A BOOK REVIEW ON LAURA ESQUIREL’S LIKE WATER FOR CHOCOLATE

by Alexi Erlyn Sta ana Carlos

IV- Sir Isaac Newton

I. Introduction

Like Water for Chocolate is a novel in Monthly installments with Recipes, romances and home remedies written by Laura Esquirel, who is originally a scriptwriter and was nominated for the Ariel Award for best screenplay by the Mexican Academy of Motion Pictures for her screenplay Chido One. The film version of Like Water for Chocolate swept the Ariel Awards in 1992 and went on in 1993 to become the biggest grossing foreign film ever released in the United States. In 1994, Like Water for Chocolate is given annually by the American Booksellers Association to the book the members of the organization most enjoyed hand-selling.

With more than two million copies in print, Like Water for chocolate has taken its place alongside such beloved first novels as The Joy Lack Club and How to Make an American Quilt as a treasured part of America’s literary memory.

II. Summary of the Content

“A tall tale, fairy tale, soap- opera romance, Mexican cookbook, and home- remedy handbook rolled into one.”

Tita De La Garza is the main character. Pedro Muzquiz is Tita's lover, marries Rosaura to be closer to Tita. Mama Elena is Tita's cruel and controlling mother. Gertrudis De La Garza is Tita's older sister, illegitimate daughter, she runs away with a soldier. Rosaura De La Garza is Tita's oldest sister, marries Pedro. Dr. John Brown- the family doctor, falls in love with Tita, has a son from a previous marriage. Nacha is the family cook, like a mother to Tita. Chencha is the family maid. Roberto Muzquiz- son of Pedro and Rosaura, dies young. Esperanza Muzquiz- daughter of Pedro and Rosaura, marries Alex. Alex Brown- son of John Brown, marries Esperanza. Nicolas- the manager of the ranch. Juan Alejandrez is the captain who took Gertrudis. Jesus Martinez is Chencha's first love and husband.

Based on the best-selling novel by Laura Esquival, this internationally popular romantic fable from Mexico centers on a young woman who discovers that her cooking has magical effects. The tale's heroine, Tita, is the youngest of three daughters in a traditional Mexican family. Bound by tradition to remain unmarried while caring for her aging mother, Tita nevertheless falls in love with a handsome young man named Pedro. Pedro returns her affection, but he cannot overcome her family's disapproval, and he instead marries Tita's elder sister. The lovestruck young woman is brutally disappointed, and her sadness has such force that it infects her cooking: all who eat it her feel her heartbreak with the same intensity. This newly discovered power continues to manifest itself after the wedding, as Tita and Pedro, overcome by their denied love, embark on a secret affair. Director Alfonso Arau, Esquival's husband at the time, presents the acts of love and cooking with the same glossy, sensual sheen. Indeed, despite occasional digressions into a magical realist tone, the film often takes on the gloss of Hollywood romance. This combination of traditional melodrama and exotic fairy tale proved extremely popular with audiences, particularly in the United States, where it became one of the highest grossing foreign language films at the time.

Emotional Oppression It is evident, especially in the first few chapters, that Tita has been emotionally oppressed by her dictator-like mother. She is forced to hold in her emotions, thus creating a "dampness" within her that does not allow the matches within her soul to light. Tita has hot, earth-shaking sex with Pedro at the end of the story and, in reference to the story of inner matches Dr.Brown told her earlier, their lust and sexual needs were so strong that she lighted all of Pedro's "inner matches"; he died from the raw emotion of it all. In her agony, she swallowed some "matches" and lit them with memories of him. She sparked, causing the bed they were having sex on to be set on fire. In the end, everything on the ranch (except for the animals because they had all run away when they sensed what was coming, and Tita's recipe book) burned down, but the souls of Pedro and Tita were transported to a special place, a place before birth. There they could finally be together without anyone judging or stopping them.

Self Growth At the beginning of the novel, Tita was a generally submissive young lady. She feared her mother and her mother's actions, hardly ever daring to disobey for fear of another brutal beating. However, as time passes, Tita finds herself to have a voice that she must use. The climax of this theme could be said to be the part in chapter five (the month of May, if one isn't going by chapters) when Tita stands up to her mother and runs out of the house. By the end of the novel, though Tita is a humble woman, she certainly is not the submissive and fearful girl she once was.

Tradition Tita and Pedro are not allowed to love because of the De La Garza tradition that states that the youngest daughter (Tita) must take care of the mother until the day she dies. The book also lists out many tradition of the Mexican culture, such as traditional recipes.

III. Analysis of the Text

Beautifully executed in the Latin storytelling tradition of magic realism, Like Water for Chocolate is a romantic drama that ultimately falls back into a Cinderella myth. Director Alfonso Arau shows the domestic chores and duties of the ranch with a commonplace realism, occasionally lapsing into fantasy sequences for the surreal events that are being cooked up. In one instance, the long-suffering Tita (Lumi Cavazos) rides away with a mile-long blanket dragging behind her, a product of her lovesick nights spent knitting. The mother is appropriately wicked, as is the sister, and Tita views her prince charming, Pedro (Mario Leonardi), as the only escape from her lifelong servitude. Like the oven-warmed kitchen where most of the action is set, the photography is warm and glowing. The connection between food and sex is well developed, in several banquets and dinners proving both memorable and humorous. Filled with characters simmering with passion and jealousy, Like Water for Chocolate lives up to its title, which refers to a method of making hot cocoa by adding chocolate to boiling water. Although heavier topics such as death, ghosts, and revolutionary war arise, the story is overall lighthearted and adheres to Hollywood romantic sensibilities.

IV. Evaluation of the Text

The book has left out a mystical story that definitely charmed the palate and the heart.

“Like Water for Chocolate is deceptively simply wonderful. It is a story of love, sex, war, and the sweep of Mexican history that belongs to human.”

In Like Water for Chocolate, Esquivel extends the religious-mythical themes of magic realism to the everyday world of the domestic realm of a female-dominated household. Though not a story of the battles, great figures, and moral challenges generally associated with the epic form, Esquivel elevates this story of women, and one woman in particular, to such proportions. This strategy leads the reader to explore the feminist properties of Like Water For Chocolate, which are evident in the depictions of Tita's struggle to gain independence and develop her identity, and also in the fact that this struggle is depicted at all. In creating this female-centered cast of characters, Esquivel imagines a world in which men are physically present only occasionally, though the legacy of sexism and the confinement of women to the domestic sphere persist. Esquivel does not offer her readers the vision of a utopian sisterhood, but rather insight into the way women are restricted by standards of societal propriety perpetuated by other women.