perceive it to be one of love. These differences may seem inconsequential at first, but they can overtime shape the beliefs of an individual and by extension a community. To understand this dynamic better one only has to analyze the Christo Aparecido (Christ Appeared), an authentic Mexican crucifix with a fascinating history from the colonial era to the present. This history is made known by the text, Biography of a Mexican Crucifix: Lived Religion and Local Faith from the Conquest to the Present by Jennifer Hughes, from which I contend that over the life of the Christo Aparecido there continues to be an understanding among devotees that this crucifix is sacred because it displays animus while being a vestige for the sacred to occupy. To support my position I will attempt to relate the moments where the Christo Aparecido is said to show signs of life, in particular his stay in Mexico City during the colonial era and his role in more modern times with rival groups clashing over its efficacy in the village of Totolapan.
As a journalist in 1920 for the New York Herald Tribune, Sophie Treadwell was assigned to go to Mexico to follow the situation after the Mexican Revolution. (Mexican Revolution 1910-1917) She covered many important aspects of the Mexican Revolution during this time, including relations between the U.S. and Mexico. She was even permitted an interview with Pancho Villa in August 1921 at his headquarters. This interview and other events that she experienced in Mexico are presumably what led her to write the play Gringo. In Gringo Treadwell tries to depict the stereotypical and prejudicial attitudes that Mexicans and Americans have about each other. There is a demonstration of how Mexican women are looked at in the Mexican culture and how they see themselves. The play also corresponds to similar events that occurred during the Mexican Revolution.
In Miguel de Unamuno’s novella San Manuel Bueno, Martyr, readers learn about the life of Don Manuel, a Catholic priest secretly holding atheist beliefs and doubts in the afterlife. Despite these disbeliefs, Don Manuel works tirelessly to help his community and is regarded as a saint by all who meet him, hence the handle “San Manuel,” which literally translates to “Saint Manuel.” Don Manuel’s struggle and affiliation with sainthood receives further analysis and context from Francisco LaRubia-Prado, who parallels Unamuno’s novella to elements of Greek Tragedy and heroism. Drawing from Unamuno’s background with Ancient Greek playwriting and Sigmund Freud’s Totem and Taboo, LaRubia-Prado argues that Don Manuel should be seen as a representation of Christ and must suffer in silence in order to play the role of the dying, tragic hero that saves the
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
Castillo first shows the reader her distrust of patriarchy and its vertical structures through La Loca Santa’s death. The first structure under scrutiny here is the Catholic Church. After La Loca awakens she throws herself into the air and lands on the top of the Church, saying that those below her carry the same scent that she had smelled while in hell. With Loca high above the others she can be seen as a “substation” for a new Chicana Christ figure (Delgadillo 895). She tells those gathered below that she has been sent back to pray for them so that they would be able to see their Creator in heaven. Father Jerome pleads with her to come down so that the congregation could pray for her. She then reminds him that it is she that was sent to pray for them. With La Loca in the position of a Christ figure of the system, the structure of the system, in this case religion,...
Figueredo, Maria L. "The Legend of La Llorona: Excavating and (Re) Interpreting the Archetype of the Creative/Fertile Feminine Force", Latin American Narratives and Cultural Identity, 2004 Peter Lang Publishing, Inc., New York. pp232-243.
She is the one that refuses to oblige to societal orders. She is the “Shadow-Beast” (38) with “Chicana identity grounded in the Indian woman’s history of resistance” (43). Although alienated physically, Anzaldua is “immobilized” (43) mentally the more confined she becomes in a culture engulfed in pure oppression. She claims her “shadow-beast” as the depiction of her highly wanted independence as an individual human being, which eventually forces her to leave her family behind to find herself separately from the “intrinsic nature buried under the personality that had been imposed” (38) for people like Anzaldua for many years. Her push for rebellion sets a voice for the silenced anger and pure resistance against the ostracism of herself, her family, culture, and the white-washed society she has been born into. To be the only Chicana, lesbian, and rebellious woman in her family is considered sinful, as women, according to Anzaldua, in Mexico only have “three directions she could turn: to the church as a nun, to the streets as a prostitute, or to the home as a mother” (39). Noticing that women are culturally restricted to these roles, Anzaldua creates the opposite role for herself claiming to take the “fourth choice” by “entering the world by way of education and career and becoming self-autonomous persons,” (39), which she uses to her advantage to transform the prolonged oppression into her long awaited freedom to live as an openly queer woman
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
Rivas-Rojas, Raquel. “FABULAS DE ARRAIGO VICARIO EN LA NARRATIVA DE JULIA ALVAREZ. (Spanish).” Canadian Journal Of Latin American & Caribbean Studies 33.66 (2008): 157-169. SocINDEX with Full Text. Web. 25 Mar. 2014.
Catholicism glorifies and represents mothers as the main foundation of the family through the example of the passive and unconditional loving Mary, the mother of Jesus Crist. This idea of the mother as unconditional lover beings has been passed on and reproduced in the Chicana/o community. Gil Cuadros and Reyna Grande through their autobiographical work testify against this predominate idea of the mothers being caring and loving persons. Even though most mothers fall into the norm of a normal mother, normality is subjective, therefore Cuadros and Grande’s work represent the complexities of reality. Grande’s The Distance Between Us and Cuadro’s City of God are autobiographical narratives that incorporate reality as a form of testimonial of existence, an act of healing and resilience. Given that these author’s life experiences can be
There is perhaps no greater joy in life than finding one’s soul mate. Once found, there is possibly no greater torment than being forced to live without them. This is the conflict that Paul faces from the moment he falls in love with Agnes. His devotion to the church and ultimately God are thrown into the cross hairs with the only possible outcome being one of agonizing humiliation. Grazia Deledda’s The Mother presents the classic dilemma of having to choose between what is morally right and being true to one’s own heart. Paul’s inability to choose one over the other consumes his life and everyone in it.