Ana Castillo’s so far from God: a story of survival

Revista de Estudios Norteamericanos, n. •X (2001 ), pp. 27 -32 ANA CASTILLO'S SO FAR FROM GOD: A STORY OF SURVIVAL AMAIA !BARRAN BIGALONDO Universidad del País Vasco The reality of thc Chicanas prior to the decade of the 70s, when the first steps towan.ls the dismantling of the personal confines that limited and displaced th em from their communily and the mainstream society were taken, can be depicted as one of resistancc to a three-fold oppression. Discriminated against for being membcrs of a «minority» group within an anglo-ruled macrosociety. enduring the universal «colonization» of women and furthermore, deprived of many personal rights by their male counterparts, they lived in a situation of constant survival. These circumstances destruclurcd their quest for a freed identity. thus provoking a state of self-denial and personal insecurity in them. Women writers. insofar as they are representatives of the women of their community, have used their creations to combat and revision the negative stereotypes associated with Chicanas, which had facilitated and sustaincd the cxistence ofthc aforementioned discrimination. This is the case of Ana Castillo, Chicana critic and writer, who, in her novel So Far From God (1993). chronicles the lives of five women, members of the same family. It narrares the story of Sofia and her four daughters, Esperanza, Fe, Caridad and La Loca, whosc circumstances l ead them to survive in lifc, and resist thc adverse situations they experience as womcn, lovers. workers etc. Presenting five distinct but exemplary characters. Castillo attempts to portray diverse life situations am i diffcrcnl pro cedures to preserve one's own id entity intact. overcoming the delcterious influences the prevailing socioeconomical order exerts upon each of them. In this re g ard . she calls for her readers to resist and survive in a similar fashion. The story is presented in the form of an epic nove l. divided into sixteen cpisodes. whos e tilles are reminiscent of th e narrative of the medieval tales: thus, ·• This study has heen Jinar:ccd b~ thc U.PV. 103.130-HA 068/98 Rcsearch Projec l. 28 Amaia ]barran Bigalond o Chapter One is entit le d «An Account of the First Astonishing Occurrence in the Li ves of a Woman Named Sofia and Her Four Daughters; and the Equally Asto nishin g Return of Her Wayward Husband », Chaper l.Wo, « 011 Caridad's Holy Restoration and Her Subsequent Clairvoyance: Bo th Ph e no mena Qu estioned by the Douhtin g Tomases ofTo me» etc. The effecl such titles have upon the reader may wetl be one of ex pecting a quixotic-Jike hero/protagonist, whose adventures and vicissitudes wiJJ be narrated in th e story. Nonetheless, Sofia, an independent woman, head of her family , who has committed herself to the education of her four d aug hter s, may be cons idered a heroine in the terms Carmen Salazar Parr and Genevieve M . Ramírez explain: We have found that in these female-authored works women exhibit the same heroic qualities as men, ( .... ). The «d ragons» challenged by women are the conventions created in a male-dominated world. Perhaps the foremost heroi c achievement resides in the as su mption of those heroic qualities, possible only in the conscious deviation from the tr aditionally femin ine characteristics imposed by men. Our women heroes do not, however, seek s up eri ori ty and dominance but rath er parity and equality of statur e, respect, and opportunity. Clearl y, the y are neither the traditional heroes in positions of power nor the tradicional heroines whose roles support the heroic ac hievements of men ( 19 85:59). Sofia is depicted as an independent-from-men woman, and therefore, as sta ted above, disclaims the stereotypes and roles men have imposed upon wo rn en. On be i ng abandoned by her husband, she becomes a strong woman, who adopts t he «male role» of provider of the econornical stability of the family unit, and, co n co mitantly, continues to be the transmitt er of cultural heritage and va lues for her daughters. Nonetheless, albeit these women have been ta ught how to survive away from a dominan! male figure by their mother, and resist its control, they come into contact with severa! men, ali of whom le ad them to negative situations and consequences. Esperanza, representative of the contemporary Chicana, who h as attended college and has actively participated in th e Chicano Movement, after the break up with her boyfriend Rubén, who Castillo describes in an ironic way ( «During that time, she had lived with her boyfriend Rubén, wh o, during the heig ht of his Chicano conciousness, renamed himself Cuauhtemoc», (1993:25), chooses to Jeave the count ry to cover a war as a reporter, where she is subsequently killed. Castillo slrongly criticizes men, who, like Rubé n. committed to the plight of the Chicano people, are incapable of valorising and respecting the women's fight for their personal liberation, ev en pushing them to a situation of se lf -deni al and social transparency. Caridad, on the oth er hand, may well be seen as the personification of the traditiona l Chicana who abandons her personal quest for id en tit y and selfdevelopment due to her love for a man, Memo, adopting the feminine stereoty pe describ ed by Mae Henderson: «Women are supposed to live stably and p rovide stability for others» (1995:34).When he rejects her, she loses her personal and emotional stability, and chooses to act in a way that diametrically opposes her role of virginal, good woman, becoming a «bad>> wornan who indulges in sexual intercour se Ana Castillo 's So Far From God: a Story of Survival 29 with severa! men. The consequences are as well tragic, for she is violently beaten up by a group of men outside one of the bars she now frequents. Notwithstanding, this deviation from the norm into the realm of the «Ou tside,» masculine society, articulates the future creation of her identity, and is revisioned as positive by Rosaura Sánchez, who posits that The «good,» socially accepted woman, it follows, embodies Lhe qualities of the V ir gin; purity, sel fl essness, mysticism, and respectfulness. The «bad,» unacceptable woman, who is viewed suspiciously, actually demonstrates more independence, assertiveness and is more socially mobile, moving towards selfdetermining behaviour (1977: 41). Caridad, after being a «bad» woman. thus rejected by her own community as a consequence of her having challenged the static and constraining moral code of the group, adopts a more «positive» stance and embarks on adventure into the world of spirituality and inner-reflection. «Fe, the third of Sofi's daughters, was fine. That is, twenty-four, with a steady job at the bank and a hard-working boyfriend whom she had known forever; she had just announced their engagement» (Castillo 1993:26). Tom, her boyfriend, also leaves her, and Fe suffers asevere nervous breakdown. As portrayed in these four characters, their reality is continually shaped by the interloping presence or the absolute absence of men around them, and it is this (non)presence which places these women in a situation of survival and resistence. However, women who do not experience male control, personified in the figure of Sofia. have to fight against the constan! negative intervention of the community in their lives. The hero of Ana Castillo 's novel, nevertheless, manages to escape this manipulation and even suceeds in penetrating the «male-world.» She runs as a mayor for the elections in Tome, her hometown, and is determined to forge ahead in her political career, therefore, occupying positions rendered as masculine: Then why stop al mayor? Why not elect herself la juez de paz or Ja comandante of Tome as they had had in the old days? Why not be Queen of Tome for that matter? (Castillo 1993: 137) When women have to resist the male influence and dominance in their lives, howcver, the consequences, as seen befare, are negative, and even tragic. Men, in the novel, drive women to situations of self-denial and self-destruction, and only when they free themselves from them, are they portrayed as ready to actively choose their own path and reconstruct their individual id entity. Accordingl y, to resist the masculine colonization of the female self is, as p01trayed by Castillo, the only way to survive within the male-orientated and ruled Chicano community. The colonization exerted upon women by Chicano men, nonetheless, does not only affect them in terms of personal identity and personality. The women in the novel are also victims of th e externa) organization of a society controlled by men, in which 30 Amaia !barran BiKalondo they have never had the chance to participate. War, far instance, just like politics in general, is considered a masculine subject, far it involves men taking decision s alongside other men and men participating actively in military operations. Throughout th e years, the role of women in times of war has been the one of companion, cook, nurse etc., a ro le reminiscent of the one attribut ed to women in the overall fun ctioning of society in general, and of the Chicano community in particular. Esperanza's job as a repo1ter during the Saudi Arabian war conveys the idea of the need to observe and report things through a feminine eye, in ar der to reinterpret them in a more universal and integrativc fashion. On the other hand, Esperanza, just like Salia, her mother, attempts to penetrate the male world, thus arnalgamating in her persona the male and the female roles, strongly connected to the fact of telling stories and transmitting them to the rest of the community. As opposed to Sofia, who succeeds in the overcoming «rnale/femalc role» divide, Esperanza <loes not achieve it, and meets with a tragic end, far she dies in the war. On the other hand, Castillo strongly criticises the negative effects of male dominance and the colonization of each wornan 's identit y, which implies manipulation of the woman's reality within the male world, as a consequence of the effects a capitalist, production-oriented. ma le-ruled society exerts upon women in particular. Fe, who personifies the Ch i can~ who wants to assimilate the Anglo, capitalist culture and system, starts to work in a factory, which paradoxically enough works with tbe Pentagon, and produces high-technology weapons. Once again, just as in the case of her sister Caridad, the outcome of this attempt is extremely tragic, for she dies as a result of the inadequate working conditions in h er place of work: Being so good at utilization and cfficiency, the queen of it, you could say, there at Acme Intcrnational, she was on to bigger jobs a nd better pays in no time. She worked hard no matter what, even though, for instance, she <lid not like the last cleaning job she was given. It's not likc she had complained about it or nothing, but thrce months of working in a dark cubicle could get to anybody. The results of working with a chemical that actually glowed in the dark and therefo re you co ul d work it in the dark, with special gloves and cap (and why you did , as a supe rvisor explained, was able to detect if any fingerprints or hair got on the parts) was this red ring around her nose and breath that srnelled suspiciously of glue. Well, the odor of ali those chemi ca ls in that open area as well as throughout the whole plant was enough to make anyone nauseated at first, but after about an hour of being there every morning, you would swear there was no srnell at ali. So Fe had no idea tbat her body had actually absorbed the sme ll until one evening Casey asked her, tactfully of course, if sbe was not doing something on her lunch hour that she shouldn 't. (Castillo 1993: 181) Her role in the factory is a female one, that of cleaning. In keeping with the general tone of the novel, Castillo depicts it in a very ironic way, but, once again, the outcome of it is serious and destructive. Criticizing war in a ferocious way for a Ana Castillo 's So Far Fmm God: a Story of Swl'il'lll 31 second time, as well as the figure of the male-warrior-hero, the writer ca lls for the vindication of the h ero sy mbolized by Sofia. A person who is able to integratc herself into the society, she maintains her identity in apure state and is able to coexist within the female/male polarity that builds strong frontiers for the women, who, attempting to trespass them. suffer a complete disintcgration of their sel ves, for they have crossed what Cordelia Candelaria describes as the «Wild Zone»: The «wild zo ne» th es is thus identifies a fundamental paradox of female identity: on the one hand, a distinct female experiential, cultural space dcrived from an unrestricted ( «Wild») existence unmediated by inimical, imposed definitions of identity, and on the other the restricted women-space defined by and located within the englobing historical patriarchy without recognition of women's human potential or achievement. (1993: 23) Just as has b ee n observed in the examples of three of Sofia's daughters. the attempts to penetrate and survive within the malc world are only positive in the case of Sofia. who unqucstionably, becomes the heroine of the novel. La Loca, another of her daughters, resists and su rvives the negative malc colonization, but she chooses to disassociate herself form the «mainstream» community, in order to find h er own space within the «W ild zone» which liberates and at the same time en closes women. Madness, or a total deviation from the moral values and rules, becomes the way to escape realil y, and allows h er to reinterpret ali the community values, in a bid to make them valid within her self-chosen constructed realit y. Becoming the «Üther», La Lo ca is allowed to d cvia te from the ma le stcreotype of how a woman should be, and therefore, survive within their societ y. Casti ll o herself explains this fact in her «Brujas and Curanderas. A Lived Spirituality» in the following terms, The bruja and curandera might associate th e fundamental betrayal ofthe church with her womanhood, with her devout Ca tholic mother. Sh e, therefore, may be inclined toward her gra ndm o th er's belicfs, or the teachings of a co mmunity elder. Cr ca ting so rne distance from the last ge ne ration, from who she is unlearning many lessons that have felt harmful to her well-being, allows her to recapture so rne of her spiritual or ientation, and to adapt it to h er own needs while still operating within her own culture. (Castillo 1995: 15 2) La Loca, as stated in the qu otation above, is the only one of So fia 's daughtcrs who does not have an a ll egor ical, re li gious name. Reject ed by the community a ft er she was born for ha ving suffe red an epileplic attack, which was interpreted as an anomalous, supematural gift of the baby, she shuts ber se lf off from thosc around her, cultivating her spiritualily, and learning from the town cura nd e ra , Doña Felicia. Isolation and a rich inner wo rld are presented by the writer as the onl y ways of surviving within the ma le com munit y. Ca ridad, too, after being assault ed by a group of men, al so commits herself to self-rcf1ection and ana lysis, and flees from her 32 Amaia !barran Bigalondo community to live in a cave. Esperanza, on the ot her hand, after disappearing in the war, is seen in the forrn of a spirit by many of the inhabitants of Tome. In a very comical, ironic way, the author revives and reinterprets the image of La Llorona in the persona of Esperanza, when she says: «But ali of this, as I said, was postponed , indeed, nearly forgotten after Esperanza's family got th e message she had sent to them via La Llorona, Chi can a international astral-traveler» (Castillo 1993: 162). La Llorona's and Esperanza's fate is, in an attempt to survive, to wander through the ditches of the town in the form of a spirit. Women, just like Esperanza, have to be invisible and transparent, committed to their spiritual cultivation so as to be accepted by the male, materialistic society. As Tey Diana Rebolledo explains, Many stories written by Chicanas chronicle the world in which the female hero 's expectations conflict with the dicta tes of the surrounding society. Chicana heroes desire freedom to be themselves. in all of their abilities and aspects, a freedom often denied by a culture that would have them toe strict norms ofbehavior for young women (1995:111). Castillo's objective, in conclusion, by means of using an ironic tone, is to denounce the difficulties women encounter in their struggle for survival within the male-dominated community. and at the same time. to resist the colonization of their real identity. Wornen, as portrayed in the deaths of Sofia's daughters, can not bear the negative pressure of male control, and find in madness and deviation frorn the norm the only way to find their own, liberating «wild zone.» REFERENCES Candelaria, Cordelia. «The "Wild Zone" Thesis As Gloss in Chicana Literary Study,» Chicana Critica/ Is.mes. Berkeley, CA: Third Woman Press, 1993. 21-31. Castillo, Ana. Massacre of the Dreamers. Essays on Xicanisma. New York: Penguin Plume Books, 1995. -. So Far Fmm God. New York: W. W. Norton & Company, 1993. Henderson, Mae, ed. Borders, Boundaries and Frames. Cultural Criticism and Cultural Studies. New York : Routtedge, 1995. Rebolledo, Tey Diana. Women Singing in the Snow. A Cultural Analysis of Chicana Literature ». Tucson: University of Arizona Press, 1995. Salazar Parr, Carmen and Ramírez, Genevieve M. «The Female Hero in Chicano Literature,» María Herrera-Sobek, ed ., Beyond Ste reotypes. The Critica/ Analysis of Chicano Literature. New York: Bilingual Press, 1985. 47-59. Sánchez, Rosaura. Essays on la Mujei: Chicano Studies Center Publications. Los Angeles: University of California, 1977.