The Family of Pascual Duarte: Camilo Jose Cela
Descriptive Statement:
The Family of Pascual Duarte by Camilo Jose Cela takes place in rural Spain from the late 1800s until about 1937. The story, told from the title character’s point of view, recounts the harsh reality of life for the impoverished, rural, Spanish family. The reader knows from the transcriber’s note, that this story was a supposed document of repentance that Pascual Duarte had written from his prison cell. Pascual reflects on his home life, living with a cruel father who does illegal things to make money, an alcoholic, promiscuous, and abusive mother, and a sister who becomes a prostitute as a way to escape their family. His story demonstrates hopeless situations that go from
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bad to worse. The birth of his half-brother, Mario, a malformed, special needs child happens at the same time Pascual’s father is locked in a wardrobe and dying from a rabid dog bite. After his father dies, Pascual’s mother spends time with Mario’s father, Rafael. They are horrible to Mario and their neglect causes him to have most of his face and ear eaten off by pigs before his parents drowned him in a container of oil at the age of seven. After finding his brother dead, Pascual is never the same.
His anger for the world around him grows and he starts out small, raping Lola, who would become his wife, on the burial spot of Mario. Things escalate after that and Pascual gets into a knife fight at the tavern, causing him to kill a man. This happens the same day that his Lola miscarried their child because she was bucked off of their horse. Pascual kills the horse, too. It is almost as if he feels the need to kill animals or people as a way of righting the wrongs that had taken place. The plot of this story centers around Pascual as he tries to live an ordinary life (get married, have children, live happily ever after), but he is too plagued by circumstance to overcome the horrible upbringing that made him into the man he was. He spends time in prison multiple times in the novel, the first for killing a man during the knife fight and once at the end for killing his mother. She was an abusive and brutal woman and one of the biggest influences in Pascual’s downfall. She encouraged his first wife, Lola, to pimp herself out to El Estirao while Pascual was in prison. This leads to Pascual killing his wife and El Estirao and eventually his mother in a brutal stabbing. Pascual is not portrayed as just a man with a tendency toward murder, he cared for his siblings and for his wives, and he did not act without a conscience—he uses violence as a means of correcting the mistakes of those that surround …show more content…
him. Interpretive Study: The Family of Pascual Duarte is more than just a novel about an ordinary family. Indeed, Pascual does tell the tale of his family’s life together, but this story is more about a man who is maybe a little more broken than most, but still hoping for the chance to have a “normal” life. The two biggest themes in this novel are the instability of the world around them, and the amoral vengeance that Pascual feels he must act out. For this study, I have chosen to look into Cela’s coined writing style of tremendismo. This “stark narrative” is a literary technique that was developed in Spanish novels of the 1940s, starting with Cela. Tremendismo is characterized by a severe presentation of the plot including plenty of violent scenes, harsh treatment of the characters, and in the horrible but beautiful language. This style responds to complex experiences with the background of the postwar period. The Family of Pascual Duarte depicts multiple murders and crimes of shocking violence, and an array of mental and sexual issues (including alcoholism, prostitution, and infidelity). Evaluate Statement: This novel is most often compared to The Stranger by Albert Camus.
The protagonist in that novel, Meursault, is also telling his story of how he ended up in prison. The structure of the novels, introducing a present self, then flashing back to tell the secrets of the past, is arranged similarly in both novels. Both books were published around the same time and are both confessions from prisoners on death row. The main difference between these two novels is that Meursault always seemed so detached from his life. He was sort of making the motions and in the end, killed just because he was asked to. Pascual is way more emotional because he kills out of reaction to his emotions. His violence and anger is the only form of relief Pascual gets out of his doomed life. He is similar to Meursault because he shares that same indifference to life, where nothing would change his fate of being condemned to suffer and then die. The similarities in The Stranger and The Family of Pascual Duarte teach us that the characters, along with people, are complicated and they can see the world differently. This is intriguing for readers because the mind of the antihero can lead to interesting events. The Family of Pascual Duarte suggests that each member of their small society shares the responsibility for the crimes committed by one person in that world. People tend to be products of the world they were raised in, and can only hold so much responsibility for their acts. Pascual was responsible for
the carrying out of murder on numerous people, but those people were responsible for the way they abused and neglected Pascual until he couldn’t recognize right or wrong.
Cleofilas, must endure the hard labor of her husband’s temper and if she doesn’t take on both gender roles for example: housework, caring for her children, and the outside duties of the home, she suffers the consequences of her husband and the beatings. Juan Pedro, Cleofilas husband is just like society in this situation, he doesn’t think twice about laying a hand on his wife. Whereas, in Cleofilas situation, society doesn’t want to get involved and will place the incident “under the rug” they don’t want to be asked questions, by the husband or 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.
Familial influence can have a great impact on a protagonists’ life decisions and future, whether it be a lack of paternal guidance or cultural expectations. This can be seen in the life of Yunior, the protagonist in Junot Diaz’s Drown. Yunior immigrated to the USA from the Dominican Republic when he was little shortly after, his dad left the family and went to live with another woman. This lead to Yunior’s mom becoming a single mother and the breadwinner of the house. The focus of this essay will be on the chapter in the book called “Drown”. In the chapter Yunior remembers his adolescence with his friend Beto and their life in their Dominican dominated neighborhood. The chapter showcases the financial struggles of Yunior and his family along
Junot Diaz's short story “Fiesta, 1980” gives an insight into the everyday life of a lower class family, a family with a troubled young boy, Yunior and a strong, abusive father, Papi. The conflict, man vs. man is one of the central themes of this story. This theme is portrayed through the conflicts between Papi and his son. Papi asserts his dominance in what can be considered unfashionable ways. Unconsciously, every action Papi makes yields negative reactions for his family. Yunior simply yearns for a tighter bond with his father, but knows-just like many other members of his family-Papi’s outlandish ways hurts him. As the story unfolds it becomes obvious that the conflicts between Papi and himself-along with conflicts between Yunior and himself-affect not only them as individuals, but their family as a whole.
The novel brings to life their struggles, triumphs, and search for self. None of these are more evident than in the character Pilar Puente. Pilar begins the story as simply a child longing for home, but evolves into so much more. From the beginning, Pilar shows to be a girl who simply wants to belong. This desire for belonging is only strengthened by her deep love for her distant grandmother and resentment for her mother. However, by the end of the novel, Pilar is able to find her true self. Through her long sought-after trip to Cuba, Pilar finally realizes her identity. Her entire life had been leading her to the truth; Pilar was an American, one who would never let go of her Cuban
The Stranger written by Albert Camus is an absurdist novel revolving around the protagonist, Meursault. A major motif in the novel is violence. There are various places where violence takes place and they lead to the major violent act, which relates directly to the theme of the book. The major violent act of killing an Arab committed by Meursault leads to the complete metamorphosis of his character and he realizes the absurdity of life.
In “The Fortune Teller,” a strange letter trembles the heart of the story’s protagonist, Camillo as he to understand the tone and meaning. The author, Joaquim Maria Machado de Assis, attempts to make the reader believe that the letter is very ambiguous. This devious letter is a symbol of Camillo’s inability to realize that the treacherous deeds he has committed in the dark have finally come to light. This letter will ultimately change his life forever something he never expected. Not thinking of the large multitude of possible adverse outcomes, he reads the letter. Frightened that he has ruined what should have never been started, he broods over his decision to love a married woman. In light of this, Camillo continues his dubious love affair with his best friend’s wife, unconvinced that he will ever get caught. “The Fortune Teller” focuses on an intimate affair between three people that ends in death due to a letter, and Camillo will not understand what the true consequences that the letter entails until he is face to face with his best friend, Villela.
In The Stranger, Albert Camus describes the life of the protagonist, Meursault, through life changing events. The passage chosen illustrates Meursault’s view during his time in prison for killing the Arab. In prison, one can see the shifts in Meursault’s character and the acceptance of this new lifestyle. Camus manipulates diction to indicate the changes in Meursault caused by time thinking of memories in prison and realization of his pointless life. Because Camus published this book at the beginning of World War II, people at this time period also questions life and death similar to how Meursault does.
Family is one of the most important institutions in society. Family influences different aspects of a person’s life, such as their religion, values, morals and behavior. Unfortunately, problems may arise when an individual’s belief system or behavior does not coincide with that of family standards. Consequently, individuals may be forced to repress their emotions or avoid acting in ways that that are not acceptable to the family. In the novel The Rain God, written by Arturo Islas, we are presented with a story about a matriarchal family that deals with various conflicts. One major internal conflict is repression. Throughout the novel the characters act in strange ways and many of the family members have internal “monsters” that represent the past that they are repressing. In his article, “The Historical Imagination in Arturo Islas’s The Rain God and Migrant Souls”, Antonio C. Marquez’s implicitly asserts a true idea that The Rain God is a story about repression. Marquez’s idea can be supported from an analysis of secondary sources and a reading of the primary text.
Within The Stranger, Albert Camus includes a passage concerning the story of the Czechoslovakian man. Camus employs this passage not only to foreshadow Meursault’s final fate, but also to emphasize Meursault’s antihero status by creating foils between Meursault and the Czechoslovakian man. The Czechoslovakian man has a brief appearance in the story which plays a large part in Meursault’s emergence as a dynamic character. Meursault’s emotionless demeanor throughout the story distinguishes him as a flat character, at face value, at least. Once he enters prison, he must find ways to pass time, and one of those ways becomes recalling how to remember. The story of the Czechoslovakian man turns into one of his means of remembering, as he reads and rereads this story, memorizing details and forming actual opinions. These shifts within Meursault represent his first real commitment to any single entity, even if that entity exists only to pass time.
Cleofilas Engriqueta DeLeon Hernandez is the protagonist, the story is centered on her and how she handles life in a broken and abusive marriage. I get the impression that she is fairly young because Cisneros used the word chores to describe her duties around the house she would never return to after saying her vows to Juan Pedro Martinez Sanchez. Cisneros wrote, “…dream of returning to the chores that never ended, six good-for-nothing brothers, and one old man’s complaint” (246). This passage also shows a stereotype of some Spanish households without a wife or mother, the eldest female of the house has to assume that role. Cleofilas has to wear more than one...
The themes that are similar in both of the novels are that guilt is detrimental to oneself and that redemption is key to happiness. These points are especially
The Stranger reflects the anxiety and concerns of the time period through the tension between the old hopes of religion and the cold reason of stark reality. In the midst of the build up and eruption of conflict with the Second World War, with novel being published in 1942, the unraveling of the control of religion and the marked devaluation of human life brought a number of the old hopes and old crutches of faith into question. The novel opens with “Mother died today. Or maybe yesterday.” This blunt lack of importance placed on death is used against Meursault in his trial by the prosecutor. The prosecutor so lashes out at the protagonist on his lack of acceptance of the standards of emotional response and moral expectations on this social norm that Meursault’s defense attorney demands, “Is my client on trial for burying his mother or for killing a man?” Camus’s implication is that the man is on trial for all these rejections of the norms. The prosecutor is the society and the group mind of the people struggling with these tensions. Later in the opening paragraphs, Meursault notes “mother had never given thought to religion in her life.” He then chooses to have a drink next to the coffi...
The main character of The Stranger Meursault is much like Sisyphus, the man who was cursed with absurdity to push a boulder up a mountain every time it rolled down. This describes Meursault’s life and the events that take place during the novel including the death of his mother, his relationship with Marie, writing the letter for Raymond, swimming with his friends, killing the Arab, the trials, his imprisonment, talking with the chaplain, and his inevitable demise.
Albert Camus wrote The Stranger during the Existentialist movement, which explains why the main character in the novel, Meursault, is characterized as detached and emotionless, two of the aspects of existentialism. In Meursault, Camus creates a character he intends his readers to relate to, because he creates characters placed in realistic situations. He wants the reader to form a changing, ambiguous opinion of Meursault. From what Meursault narrates to the reader in the novel, the reader can understand why he attempts to find order and understanding in a confused and mystifying world.