February 2024

The Time of the Doves – Motherhood, Femininity, and Perspectives

Rodoreda, , , View all 4 comments

At first glance, the title “The Time of the Doves” immediately reminded me of peace, hope, and freedom; however, having read the novel, I find this contrary to what Natalia endures in reality as she unfolds a feminine perspective of the Spanish Civil War, and the effects it had on her life. I view Natalia’s relationship with Quimet as a strong indicator of her constraint, just like the consistent imagery of how the doves are caged. Quimet is portrayed as a dominant and manipulative man who imposes his desires on Natalia. Rodoreda writes, “He called me Colometa, his little dove… and when I said my name was Natalia he kept laughing and said I could have only one name: Colometa” (18). In this sentence, the idea of doves parallelizes with the title and perhaps shows how in the eyes of Quimet, Natalia will always remain a “little dove”, which is something to be possessed and controlled.

I noticed there were multiple biblical references as well as the imagery of nature, which I think are connected to Quimet’s dominance in the household. Rodoreda writes, “He talked about Adam and Eve, and how woman was made from man’s rib… Because Adam, who was the father of all men, desired only the good” (40). Quimet emphasizes the causal principle of women, and how their existence is contingent on men, hence women’s compliance to men. Biblical references help Quimet reinforce the centrality of his doctrine as he has a preconceived plan for their lives, with Quimet being the carpenter and Natalia being the caregiver. In this way, Quimet parallelizes religion and the idea of singularity with his beliefs, thinking that his ideas are the sacred way to be obliged, just like biblical teachings.

At the same time, I was also a bit confused about the dynamics of their relationship because it seemed to me that Natalia yielded to Quimet’s psychological abuse and authority, even after his death. When Quimet refuses to apologize for his tardiness and claims that he has seen Natalia with Pere, her former fiance, Natalia displays passivity and obedience by adhering to his manipulation, leading her into thinking that she has truly gone out with Pere. Moreover, after Quimet’s death, Rodoreda writes about how the pigeons remind Natalia of Quimet. “So It turned back to the door and took my knife and carved ‘Colometa’ on it in big, deep letters” (197). Natalia may still have an emotional connection with Quimet, and I wonder if this means that Natalia embraces her identity of “Colometa” even more after Quimet’s death. It is interesting to see the transition from being conditioned to be referred to as “Colometa” to her carving “Colometa” voluntarily.

The scene where Natalia contemplates how to kill her children is something I find interesting because it allows me to see the unique point of view illustrated by Natalia, a mother and a widow. I interpret her decision to kill her children as a sign of motherhood guilt rather than despair, though both play vital roles in her decision. “…With their ribs sticking out and all their bodies all lined with bright blue veins, I decided to kill them” (145). The war devastates her life with the loss of her husband. Coupled with her failure to provide for her children owing to their financial constraints, this manifests her guilt since she is inclined to fulfill her role as a loving mother who cares for her children. She first loses her identity as a wife, then is stripped of her identity as an adequate mother. Both losses have a detrimental effect on her life, and it seems that she sees no purpose in living anymore, now that they have been taken away from her.

My questions for this reading are: What is the symbolism of doves? How do they relate to the idea of motherhood and femininity?

Black Shack Alley – Community, Resistance, and Empowerment

Zobel, , , , , View all 3 comments

Despite finding “Black Shack Alley” a bit slow-going at first, I appreciate how Zobel depicts the reality of Caribbean society following the abolition of slavery in implicit, but nevertheless, powerful ways. His emphasis on the sense of community throughout the novel goes hand in hand with the idea of resistance. Zobel illustrates his childhood memories, such as his daily interactions with his grandmother, as well as his neighbours. They all originate from the same community, which reminds me of how they hold a shared identity. I also notice how the presence of white people is scarcely mentioned in Chapter 1; Zobel unfolds his memories from the perspective of his community and neighbourhood. In particular, José’s relationship with Mr. Médouze adequately exemplifies the idea of collectiveness. Though Médouze is not kin to José, he takes up the role of a parental figure, being the first person to enlighten José in terms of his political consciousness. Médouze says, “But when the intoxication of freedom was spent, I was forced to remark that nothing had hanged for me nor my comrades in chains… I remained like all the blacks in this damned country: the bekés kept the land, all the land in the country, and we continued working for them…” (45). Zobel highlights the change and continuity of poverty and white supremacy following the abolition of slavery through the perspective of Médouze, constantly alluding to the idea the Caribbean people remained a tool for white settlers to maximize their economic interests, and that blackness inevitably entails oppression. Zobel rarely condemned colonialism in a militant way in the sense that he would explicitly incite his readers to resist, yet his narrative style makes me reflect on the continuity of injustice in Martinique.

I love how Zobel depicts the relationship between José and M’man Tine, José’s grandmother. José is raised by his strict yet loving grandmother; M’man Tine perceives the harshness of reality, especially with the fact that José and her are in a white supremacist society, and therefore seeks the best interests of her grandson. She frequently scolds and punishes him as if she intentionally finds faults in José, but her unconditional love for José is evident by her refusal to let him work. She says, “Well! If I didn’t put your mother in one (petités-bandes), I’m not going to out you!” (56) M’man Tine is determined to break the perpetual and generational cycle of impoverishment, deprivation of education, and bondage. With the frequent absence of José’s mother during his childhood, M’man Tine’s feminine role as a caregiver features a nurturing and motherly figure to José.

Another aspect that I want to explore is the simplicity of language used in the novel. I think language plays a significant role in delivering the theme of nationalism. Médouze and other neighbours always say “Eh cric” and “Eh crac” before telling stories. Zobel also brings a number of superstitions and cultural beliefs to light. He writes, “And when at night, you smell anything bad, don’t say a word, for your nose will rot like an old banana” (45). These cultural beliefs that he holds onto contrast with the assimilative education system that he is in in which the language of instruction in school is French. I interpret the contrast as a symbol of resistance that shows how Zobel is inclined to preserve his Martinican culture despite the environment that he is in. Again, Zobel retaliates against colonialism in an implicit yet empowering manner.

My question for this reading is: How does the imagery of the black shacks represent inequality and resistance?

Agostino – A Shattered Dream

Moravia, , , View all 3 comments

In the beginning, Agostino’s jealousy toward his mother’s lover immediately reminds me of Proust, since he also yearns for his mother’s kisses. Both characters coveted attention from their mothers; their identities are partly contingent upon their mothers’ affection. For instance, the kisses from Prosut’s mother give him satisfaction and a sense of connection with her. As for Agostino, Moravia writes, “…Agostino was filled with pride every time he got in the boat with her for one of their morning rides” (3). Agostino’s sense of pride is attached to his mother’s presence, and this, in my opinion, helps mould his identity. Later on, when the boys mock him and say, “…Go back to your mamma” (22), this reinforces how Agostino’s sense of self is inseparable from his mother.

Agostino’s romanticized image of his mother may exacerbate his mingled feelings of devastation, loneliness, and betrayal when he knows of the presence of his mother’s lover. Moravia says, “He would dive into the mother’s wake and even feel as if even cold compact water conserved traces of the passage of that beloved body” (4). His mother, a feminine figure, is characterized by flawlessness in the eyes of Agostino. Everything is in harmony, and it seems to me that Agostino does not want any of that to change. The appearance of the young man is described as “a shadow obstructing the sunlight shining down on him (Agostino)” (5). The juxtaposition of light and darkness, with Agostino’s initial relationship with his mother as “light”, and the presence of the young man as “a shadow” highlights his abrupt appearance. Just like how the shadow “obstructs” Agostino, the young man breaks the harmonious cycle between Agostino and his mother.

I am saddened by Agostino’s failure to successfully become a mature “man” in the end because it is something that he has longed for since he was acquainted with the gang of boys. What stuck with me the most was Agostino’s conflicting perception of his mother. “All of these gestures, which had once seemed so natural to Agostino, now seemed to take on meaning and become an almost visible part of a larger, more dangerous reality…” (69). His mind is torn between his initial understanding of his mother as a nurturing mother and his newfound perception as a woman. The transition of his understanding becomes evident when his mother is reduced to “the woman” on page 88. Referring to Agostino’s mother as merely “a woman” toward the end strips her identity from a loving figure to an ordinary woman, alienating the intimacy between Agostino and his mother. At the same time, I find Agostino’s determination to become a “man” when he thinks that visiting the house with Tortima will affirm his identity only shows his immaturity. His identity is again partly contingent on other people’s expectations to perceive him as a mature man. The fact that he is rejected from entering the house and is told to “be home at this hour of the night” (97) highlights his failure to be recognized as a man. Similar to his humiliation when he sees his mother getting cozy with the young man, Agostino still feels humiliated when he is rejected from entering the house. In both cases, Agostino is still deemed as a “boy”. Hence, I don’t think that Agostino has fully transformed into a man, the one that he has longed for.

My question for this reading is: How does the setting at the beach and the seaside help bring out the themes of growth and adolescence?