Places Discussed
Guadalupe
Guadalupe. Small town in eastern New Mexico where Antonio lives. Tony’s family has moved from Las Pasturas (a smaller town where he was born) to Guadalupe, where he will spend these crucial years growing up. The town is dominated by three symbolic structures: the Roman Catholic church where Tony receives his catechism, the school he attends, and the water tower. Many of Tony’s adventures will be on water: It is at the river at night where he watches the death of Lupito, in a pond where he sees the golden carp, in a snowstorm where he witnesses the death of Narciso, and in Blue Lake where he finds his friend Florence drowned.
Tony and his family live on a hillside outside of town, where Tony does traditional chores, feeding the livestock and tending his mother’s garden, and it is from his mother’s family that he learns some of his most lasting lessons: “From my mother I had learned that man is of the earth, that his clay feet are part of the ground that nourishes him, and that it is this inexplicable mixture that gives man his measure of safety and security. Because man plants in the earth he believes in the miracle of birth, and he provides a home for his family, and he builds a church to preserve his faith and the soul that is bound to his flesh, his clay.”
Ultima, a curandera (or healer) and grandmother-figure who was present at Tony’s birth, introduces him to the beauty that surrounds Guadalupe: “the wild beauty of our hills and the magic of the green river” that surround the town. Thus, Tony’s location just outside of town, and his adventures in the hills and on the river there, show a merging of the two familial traditions through the help of Ultima.
Llano
Llano (YAH-noh). Plains on which Tony’s father works all of his life as a cowboy. The vaquero tradition is a dying one, being eliminated by fences and highways and the modern farming equipment which changes the face of the Southwest in the twentieth century. The llano also symbolizes not only an older way of life, but a sense of freedom that Tony’s father and others still cherish in the modern world: From “my father and Ultima I had learned that the greater immortality is in the freedom of man, and that freedom is best nourished by the noble expanse of land and air and pure, white sky.”
Agua Negra ranch
Agua Negra ranch. Between Guadalupe and Las Pasturas. Tony accompanies Ultima when she goes to the simple adobe home of Tellez to lift a curse that has caused stones to rain down upon it. It is the last act before her death.
El Puerto (de los Lunas)
El Puerto (de los Lunas). Small town that is Tony’s mother’s birthplace. Every fall, Tony and his family make a pilgrimage to “the adobe houses of the peaceful village. . . . We always enjoyed our stay at El Puerto. It was a world where people were happy, working, helping each other.” By the end of the novel, Tony says, “Take the llano and the river valley, the moon and the sea, God and the golden carp—and make something new.” He will weave together, in short, the various strands of his family traditions: not only the “moon” and the “sea” (the Luna and Marez families), but also his orthodox Catholic heritage with the native spiritual traditions of the Southwest, including the magical folk religion and history represented by Ultima.
Historical Context
New Mexico
New Mexico was a Spanish colony from 1595 to 1821. When the Spanish explorers arrived in the region, they encountered permanent settlements along the Rio Grande, which they called "pueblos" after the small villages in southern Spain. They found that many of their native plants and animals could thrive in the area, including cattle, horses, sheep, goats, chickens, and pigs. They also introduced grains such as wheat and barley, fruits like apples, pears, peaches, and melons, and vegetables such as lettuce, cucumbers, and chiles.
The Spanish realized that the region lacked significant gold or other precious metals, so their main objective shifted to converting the native population to Christianity. The Pueblo Indians were tasked with constructing mission churches in each village. However, the natives resented the church's suppression of their traditional beliefs and felt exploited by Spanish labor practices. In 1680, they revolted and expelled the Spanish from the area.
In 1692, Don Diego de Vargas reconquered New Mexico, but this time the colonizers managed to establish a more sustainable relationship with the Pueblo Indians. During this period, many communities were formed, including those where Rudolfo Anaya would grow up centuries later. These communities combined the culture of the Pueblo Indians with the Spanish-speaking Catholic tradition.
In 1821, Mexico gained independence from Spain. In 1846, during the Mexican War, the United States claimed the region known as New Mexico. The area was officially ceded to the U.S. by Mexico in 1848 through the Treaty of Guadalupe Hidalgo. The southern part was added through a land purchase from Mexico in 1853. In 1863, the Territory of Arizona was created from the western portion of the Territory of New Mexico, defining the current boundaries of New Mexico.
It took 62 years for New Mexico to achieve statehood, likely due to prejudice against the Catholic, Spanish-speaking culture of the region. However, New Mexico finally became the 47th state in 1910.
As depicted in Bless Me, Ultima, life in New Mexico's small villages remained largely unchanged throughout the first half of the twentieth century. The descendants of the Pueblo Indians continued farming the land and preserving their unique blend of native religious beliefs and traditional Catholic doctrine. They also maintained Spanish as their primary language. However, the involvement of the United States in World War II brought irreversible changes to the lives of the inhabitants of these small villages.
World War II
New Mexico contributed approximately 65,000 soldiers to World War II (1939–1945). In Bless Me, Ultima, Tony’s brothers return home from the war and realize that, after experiencing the world, they are unwilling to settle back into their small village. Another consequence of the war is seen in Lupito, who suffers from “war sickness,” likely post-traumatic stress disorder. Some soldiers, casualties of the conflict, never made it back. Although the war affected each soldier in unique ways, it left a profound impact on all of them and their communities.
New Mexico also played a special role in the war. Due to its rugged terrain and sparse population, the U.S. government decided it was an ideal location for nuclear research. In 1943, the town of Los Alamos was established by the government to house a nuclear research laboratory. On July 16, 1945, the first atomic bomb was tested near Alamogordo at the Trinity Site. In Bless Me, Ultima, the villagers protest the bomb tests south of town, saying, “The atomic bomb, a ball of white heat beyond the imagination. . . . They seek to know more than God Himself. In the end, that knowledge they seek will destroy us all.”
Setting
Set in the plains of New Mexico during the 1940s and World War II, the novel begins around Tony's home, a modest house in Guadalupe. The story then transitions to the town itself, where Tony learns to navigate the harsh realities of life. Guadalupe is a typical rural New Mexico town, deeply rooted in Hispanic culture, with residents who are part Spanish and part Native American. Anaya leverages this rich historical background to convey his themes. He intertwines the clash of religious and social ideologies with the deep spiritualism embraced by Native Americans, emphasizing a profound belief in the sacredness of the land. His vivid descriptions of the landscape underscore the theme of earth magic. Ultima, who understands the secrets of the earth, influences Tony to appreciate these mysteries as well. "Her eyes swept the surrounding hills and through them I saw for the first time the wild beauty of our hills and the magic of the green river," Tony remarks upon meeting Ultima. "The granules of sand at my feet and the sun and sky above me seemed to dissolve into one strange, complete being."
Anaya's most vivid descriptions of the landscape come through the perspectives of Ultima and Tony, both of whom recognize nature's power. Tony grapples with the concepts of God and spirit, which, in his cultural history, are manifested in all aspects of nature. Anaya's use of nature imagery throughout the novel helps create a sense of awe and mysticism about the land. Additionally, he uses the rural New Mexican town to illustrate the conflicts between two cultures that Tony must learn to reconcile. The features of the land emphasize its sacredness. Though the terrain is barren and arid, possibly symbolizing spiritual emptiness, Ultima's belief in earth magic revitalizes both the land and Tony's spiritualism.
Expert Q&A
How does Tony's dad feel about the llano in Bless Me, Ultima?
Tony's father, Gabriel, has a deep emotional connection to the llano, reflecting his Marez heritage of nomadic cowboys who value freedom and expansiveness. The llano symbolizes their restless spirit and desire for open spaces and movement. Although Gabriel ultimately chooses family stability over wandering, the call of the llano and its representation of freedom and adventure remain integral to his identity and character.
How is the setting significant in Bless Me, Ultima?
What are the key locations and events in Bless Me, Ultima?
The key locations in Bless Me, Ultima include New Mexico, which serves as both a literal and spiritual setting, reflecting the protagonist Antonio's spiritual journey. Important events occur in this "spiritual corridor," guided by Ultima, a curandera. The novel intertwines natural and supernatural elements, Catholic cosmology, and symbolic dreams, reflecting Antonio's development. Key events involve Ultima's influence, Antonio's dreams, and his exploration of spiritual and religious themes.
How does Rudolfo Anaya use setting in Bless Me, Ultima to create a 'magical' world?
Rudolfo Anaya uses the setting in Bless Me, Ultima to create a magical world by depicting the 1940s American Southwest, highlighting the characters' deep connection to the land. The landscape's mysticism, Ultima's earth-derived healing powers, and the presence of the magical Golden Carp emphasize a blend of Catholic and traditional animistic beliefs. The setting underscores the novel's theme of embracing multiple cultural and religious identities rather than adhering to a single worldview.
The role and significance of the New Mexican landscape, particularly the river and the llano, in Bless Me, Ultima
The New Mexican landscape in Bless Me, Ultima symbolizes the cultural and spiritual backdrop of Antonio's journey. The river represents life and constant change, reflecting Antonio's growth and struggles. The llano, or plains, symbolizes freedom and the vast, untamed nature of his heritage. Together, these landscapes underscore the novel's themes of identity, tradition, and the connection between land and spirituality.
Literary Style
Point of View
A crucial element in the structure of Bless Me, Ultima is the perspective from which the tale is narrated. The story is told by the protagonist, Tony, who is six years old at the novel's start but exhibits a level of insight beyond his years. It becomes evident that the narrator is an adult reflecting on and recounting his childhood experiences.
The first-person narrative (using "I") allows readers to perceive events solely through Tony's eyes. This approach can sometimes raise questions about the reliability of the narration. However, in Bless Me, Ultima, Tony is portrayed as a trustworthy narrator, providing an accurate depiction of events and valuable insights into the unfolding story.
Employing the first-person perspective enriches the novel, serving its purpose of illustrating Tony's journey toward understanding and self-discovery. By sharing Tony’s thoughts, dreams, and silent questions from his viewpoint, the novel enables readers to fully engage in his quest.
Language
Tony resides in an environment where Spanish is predominantly spoken at home and within the community, but he attends a school where English is the primary language. This linguistic duality is reflected in the novel. While most of the text is in English, certain elements, such as chapter numbers, curses in dialogue, and words without precise English equivalents (like curandera), are in Spanish. For readers unfamiliar with Spanish, the context usually provides enough clues to understand the meaning, though a Spanish-English dictionary might be useful for exact translations. Anaya mentioned in an interview with Feroza Jussawalla that writing in English felt more natural because he "was brought up and educated in this language"; however,
Most of us Chicanos in the Southwest are surely bilingual. So it comes naturally sometimes to shift back and forth. But it is more important to use the rhythms of Spanish in our work, the rhythms of Spanish in the Southwest, which is a unique blend of Spanish.
The language in the novel is essential to its impact, aiding in character development and establishing a realistic setting that reflects the multicultural world Tony navigates.
Setting
The setting of the novel also highlights the divisions in Tony’s life. Literally, the story is set in a village in New Mexico, in the Southwestern United States, during the mid-1940s. This setting symbolizes various divisions or borders in Tony's experiences.
First, the Marez home is situated on the outskirts of the village. Tony’s mother desired a house within the village itself, but his father prevailed, and they bought land across the river, on the edge of the llano, or plains. Farming is tough here, but Gabriel Marez feels a connection to the freedom of the llano. Additionally, Las Pasturas and Puerto de Luna are towns located in northern New Mexico. The southern border of New Mexico touches Mexico, and Tony’s world is influenced by a blend of Hispanic, Indian, and Anglo cultures. Lastly, the novel's timeframe also represents a border: early on, World War II concludes, and Tony’s brothers return from the war. Although the war was fought far away, it deeply affects the villagers' lives. For instance, when Lupito returns, he is said to suffer from “war sickness,” leading to tragedy. Tony’s three brothers come back home, but having been exposed to the wider world, they are no longer satisfied with their small village life.
Literary Qualities
Much of Tony's understanding of his past and future comes through dream sequences. In these dreams, Anaya employs stream of consciousness and flashback techniques, enabling Tony to recall his life and express his confusion about his place in the world. In one dream, he remembers being in his mother's womb and the moment Ultima delivered him. Another dream involves Lupito and the soul's journey to the afterlife. He also foresees Ultima's death in a dream. There are ten dream sequences in the novel, each related to events in Tony's life, but they often distort the context. Like myths, these dreams help Tony understand how his personal experiences connect to the cosmos. They unravel like myths and aid Tony in making sense of the world around him.
Cuentos, or the myths and legends of the people, greatly influenced Anaya during his childhood. He was fascinated by their mystical elements, and he weaves these stories into his plot to add depth and complexity. The Legend of the Golden Carp is a tale about creation and reincarnation, teaching Tony how to reconcile Catholicism with paganism. The Golden Carp represents a god, akin to the Aztec god Quetzalcoatl and Jesus. All three— the Golden Carp, Quetzalcoatl, and Jesus—died to save their people's souls and possessed the power to protect or punish. Tony learns about the carp around the same time he is exploring the Catholic faith, and the legend helps him build his faith without abandoning one belief system for another. The Legend of the Golden Carp affirms the soul's journey in the afterlife and solidifies Tony's understanding of spirit. Tony is eager to teach his friend Florence about the Golden Carp "to give him something to believe in," but Florence drowns before he gets the chance. Through Florence's death, Tony sees the truth in the legend, gaining a deeper comprehension of God and spirit.
Mythology explores fundamental questions about our purpose in life and provides insights into the nature of God and the movement of spirit in our world. Anaya uses various myths and legends to make Tony aware of the spiritual realm. These ancient stories and traditions help explain our identity, aiding Tony in his journey of self-discovery. They also highlight the mystical aspects of Latino culture. Anaya's use of symbolism further conveys the mystical qualities of both Latino culture and the physical world. For example, Ultima's owl possesses "a powerful, protective spirit," similar to Ultima herself. The owl represents her soul, enabling it to distinguish between good and evil. It appears after Lupito's death, offering comfort to Tony during his grief for Lupito's soul. The owl frightens away animals the night Ultima heals Tio Lucas, hoots in warning when Tenorio threatens Ultima, and even gouges out Tenorio's eye. The novel's climax is marked by the death of Ultima's owl. Tenorio eventually kills the owl, thereby destroying her protective spirit. This event foreshadows Ultima's own impending death.
Compare and Contrast
1940s: During World War II, the U.S. population, including residents of New Mexico, is predominantly found in small towns and rural areas. In 1940, thirty million Americans live on farms.
1970s: After World War II, people start migrating to large cities as farming becomes more centralized, making it less feasible and profitable for family-run farms. Many, including numerous Hispanic Americans, work on large, factory-like farms owned by major landholders.
Today: By the late 1980s, the rural farming population has decreased to about five million. Currently, the trend continues with a few large-scale, corporate-owned farms dominating the industry.
1940s: During World War II, there is widespread support for the war effort among Americans. Following the Great Depression of the late 1920s and 1930s, the war becomes an economic catalyst, uniting the country under a common cause. Thousands of Americans contribute to the war effort in both civilian and military capacities, and returning soldiers are celebrated as heroes.
1970s: When Anaya publishes his first novel, the United States is deeply involved in the Vietnam War. The Vietnam War shifts many Americans' perceptions of conflict: it is the first war broadcast on television, and the violence shocks many viewers at home. Additionally, there is widespread discontent, particularly among draft-age students, over U.S. involvement.
Today: More recently, the United States has participated in several shorter military engagements, including the Gulf War in the early 1990s and the United Nations mission in Kosovo. Today, many people expect war to be “cleaner” than World War II and Vietnam due to advanced technology enabling precision-guided munitions. However, casualties remain an inevitable reality of war.
1940s: According to the U.S. Census Bureau, in 1940, there are 1.6 million people in the United States classified as “persons of Spanish mother tongue.”
1960s: César Chávez organizes primarily Hispanic farm workers in California, leading to a cohesive movement and national awareness of many issues facing Hispanics. By 1970, the population of people with Spanish surnames is reported to be 9.1 million.
Today: The Hispanic population grows by 63 percent between 1970 and 1980 and by 53 percent between 1980 and 1990. Today, Hispanics constitute about 10 percent of the U.S. population and 40 percent of New Mexico's population. The Hispanic population is projected to reach nearly 40 million by 2010, bringing increased political influence.
Media Adaptations
In 1982, Rudolfo Anaya recorded excerpts from Bless Me, Ultima and his novel La Tortuga for American Audio Prose Library.
For Further Reference
Anaya, Rudolfo. Keep Blessing Us, Ultima: A Teaching Guide for Bless Me, Ultima. Edited by Abelardo Baeza. Austin: Eakin Press, 1997. This is a guidebook for educators teaching Bless Me, Ultima in their classrooms.
Andrews, Tamra. Legends of the Earth, Sea, and Sky: An Encyclopedia of Nature Myths. Santa Barbara: ABC-CLIO, 1998. This resource is valuable for comprehending the importance of nature myths and can inspire ideas for essays and projects.
Clark, William. "Rudolfo Anaya: The Chicano Worldview." Publishers Weekly (June 5, 1955): 41-42.
Daghistany, Ann. "The Shaman, Light and Dark." In Literature and Anthropology. Edited by Philip A. Dennis and Wendell Aycock. Lubbock: Texas Tech University Press, 1989, pp. 193-208.
"Rudolfo A. Anaya: Bless Me, Ultima." In Literature and Its Times: Profiles of 300 Notable Literary Works and the Historical Events that Influenced Them, Volume 4: World War II to the Affluent Fifties (1940-1950s). Detroit: Gale, 1997.
Stavans, Ilan. The Hispanic Condition: Reflections on Culture and Identity in America. New York: HarperCollins, 1995. This book explores the history, culture, and identity of Latinos in the United States, addressing themes similar to those in Anaya's work.
Trotter, Robert, and Juan Antonio Chavira. Curanderismo: Mexican American Folk Healing. Athens: University of Georgia Press, 1981. This book examines Mexican American folk healing from the perspective of a curandera apprentice.
Bibliography and Further Reading
Sources
Gonzalez, Ray, “Desert Songs,” in Nation, Vol. 259, Issue 3, July 18, 1994, p. 98.
Jussawalla, Feroza, ed., Interview with Rudolfo Anaya, in Interviews with Writers of the Post-Colonial World, University Press of Mississippi, 1992, pp. 17–46.
Kanoza, Theresa M., “The Golden Carp and Moby Dick: Rudolfo Anaya’s Multi-Culturalism,” in MELUS, Vol. 24, No. 2, 1999, p. 159.
Larson, Charles R., “Summer of the Curandera,” in World & I, Vol. 9, No. 8, 1994, pp. 324–30.
Lomeli, Francisco A., and Donaldo W. Urioste, Chicano Perspectives in Literature: A Critical and Annotated Bibliography, Pajarito Publications, 1976.
For Further Study
Clark, William, “Rudolfo Anaya: ‘The Chicano Worldview,’” in Publisher’s Weekly, Vol. 242, No. 23, June 5, 1995, p. 412. This article provides an overview of Anaya’s life and works and includes an interview conducted at his home in New Mexico.
Taylor, Paul Beekman, “Chicano Secrecy in the Fiction of Rudolfo A. Anaya,” in Journal of the Southwest, Vol. 39, No. 2, Summer 1997, pp. 239–65. Taylor examines how Anaya incorporates elements of two cultures, languages, and traditions to delve into themes of secrecy in his fiction. Secrecy is portrayed as a form of resistance against the dominant culture, serving as an “effective weapon against the tyranny of Eurocentric political, technical, and cultural hegemony.”
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