Bless Me, Ultima: The Cultural Distress of a Young Society
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Lytvyn Roman
Eng. 320
Pr. Tolchin
Bless Me, Ultima: The Cultural Distress of a Young Society
An answer to the discussion question of whether or not there is a defined border culture would need a great number of years in field research, but we can also observe a few of the characteristics of such border culture just by looking at scholastic essays and books related to the topic. Within the research that I did, I found a number of scholars who, while defining the border, mention all the specific or special characteristics of this new emerging society, but who also very few times defined it as such. In the book that I researched, Bless Me Ultima, by Rudolfo A. Anaya, we find many of those characteristics. There is already much work on this piece of literature, therefore, I decided to present my research and study in two ways. First, I will give a personal analysis of the work, in which I will discuss the different topics and parallelisms that I believe are related to an emerging border culture, and second, I will discuss and complete analysis made by Roberto Cantu, published in The Identification and Analysis of Chicano Literature.
The main characters of the novel are Antonio, his father, mother, two sisters, three brothers, Tenorio and his three daughters, and Ultima. The argument presents how a child, (Antonio), matures in one year, thanks to the different episodes that he goes through. Antonio, a seven year old child, narrates in first person, and describes the events that changed his life from the moment that Ultima arrived at his house. During the beginning of the book, his thoughts and actions are typical of such age, but as the events take place, Antonio changes and matures incredible fast through the text. It is even hard to find where the changes in his behavior take place, due to Rudolfos smooth literary transitions.
Carl and Paula Shirley condense their presentation of Bless Me, Ultima by simply mentioning the story line of the book:
She (Ultima) is present from the boys earliest experiences growing up, family conflict, school, religion, evil and death Much good in this novel, beauty, magic, New Mexico landscape, legends (Shirley and Shirley, 105).
All of this is true, but there is more that they did not mention. The novel is full of inner conflicts. Each of the story lines of thought of Antonio represents not only a personal conflict, but also a social one. An old society vs. a new one, Spanish vs. English, good vs. evil, Catholics vs. Protestants vs. legends, the town vs. the llano and so on. In each one of them we can see the formation or foundation of a new society ruled by Antonios generation. A new society not yet aware of itself, but new nevertheless.
For a better understanding of my analysis I have defined several different components that present essential keys in the underlined development of a border culture. The development if the Mexican border culture is called to be a mixture of two worlds. Tom Miller says that:
Ironies and contradictions thrive on the border between the US and Mexico, a region that does not adhere to the economic, ethical, political, or cultural standards of either country () It is a third country of its own, its own food, its language, its music () It is a colony onto itself, long and narrow, ruled by two faraway powers. (Tom Miller, xii)
In the same way, Anayas description of Antonios life represents ironies and contradictions, first in a main cultural collision of Mexican, Spanish and Indian culture, family structure and language; and then, in more deep levels of religion, and basic understanding of oneself. Inner fights and double realities are present through out Antonios development. Ramon Saldivar does an extensive study of Anayas Bless Me, Ultima, and as well as Shirley and Shirley, he seems to be afraid of calling or recognizing a representation of a border culture.
Saldivar says:
Bless Me, Ultima thus can be said to capture in the form of romance critical and complex transition period in literary-cultural history of the South west: the simultaneous existence within Chicano communities of pre-Columbian myths, beliefs, legends and superstitions, and mid-twentieth century technological, literate mass media culture. (Saldivar, 108).