Laura Esquivel's novel, The Law of Love, emerges as a unique amalgamation of genres and artistic expressions, blending elements that range from suspense and science fiction to psychoanalysis and New Age philosophy. This narrative tapestry is enhanced by multimedia elements, including a complementary CD and vivid illustrations, inviting readers into a broad sensory experience. The text’s oscillation between various styles and mediums creates an inventive, albeit overwhelming, narrative structure.

Innovative Structure

The Law of Love defies conventional storytelling through its integration of diverse media and stylistic forms. Accompanied by a CD featuring Puccini arias and Mexican danzones, the novel periodically instructs readers to engage with specific tracks, thereby entwining music with the unfolding narrative. Spanish artist Miguelanxo Prado contributes to this sensory fusion with vibrant illustrations that punctuate the text, adding layers of meaning and emotion. Poetry interspersed within the story further enriches the reader's experience, reinforcing thematic elements and enhancing the narrative's fantastical nature.

Magic Realism and Futuristic Elements

Esquivel employs magic realism, a well-known technique popularized by Gabriel Garcia Marquez, which juxtaposes the extraordinary with the mundane. In The Law of Love, this approach is merged with futuristic technology and New Age philosophy, creating a narrative that explores themes of love and self-discovery. Key moments in the novel involve regressions into past lives, uncovering critical information that aids characters in achieving harmony in their present existences. Futuristic inventions, such as televirtual sets and photomental cameras, play a crucial role in facilitating these discoveries, allowing characters to witness past events and confront truths about themselves and others.

Imagery and Symbolism

The Pyramid of Love serves as a central symbol, its destruction and eventual restoration mirroring the cosmic and personal chaos experienced by the characters. The narrative begins with the Spanish conquest of Tenochtitlan, disrupting the "Divine Will" and throwing the universe into disarray. As the story unfolds, the reestablishment of harmony hinges on the restoration of the Pyramid's capstone. This act, driven by the protagonist Azucena, symbolizes the redemptive power of love and the return to cosmic order. New Age mysticism interlaces with this symbolism, particularly through the philosophies espoused by the angel Anacreonte, who underscores the necessity of releasing negative energy to make way for love.

Genre Blending

Esquivel's narrative structure compartmentalizes its diverse genres rather than weaving them into a seamless narrative fabric. This approach results in a dynamic, if somewhat disjointed, reading experience. Chapters fluctuate between metaphysical lectures by angelic and demonic figures, suspenseful plots of political intrigue, and psychoanalytic sessions that delve into characters' past lives. Critics have varied in their reception, with some praising the creativity and others finding it "wildly inventive and slightly silly" for its energetic yet clichéd execution.

Sensory Engagement Through Music

Music emerges as a vital thematic and sensory element within the novel, breaking through psychological barriers and unveiling hidden memories. The opening chapter introduces Teo, the Divine Singer, whose performances encapsulate the mystical power of music. Throughout the story, music serves as a conduit for emotional and cognitive exploration. Although opera arias seamlessly enhance the narrative's emotional depth, the integration of popular Mexican danzones has been critiqued for their less cohesive contribution, occasionally distracting from the story's flow.

Psychoanalysis and Self-Discovery

Psychoanalysis becomes a pivotal narrative device, providing insight into characters' inner worlds. Sessions between Azucena and Rodrigo aboard a spaceship highlight the therapeutic release of past traumas and negative emotions. Esquivel cleverly incorporates nonverbal elements, using music and graphic art to deepen these explorations, inviting readers to experience the characters' emotional journeys. This multimedia approach is exemplified in sequences where music and visual art coincide, effectively...

Readers may find themselves passionately divided over the Law of Love that unfolds within these pages, and the myriad storytelling techniques Esquivel employs to bring her narrative to life. Here, spiritualism and mysticism are woven into the fabric of the tale, igniting discussions bound to be both spirited and profound. The eclectic blend of writing styles, intertwined with music and graphic art, offers a rich tapestry that invites deeper exploration.

Exploring Esquivel's Universe

1. Do you embrace Esquivel's Divine Love as the pinnacle of existence? Which facets of her imagined cosmos captivate your senses most? Which leave you wanting? Is her depiction intended as a manifesto for an ideal world?

Plot Analysis

2. One critic dismisses the plot of The Law of Love as "impossibly complicated and silly," while another lauds its "inventive twists" that delight and uplift. How do you perceive the plot's enjoyment, intrigue, and effectiveness?

Female Protagonists

3. At the heart of this story are Isabel, Azucena, and Citlali—all women. What remarkable traits does each character exhibit? How do their journeys intertwine? Does their portrayal reflect a broader statement about women?

Male Characters

4. The male characters remain underdeveloped, even Rodrigo. Why might this be? What roles do men fulfill in the narrative? Are we led to examine contrasts between the masculine and feminine?

Reincarnation and Morality

5. Esquivel finds solace in reincarnation, believing it ensures that wrongdoing does not go unpunished, compelling villains to atone. Does her Law of Love deliver justice to evil?

6. Despite the theme of reincarnation, Esquivel begins with: "When do the dead die? When they are forgotten. When does a city vanish? When it fades from memory. And when does love end? When one loves anew. Of this, there is no doubt." How do these ideas resonate with the book's overall message? Are memories better left to fade, allowing for new beginnings? Does reincarnation negate the notion of finality?

Cultural Enhancements

7. How do the arias and melodies on the accompanying CD deepen your appreciation of Esquivel's work? What would be missing without this musical dimension?

8. What impact do the graphic novel elements have? Do they enhance your understanding or enjoyment? Why are they essential to the narrative?

Futuristic Society

9. Is the futuristic society depicted in The Law of Love a conceivable future for our world? Which elements feel particularly relevant? Do any aspects strike you as implausible? Why did Esquivel choose the twenty-third century as her setting? Is she cautioning us?

Concluding Thoughts

10. Are you content with the "happily ever after" resolution of the tale? Would you have altered the ending in any manner?

Spanning the grand Aztec Empire's zenith and the philosophical intricacies of karma and reincarnation, this exploration traverses the rich tapestry of history, belief, and fiction. From the heights of Tenochtitlan to the dystopian visions in The Law of Love, the threads of time weave a narrative that examines the profound themes of power, morality, and love. Through these lenses, we witness the cyclical nature of human endeavors and the perpetual quest for meaning and redemption.

The Ascendancy and Fall of the Aztecs

In the annals of history, the Aztecs stand as a testament to the heights of civilization achieved through perseverance and innovation. By the end of the twelfth century, the Aztecs had arrived in Mexico as a destitute, nomadic tribe, gradually assimilating the cultures and practices of their neighbors. This assimilation laid the groundwork for the emergence of a mighty empire, which, by the fifteenth and early sixteenth centuries, had developed a distinct and sophisticated culture. Renowned for their prowess in engineering, architecture, and art, the Aztecs also made significant advancements in mathematics and astronomy. Their artistic output, rich in sculpture, weaving, and metalwork, served to document their history while expressing their cultural identity.

However, this zenith was not to last. In 1519, the Spanish, led by Hernan Cortes, arrived as the Aztec civilization reached its peak. Discontent among subjugated neighboring tribes made possible the Spanish conquest, as many tribes allied with Cortes against the Aztecs. Montezuma II, the last sovereign Aztec ruler, was captured, and the Spaniards attempted to govern through him. Yet, when the Aztecs revolted in 1521, Montezuma was killed, and Tenochtitlan was razed, marking the end of an era.

Karma, Reincarnation, and Moral Philosophy

In stark contrast to the historical narrative of conquest and fall, the philosophy of karma and reincarnation offers a different lens through which to consider human actions and their consequences. Central to Hinduism, Buddhism, and New Age thought, karma posits a universal law of moral cause and effect, independent of a divine arbiter. This philosophy emphasizes free will, asserting that individuals are wholly accountable for their actions—both mental and physical—and these actions shape their destinies in future lives.

Reincarnation, the process by which the soul assumes a new body after death, ties directly to the concept of karma. While some belief systems propose that the soul may return in various forms, most maintain that it remains within the same species. Through reincarnation, the soul carries the weight of past actions, and the opportunity exists to rectify past wrongs, underlining the cyclical nature of moral development and atonement.

Exploration of Love and Redemption in Fiction

Set in a speculative twenty-third century Mexico, Laura Esquivel's novel The Law of Love reflects on these themes of historical and philosophical significance. Through its narrative, the novel juxtaposes the brutal past of the Spanish conquest with a futuristic society striving to right historical wrongs. The story navigates a journey through time, beginning with the violence of the conquest as Rodrigo, an officer under Cortes, commits heinous acts against Citlali, a noble Aztec woman.

Rodrigo's actions set off a chain of tragic events, culminating in the murder of Citlali as well as Rodrigo’s own descent into madness and suicide. These events unravel through a series of reincarnations, illustrating the characters' paths toward atonement and eventual reconciliation. Central to this narrative is Azucena, who, through cycles of rebirth, becomes the key to restoring the Law of Love, a unifying force that seeks to transcend the historical and personal wounds of the past.

"I don't know if it [reincarnation] exists, but it's very hopeful for me to think that it does. To think that those corrupt politicians, this bunch of murderers, will not go without being punished. That hope gives me peace. We live at a time when human rights are disdained and there is absolutely no punishment for that. It's a big consolation for me to believe that atrocities will not go unpunished. Hell has a problem: There's no opportunity to learn there. If you make a mistake, it's for all time. Reincarnation allows for making things right."

Social Critiques and Future Visions

Beyond personal narratives of redemption, Esquivel's work critiques modern societal issues. Her concerns reflect a disillusionment with a world preoccupied with economic gain at the expense of ethical considerations. In interviews, she expressed dismay at the environmental degradation and existential crises facing contemporary society, emphasizing the need for humanity to reassess its values.

Within the novel, Azucena's futuristic society mirrors and amplifies present-day problems—bureaucratic red tape, technological dependency, and entrenched class divisions. Despite technological advancements, citizens face onerous administrative hurdles, as Azucena experiences firsthand while navigating a bureaucratic maze. Although technology nearly eradicates violent crime, its capacity for misuse—such as erasing a person's past—highlights the persistent ethical dilemmas that accompany progress.

Moreover, class and ethnic disparities persist in this imagined future, with divisions between Evos and non-Evos, and cultural misunderstandings that echo the historical tensions of the Aztec and Spanish interactions. However, Esquivel envisions a resolution through the unifying power of divine love, a force capable of bridging societal and personal divides.

"Isabel continued to live in Spain, Citlali in Tenochtitlan. . . . Neither of them could recognize herself in the eyes of the other. Neither of the two shared a common landscape. Neither of the two could understand what the other said. And this was not a matter of comprehension, it was a matter of the heart, for that is where words acquire their true meaning. And the hearts of both were closed."

The narrative concludes with a symbolic act of reconciliation, as the Temple of Love's restoration promises to heal the divisions that have long plagued humanity. Through historical reflection and philosophical discourse, the intertwined tales of the Aztecs, karma, and futuristic fiction offer insights into the enduring human quest for harmony and understanding.

Esquivel's Literary Worlds

Esquivel's two novels, Like Water for Chocolate and The Law of Love, serve as vibrant mirrors reflecting the author's personal journeys at the times of her writing. Her debut work, steeped in childhood memories and cultural traditions, masterfully entwines the realms of fantasy and reality to craft a tale of love that is as unique as it is enchanting. Conversely, her second novel delves into the depths of mysticism and a quest for harmony, advocating a profound philosophy of Love that transcends human boundaries. While both narratives center on love, the differences between them are strikingly profound.

Perspectives on the Past

Although both novels celebrate and revere the past, they explore contrasting ideas of what the past encompasses. In Like Water for Chocolate, the past is a tapestry woven from the threads of childhood and life’s early encounters. However, The Law of Love introduces reincarnation, shifting the lens to a multitude of past lives, potentially spanning 14,000 reincarnations. The pathways to reconnect with the past are equally divergent.

In Like Water for Chocolate, memories are awakened through sensory stimuli. This involuntary process sees certain aromas not only summon past recollections but also dictate present actions, as illustrated by the oxtail soup, onions, or roses. Conversely, in The Law of Love, past lives are unveiled through technological means—CDs, cybernetic Ouijas, and other devices—requiring a conscious decision. A character might ponder, "I need to reconnect with my past life," and resolve, "I should listen to music now." While the earlier novel relies on emotional triggers, the latter interweaves reason with emotion, maintaining the characters' control over the experience.

The Nature of Reality

Like Water for Chocolate immerses readers in a world of magical realism, where the ordinary and the inexplicable coexist seamlessly. The boundaries between these realms blur, allowing characters to effortlessly traverse different levels of existence. The universe itself facilitates this fluidity. In sharp contrast, The Law of Love eschews the unexplainable, grounding its narrative in scientific principles. The wonders it portrays are human creations, stemming from advances in physics, biology, and other scientific fields. While such inventions are not yet part of our reality, they seem plausible within the context of future scientific progress. This novel presents a singular world governed by the principles of Divine Love, a force that orchestrates peace and harmony, leaving no mystery unresolved.

Explorations of Love

At the heart of both novels lies the quest for love, yet the portrayal of love diverges profoundly. The passionate bond between Tita and Pedro in Like Water for Chocolate symbolizes the ultimate human experience. Their union ignites an intense brilliance that seems to transcend earthly confines, suggesting that love is destined to flourish in this world. Esquivel offers a glimpse of Divine Love as Tita and Pedro step into the ethereal tunnel at the novel’s conclusion. The metaphor of "lighting all one's matches at once" signifies a beautiful yet perilous ecstasy, hinting at mortality. Tita hesitates, aware of the irrevocable nature of such a choice, yet her legacy endures as long as her recipes are cherished.

In contrast, The Law of Love portrays romantic love as a stepping stone towards the divine. Passion serves to connect individuals to higher truths, preparing them for the embrace of the Law of Love. The concept of twin-souls, ordained by the divine, removes love from human control. Ultimately, the novel envisages a universal harmony among all beings, achieved when "bodies forget knife wounds, bullet wounds, gashes, kicks, torture, blows, and open their pores to caresses and kisses. Tear ducts prepare to shed tears of joy; throats to sob with pleasure; mouth muscles to trace the broadest of smiles; heart muscles to expand and expand until they give birth to pure love."

Sources

Cardwell, A. Scott, review, in Salon [online].

Hoffert, Barbara, review, in Library Journal, January, 1996, p. 81.

Houston, Robert, "Karma Chameleons,'' in New York Times Book Review, November 17, 1996, p. 11.

Review, in Kirkus Reviews, My 1, 1996, p. 917.

Pizzichini, Lilian, review, in Times Literary Supplement, October 18, 1996, p. 23.

Seaman, Donna, review, in Booklist, August 19, 1996.

Further Reading

O'Neill, Molly, ‘‘At Dinner with Laura Esquivel: Sensing the Spirit in All Things, Seen and Unseen,’’ in New York Times Book Review, March 31, 1993, pp. C1, C8.
In this interview Esquivel discusses the magical nature of food and the ‘‘spiritual underpinnings of modern daily life.''