Beyond the Mango Tree

by Amy Bronwen Zemser

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Setting

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The Enigmatic Setting

The backdrop of Beyond the Mango Tree serves as the lifeblood of the narrative. In this foreign realm, Sarina's mother imposes strict boundaries on her daughter, rarely granting permission for Sarina to venture beyond the safety of their household's confines.

Unfamiliar and Alluring Liberia

For Sarina, Liberia embodies a world that is both unknown and enchanting. Her first-person narration weaves together the vibrant tapestry of sights and scents that fill her experiences. When she steps into the bustling Joe Bar market, she paints a picture so vivid that the reader finds themselves spinning alongside her, catching fleeting glimpses of bustling stalls and vibrant goods without lingering on any single image.

Joe Bar defies my imagination. A sprawling hive of activity, it stands as a giant circle capped with a flimsy corrugated tin roof, precariously resting on thick wooden poles. Inside, a cacophony of voices mingles with the unpleasant aromas.... Liberian women are seated among a bizarre assortment of goods, restless children, and dusty bare feet. The sticky air clings to the scent of milk left sour and fish far from the ocean. Though uneasy in this setting, my determination to find Boima propels me forward. I trail closely behind Te Te, almost brushing against her as the crowd gently nudges us through a humid wave of bodies. We pass countless tables; some blaze with candies of vivid pinks, greens, and blues, while others display a curious mix of leather bracelets, shoe polish, cheap plastic sandals, and hair oil. Upon reaching the fruit tables, Te Te wordlessly hands me the list, and I recite it to her.

Thrills and Unease

The allure and intimidation of Liberia take turns tugging at Sarina's heart. Her mother, however, shrinks away from this alien environment, unable to find joy amidst the unfamiliar. Her struggle with diabetes and the absence of her husband render her experience in this lively land one of fear rather than wonder. Thus, the vibrant pulses of Liberia become the backdrop against which the tensions between Sarina and her mother play out.

Literary Qualities

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Zemser masterfully employs the technique of a story nestling within another to heighten the cultural nuances that separate Sarina and Boima. Boima advises Sarina against scaling the mango tree, their clandestine rendezvous spot, all by herself. To drive his point home, he recounts a tale of a young lad named Tuesday, who dared to climb the tree to procure sustenance for his village, only to be bitten by the venomous serpent residing among its branches. With the grim knowledge of his impending demise, the boy defiantly seized the snake by its throat, ending its life, and in turn, sparing his village from its lethal threat. Villagers gathered beneath the tree, where both the boy and the snake hung lifeless from its limbs. Tuesday's mother wept, while his father severed the snake's head, interring it in the earth. Intrigued by the tale, Sarina interrupts Boima, inquiring about the village's fate and whether Tuesday returned to life. In response, Boima gently explains, "When you die . . . you ain' never comin' back. Ehn't you know?" Sarina, disheartened by the story's conclusion, exclaims that this surely cannot "be the end of the story," mourning its melancholy. Boima, however, imparts the lesson learned: "that boy Tuesday, he do something good for he people. Now everybody free to eat the mango." From Boima's viewpoint, the story carries a cautionary message: "Never climb the mango tree by you one. Snake who live in the mango tree never forget he brother."

Contrasting Cultural Narratives

For a child raised in America, such tales bewilder...

(This entire section contains 1004 words.)

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rather than enlighten. Customarily, American children's stories culminate in joyous resolutions, much like the optimistic finale of pursuing the American Dream, which promises boundless success, flourishing prosperity, and community admiration to those who chase their aspirations tirelessly. However, this doesn't always mirror reality, and narratives like the one shared above afford children an insight into their place within a community and the inevitable intertwining of life and death. Growing up in a society that champions individualism, Sarina struggles to grasp the allegory of self-sacrifice for the community's greater good. Throughout the storytelling, Sarina persistently interrupts Boima, yet upon grasping the warning embedded in the tale, she dismisses it, yearning for a merrier story to cleanse her mind of such somber imagery.

Unique Narrative Style

In her novel, Zemser crafts a unique narrative by adopting Sarina's first-person perspective, rendered in the immediacy of the present tense. This choice allows readers to experience the unfolding events alongside Sarina, deepening their connection with her journey. Although first-person narration may seem to limit an objective view of the characters, it enriches understanding by presenting the world through the eyes of a young girl, revealing much about her environment, family, and friendships. As readers acclimate to Sarina's blend of innocence and insight, the rich personalities of those around her gradually unfold. Initially, characters may seem one-dimensional: a mother plagued by illness and frustration, a father entrusting his daughter with significant responsibilities, dutiful servants, and a friend who embodies the freedom Sarina yearns for. However, as the narrative progresses, these characters spring to life, as much by what Sarina omits as by what she discloses. Upon Sarina's first encounter with Boima, she perceives a boy blessed with the liberty she so craves. Yet, through their exchanges, readers discover what evades Sarina's notice—that Boima shoulders the burden of crafting and selling baskets to support his family, living in poverty and often enduring hunger. "I the one," Boima reveals to Sarina when she inquires about the basket weaving. "I sellin' fo' my ma," he continues, "Every mornin', sellin'. Money fo' rice, money fo' groun' pea." As their dialogue unfolds, Sarina learns of Boima's role in supporting his family following his father's death. Uncertain how to react, Sarina simply remarks, "I don't have any brothers or sisters." Boima acknowledges her with a nod and gentle smile, the same warm grin that comforted her the previous day. There are no words to bridge the silence between them, no rituals of comfort that adults often employ. In the end, Sarina can only reflect on her own circumstances, her status as an only child. This fragmented conversation portrays their open, honest interaction, contrasting the careful restraint they display with adults.

Poetic Language and Vivid Imagery

Zemser's prose frequently rises to the level of poetry, employing vivid descriptions to paint Liberia in a tapestry of vibrant colors, rich flavors, and evocative scents. Consider the opening paragraph:

The earth in Africa is a tapestry of red. During the rainy season, waters surge through the land, swiftly filling the concave dips along the rust-hued roads, causing them to overflow. These are not the simple rain puddles I am used to in Boston. These are African rain puddles, profound and brimming with mud the shade of crumbling clay bricks. They unsettle me, these deep pools of water, for in the relentless rain, they seem to never empty.

In Zemser's work, alliteration plays a pivotal role—particularly the repetition of "r" sounds—to weave a harmonious flow. Additionally, the drawn-out vowel sounds in phrases like "colored roads" and "deep and soaked" echo the boundless expanse of the African landscape, with its endless vistas and water-laden earth. The paragraph's consonants further contribute to this rhythmic cadence. Phrases such as "crumbled bricks" and "time to empty" dance across the tongue with a deliberate tempo, enhancing the fluidity of Zemser's prose. This orchestrates a world steeped in shades of red, water, and an underlying fear, all bound together in lyrical harmony.

Colloquial Language and Authenticity

One of the most captivating features of Beyond the Mango Tree is its embrace of colloquial language. The Liberian characters converse in English, heavily accented with a dialect that is largely understandable to the reader. Occasionally, Sarina clarifies a term within her narrative, or the author uses dialogue to shed light on the meaning, yet much of the dialect is presented without explanation. This technique empowers the reader to play a more engaged role, taking on the challenge of deciphering the story's intricacies independently.

Social Sensitivity

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Living with Diabetes

Diabetes casts a significant shadow over Sarina's life. Her mother battles a severe form of this ailment, and in the absence of Sarina's father, who is frequently away, the responsibility to care for her mother falls entirely on Sarina. They reside in a foreign land, adding an extra layer of challenge as Sarina navigates the complexities of her mother's condition independently, striving to comprehend the disease and shield her mother and herself from its sudden, unpredictable effects.

The Meaning of Family

The concept of family takes on a unique shape in this narrative. Sarina finds familial bonds with Te Te and Oldman Jacob, who step into roles of guardianship. Oldman Jacob assumes the role of a vigilant protector, standing sentinel each night, while Te Te oversees household duties and ensures Sarina's academic and personal conduct remains intact. Conversely, Sarina's mother is conspicuously absent in any nurturing role. Their relationship is turned on its head, with Sarina often taking on the caretaker role. She ensures her mother consumes the necessary fruits and juices to fend off diabetic episodes and gently guides her through daily life.

The few instances when Sarina's mother does assume a parental role, it is marked by irrationality, her punishments stemming from misguided fears that she imposes upon Sarina. The narrative unfolds solely through Sarina's perspective, leaving her mother's voice unheard and her motivations unexplored.

Confronting Racism and Cultural Barriers

Cross-cultural tensions, particularly racism, are woven into the story's fabric. At a critical juncture, Sarina suffers from a severe rash. Her mother and her mother's aide, a Liberian named Thomas Scott, attempt to seek help at the American Embassy. However, their efforts are thwarted as the embassy refuses Thomas entry, despite Sarina's mother's insistence on his integral role in their lives. His African heritage marks him as an outsider, highlighting stark racial prejudices. This incident deeply resonates with Sarina, underscoring her strong sense of justice and fairness.

A Lesson in Kindness

On another occasion, Sarina visits Katrina, a fellow foreigner, and witnesses with dismay Katrina's rough treatment of a pet monkey gifted by her parents. Determined to bring about a change, Sarina cleverly devises a plan to "trick" Katrina into showing kindness to the monkey. Later, with Boima's help, they enact a "juju" to inspire gentler behavior in Katrina. To Sarina, the Liberian practice of using rituals to instill kindness is an alien yet fascinating concept, one she wholeheartedly embraces from the outset.

For Further Reference

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Publisher's Reflections on Beyond the Mango Tree

A captivating critique from Publishers Weekly, October 1998, explores the depths of Beyond the Mango Tree.

Insights from the Children's Literature Community

In November 1998, the Bulletin of the Center for Children's Books delivered a thoughtful examination of the enchanting tale, Beyond the Mango Tree.

Hazel Rochman's Perspectives

On November 1st, 1998, Hazel Rochman penned a discerning review for Booklist, unveiling the layers of emotion and adventure within Beyond the Mango Tree.

By January 17th, 1999, Rochman had once again turned her insightful gaze towards this evocative narrative, sharing her thoughts in the prestigious New York Times Book Review.

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