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 works of literature, food communicates a message to us that is aided via the metaphysical; magic. It is through the metaphysical, that one sees how overly complex and meaningful these messages are. Not only that, it is almost as if the two simply cannot exist without the other. 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 its 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.
Communication intertwined with food and 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 its "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. Those who were quite reclusive thus decided that any and all explorers, should be doomed to the same fate. If they were fact not isolated, I'm sure the fruit would have been something not exclusive to its respective namesake. In learning this, we need to ask a few qurestions. Does eating fruit makes you forget about EVERYTHING ELSE? Or forgetting anything at all? Does eating food make one not want one to make the journey back home if one such individual happens to be belong to a band of heroic explorers? Does it make you so brain-dead that you have to be literally dragged off the island, because you have no idea what's going on? 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; lacing 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, with magic of course.
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. Xenia, being a code of hospitality followed by many denizens of Greece, and something quite prevalent in the works of literature of the time. 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 a man into a pig should I choose by simply touching them with a stick? Not unless I'm in a lucid dream! Once again, it is 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). Such things, of course are not even remotely possible at home, or at a hospital. 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. She belongs to the kitchen, and it is almost as if the kitchen itself is her servant; the kitchen willfully obeying. 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". The emotional eating here does not reflect the issues prevalent in society or of a tabloid nature, but of a literal and fantastical meaning in the text.
It is through this "emotional eating" that Esquivel is able to sufficiently portray that food is synonymous with one's emotions. Granted, such things are only lightly thought of in everyday life, but here the results are of grandiose nature. An example of such would be when Tita is left by her beloved Pedro in favor of her sister Rosaura. Due to her "fate"; since she is the youngest daughter, Tita is forever condemned to take care of her mother, Mama Elena, whilst her siblings are free to live their lives as they choose. It is as if one lived in a totalitarian government, except the only one affected is Tita. 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, and such things are not ignored here. 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. She's not getting what she wants, and sooner or later, a depressing and very illustrative (and communicatory) form of "teenage angst" kicks in. 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). Here, Tita's very emotions that she puts into her culinary arts end up affecting “Everyone there, every last person fell under the spell" (Esquivel 39). As a result, the members of the wedding reception become subject to horrific acts of vomiting during the reception, and recall painful memories of past relationships. Not even Rosaura; the bride, 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 and as a result, make large amounts of people violently throw up? Does any of this plausibly occur simply because a girl cried onto the mixture? Too outlandish? Perhaps another example would do better.
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. Pedro is expected to 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. This is important to note, as the rose(s) she had just received has drastically changed her state of being, and because they cannot communicate directly. In lieu of receiving the rose, Tita prepares dinner. 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). Granted, it's plausible this has only occurred because of their feelings, but the text directly states this is as a result of the dish they are eating from. Now then, does this result ever occur in everyday life?
Not only that, 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. She finds herself bathing in a shower that's too hot, she finds herself rather uncomfortable in certain areas, and is seen running off naked. The very fiber of her [Tita] 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. Right. Does eating dishes make the bathroom of which you're taking a shower overflow with heat because of how much you want to be with the male persuasion? I'm assuming these dishes somehow make you want to share something so intimate in nature with a guy you've never met, but also because that person was drawn to your house of residence, because of this very same dish? 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. While food doesn't talk to one via personification, it's quite apparent that the food of which one consumes in literature communicates a meaningful message. In my learning of this, I and perhaps others should look to other popular works and see if such messages exist. If the messages here are of a quite complex nature in the most popular of works, then one can only imagine how meaningful of a message they would be of an author’s whose work is quite unknown. My conclusion based on these findings has helped me determine that authors deliberately include food to illustrate not just nourishment, but something far more thematic and complex in nature.
Wednesday, June 9, 2010
Monday, May 31, 2010
Reflections
Researching for a far more "sophisticated" version of my essay was both a blessing and a curse. I'd often find that books were often far more helpful than using JSTOR or EBSCO HOST, the latter of which hardly helped at all. Finding sources for my essay was something I began to dislike relatively early on, but only for a moment. I suppose I quickly got a bit disappointed when I found I had trouble finding sources within five minutes or so. But that's a fault of mine, not anyone else's.
While I disliked often having to put on different search terms and not the obvious "food and magic", I found a sense of accomplishment on finally finding what I'd be able to use for my essay. Looking for books was a lot more complex than I imagined (I never borrowed from books from the library here at LaGuardia), but only because so many were doing the same! That, however, is something I'm glad for as it shows everyone is having the same enthusiasm and spirit for the assignment. All in all, this was a good assignment that really helped build on a research essay that we all had to do in ENG101.
While I disliked often having to put on different search terms and not the obvious "food and magic", I found a sense of accomplishment on finally finding what I'd be able to use for my essay. Looking for books was a lot more complex than I imagined (I never borrowed from books from the library here at LaGuardia), but only because so many were doing the same! That, however, is something I'm glad for as it shows everyone is having the same enthusiasm and spirit for the assignment. All in all, this was a good assignment that really helped build on a research essay that we all had to do in ENG101.
Sunday, May 9, 2010
Babbette's Good Friday
Mixing two ingredients can often produce the same result. Whether it's because one author influenced the other; or some other case entirely, it's quite apparent that in literature two very different stories can have very stark, yet different similarities. The stories "Babette's Feast" and "Short Friday" are remarkably similar, despite being two different stories altogether.
Babette's feast introduces us to a world where two devout Puritan sisters are almost completely sheltered off from the world, and Short Friday is a markedly detailed story about a Jewish husband and wife. AND THESE TWO ARE SIMILAR!? PLOT TWIST!
First off, both plots circle around two religious families, who are very much afraid; and or reluctant of either going against their beliefs, or disobeying a standard of rules. Despite the stories revolving around two completely different religious orders (Judaism vs. Christianty), their devotion to God remains the same. In Short Friday, Shimul-Liebele and his wife; Shoshe, are very reluctant on disobeying the rules of the Jewish sabbath. Shimul-Liebele often prays very heartily every morning, never misses a sermon and is even relucatant on walking fast from the synagogue. In Babette's Feast, the two Puritan sisters; Martine and Phillipe, are named after two important religious figures, abstain from any romance whatsoever; as to the point if they were completely asexual, so as to keep themselves "pure"; they being devout members of an ecclesiastical sect. They almost always pray, Phillipe sings in Church, the sisters and their father are almost completely terrified by Catholics; the sister's father even growing pale upon meeting one. It's a good thing I don't live there, or it'd be fodder for a sitcom this fall on NBC.
Second, the characters feel shame, but in very similar; yet different ways. In Short Friday, after Shimul and his wife "rumble in the jungle", she feels a bit of discomfort; after it's apparent that the two are no longer among us, but not because of what should be the most obvious answer (at first). They did the "stork's duty", without Shimul first caressing her, and he didn't even compose a symphony of the likes of Mozart before experiencing his other half. I mean if you're suddenly dead, and there happens to be a "rule" that one should observe during the Sabbath, then you don't follow it and end up dead, you'd be ashamed that it was solely the heat of the moment that made you "fear the reaper". In this case, Shoshe feels shame because the stove was possibly left on, or if the sabbath meal was removed from the stove, things of little importance once you're dead. I know who I'll be going to for my life insurance policy now, I assure you.
In Babette's Feast, the youngest of the two daughters; Phillipa, is taken up as an "apprentice" to Achille Papin, for her voice is surely a grandiose marvel to behold. Achille, taking himself to kiss the young Phillipa during the second act of Mozart's Don Giovanni, Phillipa feels immediate shame and discomfort (and possibly disgust), urging her father so as she could withdraw from Papin's tutelage. The kiss was a required part of the play, Papin questioning something that the character he so played would have done, and as to why he should take any blame for being the artist he solely is. It's obvious here that Phillipa is so ashamed by her kissing a man, that she should immediately want to abandon anything to do with singing in that regard (theater) despite her doing it so in Church. She's young, has more than likely have little to no experience with a man, and she feels immediate shame and discomfort upon being held in a way "Daddy would do". But she more than likely feels shame because she's part of a devoutly religious order, and not because she "totally got it on". The sisters hardly ever mention any of these romantic endeavors, them having little to no interest in them. In closing, Short Friday is a story that shouts ROMANCE like an overpriced Hallmark card, while Babette's feast could be considered an ode to chastity; and perhaps asexuality.
The final similarity between these two stories is that both carry events that lead to similar conclusions, albeit in different ways. The generals speech at the end of Babette's leads many to embrace the other, many religious brothers and sisters begin to forgive each other for past grievances, and two people finally admit and accept their love for each other. This was almost as if they were given a "second childhood", to start over, as if there was a sudden calm. The two sisters even state that Babette; the titular character of the story will enchant the angels in paradise. Whereas, in Short Friday, being totally intimate with your spouse is A-OK, despite not following the rules of the Jewish Sabbath, which leads to the two being carried away to paradise, despite committing a "wrong", and being killed in a fashion that isn't all that humorous, and related to worship. You didn't follow the rules of the sabbath, so guess what you're dead, but it's totally OK because you're going to paradise, so this story has a happy and calm ending, after all! Both stories ultimately lead to a calm (of some sort), and even have a mention alluding to paradise.
Babette's feast introduces us to a world where two devout Puritan sisters are almost completely sheltered off from the world, and Short Friday is a markedly detailed story about a Jewish husband and wife. AND THESE TWO ARE SIMILAR!? PLOT TWIST!
First off, both plots circle around two religious families, who are very much afraid; and or reluctant of either going against their beliefs, or disobeying a standard of rules. Despite the stories revolving around two completely different religious orders (Judaism vs. Christianty), their devotion to God remains the same. In Short Friday, Shimul-Liebele and his wife; Shoshe, are very reluctant on disobeying the rules of the Jewish sabbath. Shimul-Liebele often prays very heartily every morning, never misses a sermon and is even relucatant on walking fast from the synagogue. In Babette's Feast, the two Puritan sisters; Martine and Phillipe, are named after two important religious figures, abstain from any romance whatsoever; as to the point if they were completely asexual, so as to keep themselves "pure"; they being devout members of an ecclesiastical sect. They almost always pray, Phillipe sings in Church, the sisters and their father are almost completely terrified by Catholics; the sister's father even growing pale upon meeting one. It's a good thing I don't live there, or it'd be fodder for a sitcom this fall on NBC.
Second, the characters feel shame, but in very similar; yet different ways. In Short Friday, after Shimul and his wife "rumble in the jungle", she feels a bit of discomfort; after it's apparent that the two are no longer among us, but not because of what should be the most obvious answer (at first). They did the "stork's duty", without Shimul first caressing her, and he didn't even compose a symphony of the likes of Mozart before experiencing his other half. I mean if you're suddenly dead, and there happens to be a "rule" that one should observe during the Sabbath, then you don't follow it and end up dead, you'd be ashamed that it was solely the heat of the moment that made you "fear the reaper". In this case, Shoshe feels shame because the stove was possibly left on, or if the sabbath meal was removed from the stove, things of little importance once you're dead. I know who I'll be going to for my life insurance policy now, I assure you.
In Babette's Feast, the youngest of the two daughters; Phillipa, is taken up as an "apprentice" to Achille Papin, for her voice is surely a grandiose marvel to behold. Achille, taking himself to kiss the young Phillipa during the second act of Mozart's Don Giovanni, Phillipa feels immediate shame and discomfort (and possibly disgust), urging her father so as she could withdraw from Papin's tutelage. The kiss was a required part of the play, Papin questioning something that the character he so played would have done, and as to why he should take any blame for being the artist he solely is. It's obvious here that Phillipa is so ashamed by her kissing a man, that she should immediately want to abandon anything to do with singing in that regard (theater) despite her doing it so in Church. She's young, has more than likely have little to no experience with a man, and she feels immediate shame and discomfort upon being held in a way "Daddy would do". But she more than likely feels shame because she's part of a devoutly religious order, and not because she "totally got it on". The sisters hardly ever mention any of these romantic endeavors, them having little to no interest in them. In closing, Short Friday is a story that shouts ROMANCE like an overpriced Hallmark card, while Babette's feast could be considered an ode to chastity; and perhaps asexuality.
The final similarity between these two stories is that both carry events that lead to similar conclusions, albeit in different ways. The generals speech at the end of Babette's leads many to embrace the other, many religious brothers and sisters begin to forgive each other for past grievances, and two people finally admit and accept their love for each other. This was almost as if they were given a "second childhood", to start over, as if there was a sudden calm. The two sisters even state that Babette; the titular character of the story will enchant the angels in paradise. Whereas, in Short Friday, being totally intimate with your spouse is A-OK, despite not following the rules of the Jewish Sabbath, which leads to the two being carried away to paradise, despite committing a "wrong", and being killed in a fashion that isn't all that humorous, and related to worship. You didn't follow the rules of the sabbath, so guess what you're dead, but it's totally OK because you're going to paradise, so this story has a happy and calm ending, after all! Both stories ultimately lead to a calm (of some sort), and even have a mention alluding to paradise.
Sunday, April 25, 2010
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.
* 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.
Saturday, April 17, 2010
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.
"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.
Saturday, April 3, 2010
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.
Saturday, March 20, 2010
All I Want For Christmas Are...
Tamales. Despite my own preconceived notions that Tamales are most definitely reserved for those occasions nearest a bathroom, it is not so in Texas, other South Western states, and in Mexico. Tamales? You mean those delicious "dumplings" made of masa (flour) often filled with a meat, vegetable or sweet "filling", then covered over with a corn husk? While more "traditional" Christmas meals often consist of your typical ham dish whilst watching reruns of "A Christmas Story" on TBS for HOURS AND HOURS, the eating of Tamales is something most Mexican families take great pride at Christmas.
But how did the Tamale get associated with Christmas? When I think of Christmas, I reminisce about all the times I was told that I had to be either "naughty or nice", go help my mother's ex-boyfriend prepare frosted gingerbread men, and then run off (usually at the last minute) to purchase the flour for the sweet bread my grandmother often used to make in Ecuador. Tamales? Why yes. At Christmas, no less! Tamales are often a part of the traditional Mexican celebration of Las Posadas, which commemorates the Biblical tale of Mary and Joseph's search for shelter so Jesus of Nazareth can be born. Around the 16th of each December and lasting until Christmas Eve, each household that participates acts as an inn from the Nativity story, each having the Nativity scene installed. Those who participate in the event, namely children and adults, are known as Peregrinos (Pilgrims). The peregrinos go from house to house singing carols about the pilgrims, and they often carry candles whilst doing so, and the others in the party (usually four) help carry statues of Joseph, the adoptive father of Jesus, leading Mary, his mother. They go from house, being deliberately refused lodging; as in accordance with the Biblical story, until they finally reach an inn which lets them stay. Then everyone attends a Midnight mass.
As to why the Tamale began being incorporated into this tradition, no one knows, but it has simply become synonymous around Christmastime. But perhaps it is so because the act of making Tamales, or Tamalada, is an act that brings the Hispanic family together for a holiday which comes only once a year, binding the family for hours. In some households, they were actually the "only time Tamales were made", as I'll often walk along Roosevelt Avenue in Jackson Heights, "I'll have one Tamale, ma'am!" The preparation for the Tamales is a usually arduous process, and at one point, they were almost exclusively prepared by the women, but are nowadays are as familiarly close as the tradition of Las Posadas; everyone joins in, including friends. However, for some families at Christmas, it is still exclusively prepared by the women, as it a tradition passed down from mother to daughter; the act of preparing them being reserved for them solely. In some households, the recipes of which are passed down from mother to daughter are often time lost, they are usually kept "in secret" to the daughter[s], and are often time called a "lost art", if the daughters do not continue to process. However, the preparation of tamales, aren't just solely tied to households, they are now often being prepared by restaurants who see a boom in business around Christmastime amidst those who simply do not have enough time to prepare it themselves. The craft of Tamale making isn't something you learn from The Food Network, you live it.
Many young girls wake up as early as 4AM to arrive at the local molino (mill) by 6AM. By going to the market this early, and purchasing the necessary masa, they shave off a possibly unnecessary amount of time doing so, or else they prepare the masa themselves. And who really wants to spend extra time when everyone's always in a rush at Christmas? I stated earlier the process of making the Tamales was an arduous process, it as arduous as Tita's cooking in Like Water For Chocolate. The meat usually has to be cooked and sauced the day before the tamales are being made, lard (certain varieties of masa actually contain lard) is usually added to Chile added into Tamales to give it flavor and texture, and preparing the masa to be of a certain structure is something that takes practice, practice, practice. Unless the masa is of a fluffy, and not leaden mass, your relatives (hopefully not Mama Elena) are in for an unnecessary surprise. Amidst all this, the preparation of the tamales is a very strict (think Subject-Verb-Object for English), step by step process that usually takes hours, as the beef (or vegetables), the corn husks, the chile, and masa all need to prepared with an even amount of dedication. The act of Tamale making, is an essence, a "labor of love".
I'm definitely surprised as to why Tamales are being prepared around Christmastime, at first thinking such an occurrence was a bit odd. Not because it's an odd occurrence in itself, but because it's something I'm simply never heard of. But in any case, the more I learn about cooking, and of food, the more I learn that the habits and traditions that I was raised under are the actually the weirder ones, if anything. These days, Christmas just isn't as close knit as it used to be in my family, so seeing the process needed to prepare the tamales along with the traditions it is synonymous with, put a smile to my face. In these days where kids as young as 11 are using Myspace, in the day where some children no longer eat at the dinner table amidst their family, definitely made me smile.
Works Cited:
But how did the Tamale get associated with Christmas? When I think of Christmas, I reminisce about all the times I was told that I had to be either "naughty or nice", go help my mother's ex-boyfriend prepare frosted gingerbread men, and then run off (usually at the last minute) to purchase the flour for the sweet bread my grandmother often used to make in Ecuador. Tamales? Why yes. At Christmas, no less! Tamales are often a part of the traditional Mexican celebration of Las Posadas, which commemorates the Biblical tale of Mary and Joseph's search for shelter so Jesus of Nazareth can be born. Around the 16th of each December and lasting until Christmas Eve, each household that participates acts as an inn from the Nativity story, each having the Nativity scene installed. Those who participate in the event, namely children and adults, are known as Peregrinos (Pilgrims). The peregrinos go from house to house singing carols about the pilgrims, and they often carry candles whilst doing so, and the others in the party (usually four) help carry statues of Joseph, the adoptive father of Jesus, leading Mary, his mother. They go from house, being deliberately refused lodging; as in accordance with the Biblical story, until they finally reach an inn which lets them stay. Then everyone attends a Midnight mass.
As to why the Tamale began being incorporated into this tradition, no one knows, but it has simply become synonymous around Christmastime. But perhaps it is so because the act of making Tamales, or Tamalada, is an act that brings the Hispanic family together for a holiday which comes only once a year, binding the family for hours. In some households, they were actually the "only time Tamales were made", as I'll often walk along Roosevelt Avenue in Jackson Heights, "I'll have one Tamale, ma'am!" The preparation for the Tamales is a usually arduous process, and at one point, they were almost exclusively prepared by the women, but are nowadays are as familiarly close as the tradition of Las Posadas; everyone joins in, including friends. However, for some families at Christmas, it is still exclusively prepared by the women, as it a tradition passed down from mother to daughter; the act of preparing them being reserved for them solely. In some households, the recipes of which are passed down from mother to daughter are often time lost, they are usually kept "in secret" to the daughter[s], and are often time called a "lost art", if the daughters do not continue to process. However, the preparation of tamales, aren't just solely tied to households, they are now often being prepared by restaurants who see a boom in business around Christmastime amidst those who simply do not have enough time to prepare it themselves. The craft of Tamale making isn't something you learn from The Food Network, you live it.
Many young girls wake up as early as 4AM to arrive at the local molino (mill) by 6AM. By going to the market this early, and purchasing the necessary masa, they shave off a possibly unnecessary amount of time doing so, or else they prepare the masa themselves. And who really wants to spend extra time when everyone's always in a rush at Christmas? I stated earlier the process of making the Tamales was an arduous process, it as arduous as Tita's cooking in Like Water For Chocolate. The meat usually has to be cooked and sauced the day before the tamales are being made, lard (certain varieties of masa actually contain lard) is usually added to Chile added into Tamales to give it flavor and texture, and preparing the masa to be of a certain structure is something that takes practice, practice, practice. Unless the masa is of a fluffy, and not leaden mass, your relatives (hopefully not Mama Elena) are in for an unnecessary surprise. Amidst all this, the preparation of the tamales is a very strict (think Subject-Verb-Object for English), step by step process that usually takes hours, as the beef (or vegetables), the corn husks, the chile, and masa all need to prepared with an even amount of dedication. The act of Tamale making, is an essence, a "labor of love".
I'm definitely surprised as to why Tamales are being prepared around Christmastime, at first thinking such an occurrence was a bit odd. Not because it's an odd occurrence in itself, but because it's something I'm simply never heard of. But in any case, the more I learn about cooking, and of food, the more I learn that the habits and traditions that I was raised under are the actually the weirder ones, if anything. These days, Christmas just isn't as close knit as it used to be in my family, so seeing the process needed to prepare the tamales along with the traditions it is synonymous with, put a smile to my face. In these days where kids as young as 11 are using Myspace, in the day where some children no longer eat at the dinner table amidst their family, definitely made me smile.
Works Cited:
"Christmas Tamales." El Sueno Enterprises. Web. .
"Las Posadas." Wikipedia. Web. .
Tedford, Deborah. "Tamales For Christmas Are A True Texas Tradition." NPR. 24 Dec. 2009. Web.
FYI, it seems impossible to include URLS when posting directly into the blog. They simply disappear. In any case, these three were works used for this entry, the links to their respective articles are found throughout this entry.
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