Living оnly оne Love Story even after the Death

As to the narrative sequence on knitting the blanket the motif can be realistic one, found in the wedding customs (knitting dowry is cross-cultural and cross-national), but if we remind ourselfs that according to Mayas the Moon is a protector of knitting, that the etymology of the word text is linked with the process of knitting, then we have to read the nocturnal knitting of Tita as ciphered text in which the meanings are misty in the clearly visible message of many women in unhappy love. Those women who maybe were just sensing that “the love discourse characterizes with the uncertainty of its object. Do we talk about the same thing when we talk about love? What is love for me/for him? Can love be communicated? Isn’t love the only discourse that is possible only in first person?” (Popović–Perišić, 1988:69)
After the announcement of the love, after the refused marriage proposal, after the appointed engagement with her sister Rosaura, Tita is unhappy. Laura Eskivel illustrates her condition with the sensation of cold, with the coldness, so adequately, so womanly associating it with the repulsiveness to the white color, which represents the wedding of her sister with Pedro. The sensation of coldness communicates with the whiteness of the sugar in the kitchen while the wedding cake is being prepared and with all white things she has remembered from the past, even the night in that psychological moment is abolished by shining whiteness.
Truly: “… The love is sometimes sad, sorrowful as a death, overwhelming, deadly suffering, even more: the true love fills itself and measures itself by the pains and sufferings it sustains. The woman who loves would rather suffer the pain inflicted by the loved one than accepts the painless indifference”, (Ortega Y Gaset, 1989: 86) and the natural woman reaction are – tears.
The fantasia of Laura Eskivel uses that banal reaction of every pain, tears to make a wonderful effect. The wedding of Rosaura and Pedro (where the sister has a moral responsibility for the unhappiness of Tita because she has accepted the marriage with the man she knows can not love her) grotesquely turns over: almost with Rabelaian irony is depicted the scene of the collective vomiting of the guests who earlier enticed by the qualities of the cake were collectively crying! As if universally they consolidated with the sorrowful tears of Tita by which magically the wedding cake fetid (because she was crying while preparing the cake). Tita’s crying can be interpreted as a depressive hysteria as to Kristeva interestingly says: “The terror of the depressive hysteria often manifests itself with the mouth as aim. Many stories about the harem and the woman jealousy deal with women poisoners as privileged pictures of the female Satanism. The poisoning with food and drink after all reveals the other side of the furious witch, the girl without breasts.” (Kristeva, 1994: 106)
On the wedding night, mother Elena bashed her as never before. For two weeks she stayed in bed, getting better from the bashing. The reason for this severe punishment was the mother’s belief that Tita in conjunction with Nacha wanted to spoil the wedding and put something in the cake that caused the vomiting.
As soon as Pedro, receiving the congratulations uses the opportunities to say to Tita: “…because with this marriage I accomplished what I strove for: to be close to you, to the woman I love,” these two are stepping into higher phase of suffering, living their love and passion.
As a proof that the novel can argumentatively be labeled as a woman letter serve the sequences in which the reader finds about Pedro’s feelings by Tita’s focusing in their limited, impossible communication and by very rare, objective comments of the narrator: (By then Pedro has understood that he would not be able to avoid his obligation of stallion, so using the wedding cover, he kneeled beside the bed as in praying and said: “ God, it is not a sin, nor a lust, just to give you a son to serve you.)
For her characters, Tita and Pedro, Laura Eskivel simulates a parallel marriage which is all of fluid and eagerness. Without sexual contact, Tita becomes a real mother to Pedro’s son. She “participates” in his birth, with her inexperience, in panic she will help bringing her nephew in world, led by the valuable voice of Nacha who tells her all the important things that none has ever told her, and thus she has a motif to think that it was her own labor, her own physical experience.
The true physical link between mother and the child Tita will accomplish through the breast feeding, by which Laura Eskivel wonderfully connects several narrative threads, using this biological aspect of the woman in several directions: the lactation (except some pathological forms) is excluded in women that have not given birth, it is an evidence of the physical motherhood; with the milk that appears magically in her breasts, Tita adopts her nephew bestowing the first proof for security and love to him – the food that she has been given, in another form, by Nacha, with the same love and care. (“ the milk is a perfect symbol of the spiritual food.) The aspect of the good mother as one who is offering the milk of the truth, in contrast to the bad mother who is offering snakes as food. The suckling from the breast of the Mother of God is a sign of adoption and highest understanding. Hercules is breast fed by Hera, Saint Bernard by Virgin… (Chevalier, J.; Cheerbrant). By that line of motherhood Tita and Nacha are double, as Mother Elena and Rosaura are double concerning their lack of motherhood, so they are deprived of the lactation (in the moment they became mothers) which agrees with their psychological attributes.