Living оnly оne Love Story even after the Death

If we have in mind these conceptions which have settled in the human knowledge through the different cultural influences, then it seems we will, in an appropriate place, readdress the woman letter “which is at the same time work in the text as researching the possibilities and the forms, and through that an emphasis on the signifying, grammatical and prosodic researches, cross-textual procedures, erasing of the genres. Moreover, at the end, in the text written by a woman the Cartesian dichotomy of the body and the spirit is abolished. The body becomes not only a theme but a motif for writing and a principal for its structuring.” (Popovic-Perisic, 1988:49)
Laura Eskivel masterly situated in the First chapter all the elements relevant for the story of her novel.
1. Right after the neutral, impersonally written text for the first recipe in the novel, in the part titled as The method for preparing, L E. is taking the opportunity in the I– statement (Dice the onion. I advise you to put it in the meat-mincing machine to avoid the unpleasant tears shading during the dicing of the onion) to point to the identity of the narrator. In fact, the narrator (My mother was telling me that I was sensitive to onion, as Tita, my mother’s aunt, who as a niece, as a part of a family and its history verifies herself as a resourceful narrator. But besides the fact that L.E. subtly, by retelling is nuancing the all-knowing narratory position with the fact that the events have been originally told to the niece (They say that Tita was so much sensitive) and she narrates them, the past tense forms are felt as an alibi for a generation incongruity of these two characters, who are functioning as double in the binary structuring of the characters of the novel. (My mother was telling me I was sensitive to onion as well as Tita, my mother’s aunt, says the narrator at the beginning of the novel and: … maybe because I am sensitive to onion, as Tita, my mother’s aunt, who will live until there is someone who will cook by her recipes, concludes at the end of the novel.) This metadescriptive frame points to the double nature of the discourse on the recipes in the structure of the novel. This, on one hand, complies with Bakhtin saying that all the genres included in the novel bring in their languages and they compose the linguistic unity of the novel and deepen the verbal diversity in a new way. (…) The genres introduced in the novel can be directly intentional, and can be entirely objective, i.e. entirely deprived of the author intention – not by what is said, but by what is shown, as an object, in one word – but they most often, in various degrees, break the author intentions, while their particular moments can get distant at different points, from the last meaningful instance in the work (…) they bring in their languages, but these languages are important as object–producing standings, deprived of literary condition and who expand the literary-linguistic horizon, help in conquering new worlds of the verbal consciousness in the literature already touched and partially conquered in others non literary spheres of the linguistic life (Bakhtin, 1989: 81-84), and on the other hand, it is ciphered text, it is in fact, the love discourse of Tita, who with the embodied letter, with the prepared food, adequate to the god’s table, according to Pedro’s admitting, shows her love.
2. Laura Eskivel shows the chronotopos of the kitchen related to the person of Tita (Thus, from that day, Tita stepped into the kitchen, where she was growing healthy and joyful with corn meal and tea; The one that has met the life through the kitchen, can hardly understand the outer world). According to Bashlar the house symbolizes the inner being. The floors, the attic and the cellar symbolize the different levels of the soul. The cellar corresponds to the unconscious, and the attic to the spiritual ascension. In that sense, the psychoanalysis reveals the different meanings of the dreams, and the kitchen, particularly, symbolizes the alchemical changes, the psychic transformations and the inner development. (Chevalier, J. Gheerbrant: 1983)
3. She points at the relationship of mother:dother, at the deadly symbiosis with the mother, extremely important for the plot (it motivates future coldness on the part of the mother in the biologically uninstalled link in the early childhood of Tita: Elena, the mother was so distressed she lost her milk; the inhumanity, the egoism and the superiority of the mother is emphasized in the dialogue on Pedro’s proposal: You know, yourself, that as a youngest girl in the family you have to look after me until my death; the aggressive, uncompromising authority that does not allow the logic of the arguments of others – as attributes to the character of the mother Elena are pointed in the sequence where the perfectly made dress should be unstitched and remade by her rules);
4. Laura Eskivel in the core of her novel has situated love as a spiritus movens. She may provoke the impression of melodramatic and pathetic treatment of the subject at many readers. But that impression should be checked because we must agree that the life as well the literature have proofed to live just one love story until death will be still a privilege to some persons. There is no reason in fact, to assume that tomorrow they will be less than from yesterday. (Badenter:1988:264)
It is interesting that the novel of Laura Eskivel does not employ the stereotype: the man is leaving and there, the play and the literature begin. (Popovic-Perishic,1988:73) Pedro stays beside his loved one, as close as his refused marriage proposal allows, and this staying which can appear as a man pragmatism is transforming itself into moving agent that uncustomizes the motif of the forbidden love because the temptations, obstructions, prohibitions are the preconditions for passion. (Badenter:1988:253) And Pedro is forbidden to express his admiration for the food that Tita prepares with so much love. Elena, the mother, inhibits that loving, seemingly safe dialogue with the categorical demand to Pedro not to compliment Tita’s food. Especially, because it has been known for so long that ways to man’s heart lead through his belly. But this phraseology is just casually realized coincidence, since Tita and Pedro will find the love firs, and then they will find the coincidence of the erotic and the gastronomical in testing the food during their obstructed love communication.