Revision - Draft

Note:
* Introduction paragraph's structure has changed --> Build up to thesis is smoother, less dull.
* Body paragraphs have changed in detail and structure, reference to the Book of J (origin) has been removed. This might be included in the final draft, but in far clearer detail.
* Body paragraphs now have sentences and/or questions as to why and how they connect with the thesis.
* Humor toned down.
* Structure and detail of paragraphs alluding to LWFC have been changed, minus the final one. More details to be added in final draft.
* Conclusion changed, shortened. To be expanded in final draft.
* Additional passage (The Odyssey) has not yet been added in the revision.

Did you know that food talk? Why yes, it's quite true! Food talks, as it communicates a message, one that is often quite varied! In several literary works, the role of communication that food plays is and expanded via forces of quite unknown; through the use of magic. The intertwined concept of food and magic is quite apparent in "The Book Of J", Homer's "The Odyssey", and Laura Esquivel's "Like Water For Chocolate".


The introduction to this very concept begins with one of the most easily recognizable stories ever told on Earth, the story of the "Garden Of Eden". Once again, we're all introduced to "that" story, to the characters of Adam, and his wife, Hava (Eve), the snake and Yahweh. Despite the fact that the story of the garden has been told an innumerous amount of times; giving rise to individual interpretations behind it's meaning, we must ignore any theological interpretations in order to make meaning of the text. The snake, knowing that he is nothing but a lowly creature without any arms, tempts Hava (Eve) into eating fruit from a tree forbidden by God, telling her that that on the day she eats it her "eyes will fall open like gods, knowing good and bad"; therefore granting her [and them] knowledge akin to that of God's (Book Of J 63). The snake knowing that he is a lowly, physically incapable creature, unable to best a human being in weight lifting, but markedly "smoother tongued than any wild creature that Yahweh had [ever] made", is by all means a creature who simply wanted others to be as intelligent (or more so) than he. Thus, one could argue, this lowly creature was one of the first to communicate a pre-Socratic method of philosophy, and of the pursuit of knowledge, he himself already knowing that food (in this story) somehow makes you as intelligent as God. Despite knowing any possible ramifications from the creator which he himself gained knowledge, he's simply distressed when it becomes apparent (to much of his possible annoyance) that two human beings are living in a world full of carefree innocence (Book of J 63). And thus, the snake with his sly ways tempts Hava into eating the forbidden fruit, communicating how badly he simply wanted to stress the importance of knowledge. Therefore, he helps humanity gain knowledge, all the while sacrificing himself to be doomed onto his belly for movement for all eternity, communicating that knowledge is worthy of a noble sacrifice. Of course, a piece of fruit doesn't "magically" give you knowledge, and since trees don't ever bear fruit which grant "knowledge" such as the fact that being naked is utterly shameful, we'll assume this fruit is of the magical and metaphysical variety... from God himself.


Food communicating a message (aided by magic) is found in another tale, Homer's "The Odyssey". In this epic poem, we become privy to Odysseus' fanciful flights with horror and heroism, eating (and more eating), and his intelligent ways of defeating monsters. One can note that the concept of food's synonymy in regards to communication being aided by magic as being quite prevalent even in some "archaic" writings. Food talked, even back then! While I believe the meaning(s) that food plays in regards to communication in much later works have meanings that are far more natural to comprehend, I believe that because of the prose presented here, the Odyssey becomes subject to varying individual interpretations. The following is one such example. Odysseus and his men, upon arriving at the island of the Lotus Eaters, become "slaves" to the magical qualities of the fruit given by it's "friendly inhabitants", sans Odysseus (of course). Any traveler who arrived on the island, and thus given fruit by a group of characters not in any way suspicious "lost the will to report back, preferring instead to stay there, munching Lotus, oblivious of home"(Book 9 Lines 94-96). While I originally felt this only portrays that the food has some bizarrely magical (and hallucinogenic?) qualities, I feel that the food also serves as a communicatory role, in how much the Lotus Eaters wanted to express how lonely they really were. The Lotus Eaters, realizing that they are the only ones on the island; and of the fruit's magical qualities, gave the fruits of the island in effort to trap any future explorers, due to their own isolation from the rest of the world. If they were fact not isolated, I'm sure the fruit would have been something not exclusive to it's respective namesake. Now then, does eating food (much less a fruit) actually make one forget about their original place of residence? Does eating food make one not want one to make the journey back home if one such individual happens to be of a band of heroic explorers? It is quite obvious such things are markedly implausible, unless another force of the metaphysical nature was at play. The passage could be seen as a motif expressing how big of an issue isolation is, and how food draws and brings people together (even forcibly).


Later on, upon arriving at the island of Aeaea, Odysseus' men meet Circe, a goddess (or witch) who would soon become Odysseus' lover. Circe, inviting them to her house, lavishly feeding them Pramnian wine, laces the wine with drugs. They are as a result left with their bellies quite appeased, but no doubt ready for a hangover the next day. As a result, Circe decides to strike them with "her wand and herded them in the sties outside. Grunting, their bodies covered with bristles , they looked just like pigs, but their minds were intact" (Book 10 Lines 253-58). The very men she had now invited to eat (an innocent gesture) had now been turned to pigs soon after eating (a perverted gesture). But why? Why does such an event so innocent in literature become so perverted, but yet so dominant in nature? I believe Circe simply wanted to communicate a message of dominance; due to her being a minor goddess (or a witch), and proved to be a woman who showed dominance towards all men, except Odysseus. By turning and filling these men to their heart's delight (the way to a man's heart), she proved to be not an innocent character, but one who showed absolute dominance, turning the eaters into pigs, one of the lowliest forms of animals. This no doubt; in turn, also perverts the very concept of Xenia; the very code she was expected to uphold, and one that many would more than likely never dare question. By perverting this concept, I believe Circe wanted to communicate a message of [her] dominance towards any trespassers by (a) luring the men with food, (b) and then turning the men into food that they so regularly enjoyed by means of magic. Does one actually go out of their way to invite and cook for stray passengers, and then go against a code of strict and absolute code of hospitality? Take note of this as well: can I actually turn an innocent man into a pig should I choose by simply touching them with a stick? Once again, we are shown how food can communicate a message via means of the metaphysical.


In "Like Water For Chocolate", we are introduced to a very special young girl, Josefita "Tita" De La Garza. She is special not just because of how determined she is in the face of a markedly depressing existence, but because of the significant circumstances under which she was born, being literally "washed into this world on a great tide of tears" (Esquivel 6). Tita, being born into the kitchen, literally becomes "one" with the kitchen; her cooking portraying her very emotions, being aided by a force arguably not of the physical realm. Because the food she so delightfully prepares is able to portray her emotions, Esquivel is able to illustrate to the reader the concept of "emotional eating", amongst other things. The emotional eating here does not reflect the issues prevalent in society or of a tabloid nature, but of a literal meaning in the text. An example of such would be when Tita is left by her beloved Pedro in favor of her sister Rosaura. Because of her imprisonment to a cruel fate, Tita ends up crying nonstop whilst making the wedding cake for her sister; the cake that should be rightfully hers. She is expected to prepare the cake while being heckled by her dictatorial mother; repeatedly asking (and demanding) that she calm down. In literature, as per real life, we have cause and effect, such things are not ignored here. Does one think nothing will not go wrong in this scenario? One can never truly hide one's emotions, and these are the things that speak far louder than words. Literally.


Because of how emotionally broken Tita is left in, her very emotions (and tears) affect the very food she ends up preparing at a time when she can't even express herself, due to how "imprisoned" she is. And thus, the guests at the wedding, upon eating the cake are overcome by "a strange intoxication-an acute attack of pain and frustration" (Esquivel 39). They are left in the same emotional anguish Tita is left in, of the same overbearing grief of heartbreak, and as a result are left in tears and end up in the same state Tita is left in. "Everyone there, every last person, fell under this spell", and as a result, end up vomiting all over the halls of reception (Esquivel 39). Not even Rosaura is spared from the terror of a sullied wedding dress, as a result of her tasting the cake. Tita, who can't quite communicate to Pedro personally that she is so hurt by his pending marriage; due to her cruel fate, decides to pour (inadvertently) her thoughts and feelings into the food she prepares. Thus, this leaves the guests in utter disgust for how bad it tastes, for that is how she feels, and as a result a traumatizing scene is the result. Emotional eating at it's most finest, and most disgusting is portrayed here. It's obvious here, that for the fourth time, Mr. Metaphysical has returned to the pages of literature. Does eating a cake make you cry, remember past relationships, and make large amounts of people throw up? Does any of this plausibly occur simply because a girl cried onto the mixture?


Shortly after the wedding, Tita receives a rose (but in secret), from Pedro amidst not wanting his secret; that he married Rosaura only to be close to Tita, to be revealed as he tries his best not to be noticed by his dictatorial mother-in-law, Mama Elena. Pedro is expected not to dare look at Tita, and her cooking is to not be complemented, and therefore the communication of which they share must be in secret, or communicated in a rather subtle manner. In lieu of receiving the rose, Tita prepares dinner. Because she finally has empirical evidence that Pedro still loves her, yet knows that she must do away with it, she decides to incorporate in what else? Tita thus, mixes the batches of roses she receives into quail, creating a dish most erotic in nature -"quail in rose petal sauce". She was once heartbroken, but her feelings for Pedro had already been restored before the dish was to be made. As a result, upon tasting the dish they find that "they couldn't take their eyes off each other", for they were so enamored by the plate's delight (Esquivel 52). But the dish produced far more than simple puppy love, for it produced in poor (well...) Getrudis a markedly sexual message; her now being the outlet for what Tita so wished to reveal and express to Pedro in a far more secluded place. Tita can't quite communicate her message directly to Pedro, but the kitchen once again serves as her outlet of communication. The very fiber of her love for Pedro, then manifests itself in Gertrudis who soon runs off in a very lustful manner atop a horse with Juan, before finding herself amidst a brothel. These examples only continue, and show that food, being influenced by magic convey (communicate) Tita's (and other characters) very thoughts and feelings, as she is unable to express her feelings directly due to the ramifications she would suffer under Mama Elena.


Food talks. Whether or not one were to plausibly explain this, it's apparent that food talks; being that food serves a tool to communicate a message to others. It is also evident that by examining these texts, that food is constantly being aided by a force not of this world, as if both objects (or concepts) simply could not exist without the other. Both are staples in these works of literature.

Works Cited:

The Book of J. Trans. David Rosenberg. ED. Harold Bloom. New York: Grove, 1990.

Esquivel, Laura. Like Water for Chocolate. New York: Double Day, 1989.

Homer. The Odyssey. Trans. Stanley Lombardo. Indiana: Hacket Publishing, 2000.

Father's Day Isn't Today? It Should Be!

In the film, "Tortilla Soup", we are given insight into a somewhat dysfunctional Mexican family. The family's patriarch, Martin, is a stern, strong; but stubborn, loving man who only truly wants the best for his three daughters as they all try to discover what they want amidst the life's troublesome paths. As the movie progresses towards it's conclusion, Martin's character shows more and more of how much of a loving and selfless man he is amidst living alone for so long.


"Dad is such a purist", "he's stuck in the past" his daughters would often think of him, them believing how odd he is considering how big of a generation gap there is. Oh, isn't this nice? We have a father sitting at the table amidst his three daughters and they're all going to tell them how their day was! I SO have totally not seen this before! Eating at the dinner table, he is quick to ask what the going ons of his family, and his second oldest basically slaps him across the face like so; "HEY DADDY, I TOTALLY BOUGHT A CONDO ALL BY MYSELF WITH THE MONEY THAT I SAVED UP, WITHOUT YOUR HELP!" Ok, so it didn't quite happen like that. But to this man's ego it must have certainly felt like so. But why? Why does Martin get so offended that his daughter had not asked permission or any help in the process of moving out? Because he cares, that's why. Sure, Martin could have simply said "I'm proud of you, Carmen", but that doesn't happen. That's because Martin is quite a complex character.


Martin lost his wife some time ago, and all he has are his three daughters, and no one else. Oh, and he's a pretty self-incapable Chef due to his losing of sense of taste. He has yet to be remarried and is often subject to Hortensia's lustful stare, but she's not getting this player. Losing his wife has made him a markedly caring (and slightly depressing) individual, one who cares so much about others that he's pretty much forgotten about himself. How so? Well, he wants his daughters to go to get ahead in life, for one. And well, has he gotten remarried? Not yet, at least. Any father who does that, is a grade A Papi to me. He encouraged Carmen to get her MBA, Leticia is a blundering, but wonderful Chemistry teacher, and he gets agitated once his daughter announces she's moving with some smooth criminal she just met, and not going to college - the one she just got accepted to. How can he not get upset? His own daughter is so caught up in a deep infatuation that she fails to realize that all his father has are his three daughters, and mentioning (at the dinner table no less) that you're going to move in with a man you met 15 minutes ago in the movie is now the man you're going to live with is bound to raise some concern. Also, let's not forget that much later in the movie, amidst knowing full well that he's going to lose his daughter who just accepted a job in Barcelona, he strongly suggests that she takes it. He loves his daughters so much that he wished that they didn't move out; making him unhappy and lonely, but it's not a love that will chain his daughter's future opportunities.

Second, he cares for kids. Whenever his daughters wanted, he readily prepared candy jewelery for them, and we all know from Jessica Simpson, that edible fashionette is best. When Yolanda's daughter is subject to her mother's horrible cooking, he readily makes himself available to cook for her, trading his grade A cooking for her shabby ice cream bar and whatever other concoctions that'd be perfect for Dr. Frankenstein's Monster. Yolanda's daughter; April, is far from Martin's own, but the fact that he would go so far (when he doesn't even need to) as to ensure that she grow with adequate (and delicious!) nutrition is surely commendable. The final reason as to why Martin is so caring was when he approves of Yolanda's engagement (or should I say marriage) to Orlando after the horrid shenanigans of Maribel moving out with Andy. Despite being stubborn for so long - "he just doesn't express his feelings", "he's afraid of change", he proves to his daughter Yolanda and to us, the viewer, how much he truly cares about others, amidst losing his youngest. He had been so lost for so long, hardly having any faith in himself; "I don't know how to run a restaurant", that he mans up (even more) and approves of a man his daughter met only 40 minutes ago in a movie... and who's she's now married to. He even goes as far as wanting to befriend the man over America's greatest pasttime!. Do you know of any fathers who'd approve of your significant other without them knowing after you just married them?

Martin is a loving man, and a wonderful example of how all fathers should strive to be. Sure, he's far from perfect, perhaps a bit emotionally deprived for the majority of the movie, but he knows what's best for his family, without ever wanting anything for himself. It's not father's day today, but it very well should be.

May You Read The Note Aloud Please? And Put That Rabbit Away!

Note: This essay was originally 5 paragraphs, but I broke down the body paragraphs so it would be easier on the eyes. The introduction and conclusion have not been changed.

Food and Magic. Food and Communication. They are quite synonymous, as much as one may not be ailed to believe. Instead of one easily; and disturbingly, passing a note in class, as we had all encountered at some point in our lives, one can do a much more thorough (and illustrative) job of conveying a message - through food. In the world of fiction, this role of communication is starkly expanded upon via the use of magic, making the role twofold. In Homer's The Odyssey, and Laura Esquivel's Like Water For Chocolate, they simply cannot exist without the other, they are simply not independent.

In Like Water For Chocolate, we are introduced to a very special young girl, Josefita "Tita" De La Garza. She is special not just because of how determined she in the face of a markedly harsh life, but because of the significant circumstances under which she was born, being literally "washed into this world on a great tide of tears" (Esquivel 6). Considering Esquivel's tale is of the genre of magical realism, it becomes inevitable that these fanciful tales of of impossibilities become something of repeated occurrence. Tita, being born into the kitchen, literally becomes "one" with the kitchen, with her cooking portraying her very emotions, being aided by God knows what; for this we can assume it's the tricks of the trade so many children are entertained by at birthday parties.

But because the food she so delightfully prepares is able to portray her emotions, Esquivel is able to portray to the reader the concept of "emotional eating", amongst other things. No, we aren't witness to the tales you watch on Oprah or read in People of those who over consume due to their emotions taking over, no. In here, "emotional eating" takes on a whole new, and quite literal meaning. Tita, being left by Pedro in favor for her sister Rosaura; because of her imprisonment to a cruel fate, cries nonstop whilst making the wedding cake for her beloved. She's there preparing the cake at the wedding that should be rightfully hers, and expected not to cry? Oh yes, nothing's definitely going to wrong in this scenario. One can never truly hide one's emotions, and these are the things that speak far louder than words. Because of how emotionally broken she was left, while preparing the food, the guests at the wedding, upon eating the cake are overcome by "a strange intoxication-an acute attack of pain and frustration" (Esquivel 39).

They are left in the same emotional anguish Tita is left in, of the same overbearing grief of heartbreak, and as a result are left in tears and end up in the same state Tita is left in. "Everyone there, every last person, fell under this spell", and are thus left privy to vomiting all over (Esquivel 39). Here, food is influenced by some force (magic) unmistakably metaphysical. Tita's cooking, or Tita, herself rather, is able to convey her emotions onto the food of which persons eat. Tita, who can't quite communicate to Pedro personally that she is so hurt by his pending marriage; due to her cruel fate, decides to pour (inadvertently) her thoughts and feelings into the food she prepares. Thus, this leaves the guests in utter disgust for how bad it tastes, for that is how she feels. Emotional eating at it's most finest, and most disgusting is portrayed here. Not into disgusting examples? Why, here's one for the PG-13 crowd.

Shortly after the wedding, Tita receives a rose(but in secret), from Pedro amidst not wanting his secret; that he married Rosaura only to be close to Tita, to be revealed as he tries his best not to be noticed by his dictatorial mother-in-law, Mama Elena. In lieu of this, Tita prepares dinner. Amidst all this, receiving a rose from her beloved, but knowing she must do away with it, incorporates the rose she has just received into the quail she would soon prepare, creating the quail in rose petal sauce. She was once heartbroken, but her feelings for Pedro had already been restored before the dish was to be made. As a result, "they couldn't take their eyes off each other", for they were so enamored by the plate's delight (Esquivel 52). But the dish produced far more than simple puppy love, for it produced in poor (well...) Getrudis a markedly sexual message; her now being the outlet for what Tita so wished to reveal and express to Pedro in a far more secluded place. The very fiber of her love for Pedro, is able to manifest itself in Gertrudis who soon runs off in a very lustful manner atop a horse with Juan, before finding herself amidst a brothel. These examples only continue, and show that food, being influenced by magic convey (communicate) Tita's very thoughts and feelings, that she is unable to express directly due to the ramifications she would suffer under Mama Elena. But that's only half of it.

Of course, food and magic is found in another tale, The Odyssey. In this epic poem, we become privy to Odysseus' fanciful flights with horror and heroism. The tales are all quite entertaining, despite skepticism into his character. We can, however, note that the concept of food's synonymy in regards to magic and communication is quite prevalent even in some "archaic" writings. However, I believe the meanings shown here are of a more complex tone than the ones noted previously. For example, take the Lotus Eaters. Odysseus and his men, upon arriving at the island of the Lotus Eaters, become "slaves" to the magical qualities of the fruit given by it's "friendly inhabitants", sans Odysseus of course. "Whoever ate that sweet fruit lost the will to report back, preferring instead to stay there, munching Lotus, oblivious of home"(Book 9 Lines 94-96). While I originally felt this only portrays that the food has some bizarrely magical (and hallucinogenic?) qualities, I feel that the food also serves as a communicatory role, in how much the Lotus Eaters wanted to express how lonely they really were. The Lotus Eaters, realizing that they are the only ones on the island; and of the fruit's magical qualities, gave the fruits of the island in effort to trap any future explorers, due to their own isolation from the rest of the world.

This was perhaps used used as a motif to express how big of an issue isolation is, and how food draws and brings people together, even forcibly. Later on, upon arriving at the island of Aeaea, Odysseus' men meet Circe, the goddess who would soon become Odysseus' lover. Whilst lavishly feeding them Pramnian wine, "she laced this potion with insidious drugs that would make them forget their own native land. When they had eaten and drunk, she struck them with her wand and herded them in the sties outside. Grunting, their bodies covered with bristles , they looked just like pigs, but their minds were intact" (Book 10 Lines 253-58). Knowing that food is the way (note-communication) to a man's heart; as the old saying often found in popular culture, she so enticed them with food fit for a king, and then struck them down with her wand (ha), turning them into pigs, the men becoming food themselves. But why? I believe Circe simply wanted to show dominance; due to her being a minor goddess, and proved to be a woman who showed dominance towards all men, turning the men so drawn to food, by turning themselves into one of the lowliest forms of animals - pigs. The very same that they perhaps oh so enjoyed at some point prior in their life? I believe Circe wanted to communicate her dominance towards any trespassers by luring the men with food, and then turning the men into food that they so regularly enjoyed by means of magic. Even back then, this synonymity can't be ignored!

It's apparent that food serves as a role to convey messages to people, and this occurs once we bring magic onto the table. No matter how bizarre it may seem to be, it's simply obvious that food conveys different messages to all sorts of characters, no matter what the message. Whether you're afraid (or can't) express feelings personally, up comes magic to save the day. And if you want to show that you're dominant towards individuals, you can lure them with food, and then turn them into the very same thing they need every day - with magic. As I learn more and more about food, I learn that this only one example of how complex nourishment really is, and what food represents in fiction and in culture as well.

Works Cited:

Esquivel, Laura. Like Water for Chocolate. New York: Double Day, 1989.

Homer. The Odyssey. Trans. Stanley Lombardo. Indiana: Hacket Publishing, 2000.