Sublime Elements in Like Water for Chocolate by Laura Esquivel

The images in the movie relate very closely to the amusing feeling the book gives us, giving us a high angle on the guests and long shots, showing us collectively how everyone was crying. At that night Nacha dies, and shatters Titas world. Later on Pedro gives Tita roses, and she decides to make quail in rose. The passion dripped from her to the dish, and made Gertrudis the older sister think of sinful thoughts. The aroma arousing from her reaches to a soldier Juan, who was Gertrudis dream, the moment is described magically: “A pink clod floated toward him, wrapped itself around him…naked as she was, luminous, glowing with energy… without slowing his gallop, so as not to waste a moment, he leaned over, put his arm around her waist, and lifted her onto the horse in front of him, face to face” (pg 55-56). The movie draws a great parallel here, the picture is blurry a little as if it is a dream, and for the first time in the movie, which is very dimly lit and poorly lighted, the picture is bright, with a flowing movement of the two as they disappear. One of the most significant moments in the book is when Tita delivers Rosauras baby Roberto, the thing she loved the most. In the movie however, the whole phase of taking care of Roberto in the kitchen and feeding him is very brief, which is very confusing for later scenes. As mama Elena senses that Pedro and Tita might have an affair going on, she sends them to one of her relatives in the United States.

“You know perfectly well that being the youngest daughter means you have to take care of me until the day I die.” (10). This statement shows how Tita is being oppressed not by mama Elena choice but family tradition. Like Water for Chocolate by Laura Esquivel concentrate into the stories of the women of De La Garza. Tita the main character aim to find love, happiness and independent, and Elena De La Garza the antagonist who will stand in the way of Tita happiness and would do anything in her power to stop Tita to fulfil her goals which is to find true love with Pedro. This mother and daughter relationship was predestined since the day when Tita was brought up into this world, and her father’s sudden death. Mama Elena was the opposite of a loving, caring women she never had a relationship with Tita. While Tita formed a relationship with food that gives her the strength, and love she never experienced before. The women of De La Garza experienced many challenges in this strict societies. All the women expected to follow an oppressive family tradition.

Tita 's fear and her dislike towards her mother is also clarified in the film when Tita, as a child, hides behind Nacha 's apron as soon as Mama Elena enters the kitchen. Tita 's resistance to Mama Elena 's cruel demands are evident again when even after Mama Elena scolds her and orders her to stay away from Pedro, she is still happy knowing that Pedro still loves her:

The title of this novel, Like Water for Chocolate, is also a simile for the burning passion Tita and Pedro had for each other. In Latin countries, “like water for chocolate” mean to boil water to the right temperature in order to make chocolate milk. Figuratively it is a metaphor for state of sexual arousal. Despite their true love for each other, Tita and Pedro had to restrain their feelings under the eyes of society. Their love is like the boiling point of water.

Esquivel applies suspense in the passage expressing Titas fears of becoming pregnant the night Pedro followed her into the darkroom. She has yet to tell Pedro but instead of worrying, she decides to focus on preparing the Kings’ Day Bread for her guests. Being aware of the situation, she knows she will have to cancel her engagement to John Brown, given that she is no longer a virgin. Esquivel uses tradition as a reason of why Tita feels so horrible with losing her purity of the white flower and not being holy in God's eyes. While Tita makes the bed, she remembers the King’s Days of her past. As a girl, she would always receive something Mama Elena wanted her to have on King’s Day instead of the gift she herself

Georgiana had always lived with the birthmark, and was quite fond of its charm. Many people in the town believe it was a fairy’s handprint left to sway all hearts; to them the mark only magnified her appeal. The mark’s charm had rarely been questioned by anyone other than the jealous women of the town, and its peculiar nature had once intrigued Aylmer and amplified his attraction to Georgiana. He begged for her hand in marriage, but soon after they were wed, he queried whether Georgiana had ever considered having the birthmark removed. She was hurt by the implication that the mark depreciated her and grew upset with her husband. As time passed, Aylmer continued to stare at the mark, unable to keep his eyes from wandering to it. This continued until Georgiana was no longer able to ignore the way his eyes were always fixated on this sole imperfection, the crimson hand that kept him up at night and plagued his dreams. She asked Aylmer to remove the mark, or take her life because she no longer wanted to live if she had to live with the mark. She preferred death to the harsh scrutiny from her husband.

Like Water for Chocolate is Laura Esquivel’s original romantic love story and is often dubs as the Mexican Romeo and Juliet. In just 246 pages, Esquivel creates a breathtaking work of art, strategically incorporating love, desire, nurture, and feminism. This novel is famously known for its magical realism, a device Esquivel uses in order to justify the perception of the novel and to make extraordinary concepts seem normal. In other words, it is the glue that holds the book together. The novel’s magical realism, helps define lust by incorporating the element of fire. By adding magical elements into the day-to-day life, readers can critically analyze the characters and thus understand their thoughts and actions.

Cruelty and violence have been often a solid influence with Mama Elena towards Tita. The psychological damage that Mama Elena cause Tita took effect after, Tita heard news of the death of her nephew Roberto. According to the chapter five (99) in the month of may. Mama Elena took a wooden spoon and smashes Tita across the face. The act of cruelty and the violent behavior of Mama Elena. In addition to Mama Elena attitude toward the death of her grandson being callous and tactless. This causes Tita to hide in the dovecote overnight. Where the psychological damage began to surface. When the Dr. Brown came to retrieve Tita from the dovecote, only to find Tita there naked with a broken nose and holding a dead pigeon. Tita then became suffer in silences for the next coupled of months. Instead of Mama Elena seeking professional help for Tita to get better, Mama Elena suggested that Tita be taken to the asylum.

In Julia Alvarez “In the Time of the Butterflies”, she creates the life of the Mirabal sisters through a very detailed historical account. Julia Alvarez created her own version of the Mirabal Sisters, with the help of the only remaining sister Dede and the daughter of Minerva Mirabal Minou. Alvarez was able to write the novel in her own imagination. As

Additionally, the sorrow that Tita felt was also unintentionally transferred to others. . Specifically the wedding cake in which she managed to communicate her longing and sadness to Rosaura and Pedro 's wedding guests. As she prepared the Chabela Cake, her tears fell into the batter and icing. "The moment they took their first bite of the cake, everyone was flooded with a great wave of longing...Mama Elena, who hadn 't shed a single tear over her husband 's death, was sobbing silently. But the weeping was just the first symptom of a strange intoxication-an acute attack of pain and frustration-that seized the guests and scattered them across the patio and the grounds and in the bathrooms, all of them wailing over lost love" (Esquivel 39). The tears affected everyone at the wedding banquet with longing for lost loves, so much so that they become physically sick. They were literally love sick and Tita was responsible even though she had no idea what she had just done. In the same manner, even though Tita didn’t actually make the hot chocolate from story’s title "Like water for chocolate", it still symbolizes her biggest emotion. It is learned that once she hears Rosaura tell Alex about

Following, we learn that Mama Elena has no milk to feed Tita, which makes Nacha, the family cook - her official caretaker as she replaces Mama Elena. This is important to point out because the initial separation of the two main characters is quite evident; there is no mother-daughter bond that should have been established, Mama Elena doesn’t have time to worry about her, “without having to worry about feeding a newborn baby on top of everything else.” (7) We grow to understand why Tita forms other vital bonds with Nacha, and of course the food that surrounds her daily, helping her not only to grow but acts as an outlet for her emotions. “From that day on, Tita’s domain was the kitchen…this explains the sixth sense Tita developed about everything concerning food.” (7) From the beginning, Tita is given barely any freedom, she is given a purpose, she will not marry anyone until Mama Elena is alive, she is to look after her, which becomes a great conflict when the love of her life, Pedro, is to marry her sister, Rosaura, and not her. Mama Elena wants to hear nothing about Tita’s frustration. Mama Elena herself has lost her true love and because of it is insensitive to Tita’s love with Pedro. The reaction of each woman to her predicament helps explain the opposite characters. Mama Elena lets the loss of her young love turn into hatred for anything but tradition, and

An oppressed soul finds means to escape through the preparation of food in the novel, Like Water for Chocolate (1992). Written by Laura Esquivel, the story is set in revolutionary Mexico at the turn of the century. Tita, the young heroine, is living on her family’s ranch with her two older sisters, her overbearing mother, and Nacha, the family cook and Tita’s surrogate mother. At a very young age, Tita is instilled with a deep love for food "for Tita, the joy of living was wrapped up in the delights of food" (7). The sudden death of Tita's father, left Tita's mother's unable to nurse the infant Tita due to shock and grief. Therefore Nacha, "who [knows]

The phrase “mother knows best” refers to maternal instinct and wisdom. It is often used to describe how mothers are the most knowledgeable when it comes to their children’s needs. This cliche is frequently used by mothers who try to guide their children on the path towards success, especially when the child protests. Tita’s mother, Mama Elena, embraces this expression fully, and always pushes Tita towards what she believes is the road to achievement. Mama Elena is perhaps one of the best portrayals of “tough love” in a character in literature. Like Water for Chocolate’s author, Esquivel, depicts Mama Elena as a strong, independent woman who does not bother with things she deems insignificant. This translates to the reader through the decisions and actions Mama Elena makes throughout the book. Her disregard for emotions is often the reason why her actions are misunderstood by readers who claim that she is a cruel, unrelenting mother who is apathetic to her daughter’s suffering. However, this is not the case, as Mama Elena never acts without reason and only goes out of her way to discipline Tita when she believes that Tita is in the wrong. The readers see her go to great lengths to protect Tita numerous times, although these instances are often hidden behind her less than pleasant words, such as when she tries to shield Tita and Nacha from the rebels who were known to frequently terrorize families and rape women. Despite being a strict and unforgiving mother, Mama Elena’s

From the very first page of Laura Esquivel's Like Water for Chocolate it is clear that the real world in which her characters inhabit shall be greatly exaggerated. When Esquivel's narrator describes Tita as being so sensitive to onions that “when she was still in my great-grandmother's belly her sobs were so loud that even Nacha, the cook, who was half deaf, could hear them easily.” (Esquivel, p. 5) the reader encounters something at once refreshing, as is always the case when one experiences the supernatural where least expected, and yet ancient at the same time. While Esquivel could have attempted to tell her story, really the tale of a (mostly) unrequited love, in a straightforward manner, the casual inclusion of the extraordinary places it immediately in the tradition of magical realism.

From the day Tita entered the world, her fate was sealed with the De la Garza’s family tradition, which lead to the cause of her pain and suffering from the hands of her mother, Mama Elena. Tita and Mama Elena’s estranged relationship was oppressed with complications from Tita’s premature birth and the sudden death of her father, which caused Mama Elena to reject her nurturing nature and discard bonding with Tita. Although Tita’s emotions would leave her in a weakened mind state, her determination towards breaking the brutal convention, she is faced with, would begin to display her strength, through her visualization of a fulfilled life without the criticism of Mama Elena. While Tita