Tag Archives: death

11/5/21

The bodies

What struck me most from Garza’s introduction to the book “Grieving” was one specific paragraph on the second page that starts with “What we Mexicans…”. The repetition of bodies was so impactful to me because she described all the different ways that these people’s bodies had been violently assaulted. They were burned, tossed, disappeared, unclaimed, persecuted, airless, and missing many of their parts. I found this paragraph to do two things:

Firstly, it described in detail just how they were found. There is no filter to the violence, instead, it is honest and direct about it. Normally when acts of violence are talked or written about, the gory details are left out or downplayed as they might be too much for the audience, but the author makes a point of putting their point across: these people were violently assaulted and it should be spoken about. There is a modern version of mass murders happening, which she likens to that of Auschwitz and Armenia, and its time that people accept this. The repetition of “bodies” is impactful and sets a tone for the rest of the book.

Secondly, the consistent repetition of “bodies” demonstrates just how many there are. This reminded me of a concept I’ve heard of which is that humans find it very hard to grasp very large numbers. Not only that, but we also tend to become desensitized to death when it’s published in these large numbers. It is a reaction our brain has when it’s exposed to situations that might cause grief or trigger strong emotions. These tragedies have been happening in Mexico for so long that the author could be trying to bring awareness to the problem and individualize these people and what has happened to them. Rather than saying that there were 20 bodies found, she describes each and every one of them to emphasize that they are not just a number, but that they were murdered and that they deserve justice.

10/24/21

we all feel loneliest when we live only in our minds

For this blog post I want to talk about the run-on sentences that Cisneros uses in Woman Hollering Creek. For example: 

“…from the times during her first year when still a newlywed she is invited and accompanies her husband, sits mute beside their conversation, waits and sips a beer until it grows warm, twists a paper napkin into a knot, then another into a fan, one into a rose, nods her head, smiles, yawns, politely grins, laughs at the appropriate moments, leans against her husband’s sleeve, tugs at his elbow, and finally becomes good at predicting where the talk will lead…”  

This device is always used when representing Cleofilas’ stream of consciousness or moments in her life when she’s uncomfortable, sad, uncertain, scared. It’s eerily accurate in representing her thought processes, because none of us think with punctuation anyways. For some reason that I can’t quite put my finger on, it also has the effect of implying loneliness; perhaps this is because we (the readers) are put squarely inside of Cleofilas’ mind, and we all feel loneliest when we live only in our minds, too.  

The run-on sentences remind me of a book I’m currently reading called All My Puny Sorrows by Miriam Toews, which is about a young woman (Elfrieda) who for no specific reason wants to die. She hasn’t experienced acute trauma, doesn’t have anxiety, isn’t even particularly nihilist – she simply does not want to live anymore. Her existence every day is punctuated – perhaps defined – by thoughts of death. While Cleofilas doesn’t seem to want to die, it’s clear that most of her days are not happy ones. The run-on sentences in Woman Hollering Creek convey that in the same way as they do in Toews’ AMPS. What is it about run-on sentences that makes them so suited to stories of female struggle, I wonder? Open to suggestions

09/17/21

Funeral of a childhood

The child lens that Arias adopts in this short story made me reflect a lot on the innocence of children and their way of thinking. I compared the text a lot to Room, which is a novel about a kidnapped mother and her son. Here too the five-year-old child is the one that narrates the very tough journey the two take to escape the mother’s kidnapper. It is through the view of a child that an author is able to “dumb down” a tough narrative and see it through a different set of eyes who are also trying to comprehend it. Not only are we learning along with the protagonists, but we get to see a different perspective on what they think of it.

The start of the text seems to be the most impactful in this sense, as it is where we first meet Maximo and his way of thinking. Although it’s told from a 3rd person’s perspective, we still get an insight into his thoughts, such as when he talks about the “poor little corpses” “filled with worms” who “deserved to die” (Arias 50). If an adult character were to say that these poor little corpses deserved to die, we would probably characterize them as a violent person with psycopathic tendencies. However, the context of this character allows for the reader to somewhat understand them and their thought-process. It’s not necessarily because Maximo wants them to be dead, but instead he feels like they deserve it because of their bad smell. It seems like a simple answer to the situation for Maximo, but as readers it allows us to reflect on what this character is surrounded by, and what his perception of death is in his war-filled upbringing.

 

09/16/21

Birds as a Symbol of Rotten Holiness

In class I made a brief comment on how the dead bird in Guatemala 1954- Funeral for a Bird made me think of the angel in Gabriel Garcia Marquez’s A Very Old Man with Enormous Wings, and I wanted to use this blog post to delve further into that. For those who don’t know about Marquez’s story, in short it tells the tale of an “angel” who fell from the sky and crashed into the backyard of a random family. The angel is quite deformed and realistic-looking, and it endures quite the maltreatment from the locals who come to see it. This tale made me think of the bird from our short story, both because of the two links (an old man, and a feathered thing falling from the sky), and more importantly perhaps, because of the way it is treated.

In both stories, the thing that falls from the sky becomes part of a sort of ritual with the locals who find it. In Marquez’s story this is used to show that curiosity and carelessness seem to be some of the first reactions humans have towards the divine/unknown if they aren’t in the proper circumstances. In Arias’ story, it seems to me like the bird serves at first a quite different function – the funeral orchestrated by the children shows that humanity is still present even during despair, and that the ignorant still try and give proper respect and dignity to things they properly identify as deserving it. The old man, however, brings the story closer to Marquez’s by revealing how the children have lost touch with the proper ways of handling these things.

In both cases, there is something quite powerful being conveyed through humanity’s interaction with something that fell from the sky. On one hand, this interaction shows humanity’s distance from the divine because of its inability to understand and respect the things above it, but on the other hand, there is a certain, visceral closeness that is brought to attention through the corporeal detail present in both stories. Altogether, it leaves me a bit confounded as to what is being signified through these stories – I am filled with both a feeling of the “magical” in its positive aspects, and one of “otherness” and even derangement. Perhaps, this specific effect of the uncanny is what was intended, as it conveys a sense of horror when humanity is forced to deal with matters of the divine and death with which it should never have to deal with directly.