The Feminist Review

Continuing an investigation of women-only spaces

Formation

In the book Like Water for Chocolate by Laura Esquivel, the ranch is a women-dominated space, though not a women-only space, as there are male workers on the ranch. While the De La Garza family is comprised only of women at the beginning of the story, Pedro is a family factor from the start – and soon marries into the family, as well. Still the family’s house – and importantly, its kitchen – is primarily occupied by women.

The home and family would not have been women-only without the death of Juan De La Garza. No one chose his death any more than he and Mama Elena chose not to have sons, so this women-only space came to exist through chance – or more likely for this story – fate. Though there is no official rule against men occupying the house or the kitchen (and in fact, Pedro does throughout the story), cultural gender roles, along with Mama Elena’s rules, keep the kitchen primarily women-only. These norms aren’t questioned by any of the women, though Gertrudes would certainly appreciate more interaction with men, and Tita would appreciate more interaction with Pedro.

Role in their lives

The women spend the vast majority of their lives in their home, and Tita is specifically in the kitchen or accompanying areas in her waking hours. Unlike the other women-only spaces I’ve considered so far, this one is a home.  This means that the women in the De La Garza family, especially Tita and Gertrudes, do not have regular contact with men at all (until Gertrudes leaves, of course). This means that their relationships with men are only functional – with ranch workers (and occasionally the doctor) and superficially social – at parties (that seem to be full of gossiping and shallow conversation). The first “meaningful” relationship either woman has with a man is with a romantic/sexual partner. Gertrudes comes to have many platonic relationships with men through her work in the revolution, as well. Tita forms a deep friendship with John (with romantic elements) but her primary relationship with a man continues to be with Pedro, even though they rarely speak with one another. She also has an important relationship with her nephew, but since he is an infant for the duration of their time together, I would not consider his gender to be a significant aspect of their relationship – not even functionally, since his implications for inheritance and lineage do not affect Tita.

Effect

While Mama Elena tells the priest “I’ve never needed a man for anything; all by myself, I’ve done right… Men aren’t that important in this life…” (80), she does not seem to find women important in this life, either. She is concerned with her own wellbeing and reputation, and therefore wants Tita to remain unmarried, and Rosaura to marry – these decisions have nothing to do with her daughters’ wellbeing or desires. Perhaps Mama Elena really means to belittle love, not men, since she has actually given up on any loving relationships. The text does not describe her own home, but we do know that her one romantic love ended tragically, and this seems like to be her reason for giving up on all love and relationships.

As Mama Elena sets the tone of this women-only space and home, it is not a space that affirms or empowers anyone. The only love seems to be between Tita and Gertrudes, and through her powerful cooking, Tita is enable to empower Gertrudes’ passion and help her seek happiness and fulfillment. Tita is affirmed especially by Nacha (even after Nacha’s death) and also by Chencha. The relationships between Tita, Rosaura and Mama Elena seem to make them all fairly miserable.

The tenor of this women-only space, with its disregard for love, does not contribute to women’s relationships with themselves, one another, or with men. Relating to the outside world is desirable in part simply to escape Mama Elena, but this is a side effect that does not benefit Rosaura, who dies, still miserable, at the ranch.

But perhaps I’m giving Mama Elena too much credit. This is Nacha’s space, too. This is Tita’s space. This is Chencha and Gertrudes’ home, at various points in the story. The love and legacy of Nacha keep Tita whole and full. Though she sacrifices her time and energy to serve the people around her, she does it because the kitchen is her refuge – cooking is her language. She certainly longs for Pedro, but she never questions her only existence and self-sufficiency when he is emotionally or physically distant. While the ranch may be filled with tension and turmoil and toxicity, especially for the women who live there, it is also a place that demonstrates the power of women to survive independently. But to thrive, Like Water for Chocolate makes clear, they must have love and men.

Morning Light’s Lab

When Tita inhabits Morning Light’s lab, it is certainly not a women-only space. In fact, it is now John’s lab. But Tita’s experience of this room is that she and Morning Light are the only people there. While being at John’s (and being away from the ranch) is libratory for Tita, this room that she shares with Morning Light is the place that brings her back to her sensuous self. Morning Light is a Nacha-like figure for Tita, offering her love and good food. Being at John’s house is Tita’s first experience of independence and not needing to work all day to care for others, and this allows her to shed much of her anger, sadness and shame. But working and learning with John are essential steps in her healing, as well.

Filed under: books on November 1st, 2010 by Anna Lisa