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Juan RulfoA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In the past, an unnamed woman (later revealed to be Susana) imagines laying in “the same bed where [her] mother died” (83. She grieves for her dead mother. In reality, Susana is lying in a coffin and she is about to be lowered into a grave. She imagines a picturesque rural scene on a windy winter day; her mother died in February when Susana was only a teenage girl. After her mother’s death, she felt happy rather than sad. The funeral for Susana’s mother was arranged by Justina. The only person in attendance was an unknown man who asked for money for a mass to be said at the church. Susana and Justina had already given all their money to the “cold, indifferent” (85) gravediggers. Susana had to encourage Justina not to lie down on the grave any longer, as there is “nothing here but a dead body” (86).
In the present, Juan overhears Susana’s story, so wonders whether he heard it from Dorotea. He asks her whether she has been talking while asleep. Dorotea tells him that Susana is buried very close to them. She was Pedro’s final wife and, though she is dead, she still talks often to herself, just as she did while alive. Though Juan heard Susana talking about her mother, Dorotea struggles to remember Susana’s mother other than that she was a “strange woman who was always sick and never visited with anyone” (87). This, Juan and Dorotea agree, might explain why no one attended her funeral.
As the murmuring sounds continue, Dorotea hears a different voice. This voice discusses the way in which they are saved by God after being attacked by Pedro. The man claims to have lost an eye and an arm after Pedro attacked him, but believes that this only made him “more of a man” (88). Dorotea explains that Pedro attacked or killed many people, so this voice could belong to anyone. She tells one story of how Pedro killed a man at a wedding because the man killed Pedro’s father in a botched attempt to kill someone else. Pedro then killed almost everyone at the wedding.
Dorotea tells Juan to listen to Susana, who she says was greatly loved by Pedro. Her death hurt him so deeply that he abandoned his ranch and lost any reason to live. The abandoned ranch meant no work was available in Comala, so the town fell into unemployment and decline. People left and never returned. Dorotea stayed, hoping that Pedro would leave her some land after he died, just as he had promised. The town was further depopulated when the remaining men were called up to serve as soldiers in the Cristeros War. Dorotea was left alone in Comala.
In the past, Fulgor tells Pedro that Bartolome San Juan is back in Comala for unknown reasons. He is now living in the house where Pedro once lived. Pedro tells Fulgor to resolve the situation. Fulgor reveals that Bartolome is accompanied by a woman who seems “more like his wife” (90) than his daughter.
Pedro thinks about Susana. He loved her when he was young, but she left while they were still children. She was away from Comala for 30 years. According to Pedro, everything he has accomplished in Comala—such as taking over the town—has been done to provide everything Susana could ever want. He sought out Susana, sending people to find Bartolome and offer him a job. The messengers never found Bartolome, however. Bartolome and Susana only returned to Comala when an “armed rebellion” (91) broke out near the mine where Bartolome was working. Now that they have returned, Pedro weeps with happiness.
Bartolome tells his daughter Susana that there is an unlucky and inauspicious smell in Comala, especially compared to the fruitful area where he worked in a mine. Whereas La Andromeda was full of life, Comala seems beset by death and “misfortune” (92).
Pedro has offered a house to Bartolome, and Pedro wants something in exchange. Though Bartolome suspected that he wanted the mine, Pedro actually wants Susana. Bartolome is appalled by this idea. Susana, however, agrees to go with Pedro. Bartolome criticizes Pedro for having sex with many women, suggesting that he does not need Susana and that he is “unmitigated evil” (93). Then, Bartolome announces that he plans to return to La Andromeda because he wishes to die there. He reveals that Susana is a widow and that she is still grieving for her dead husband. He insists that Susana belongs to him, not Pedro. Susana rebukes Bartolome: She says that he is not her father. He asks whether she is “mad” (94); she says, yes.
According to Pedro, Susana is the most beautiful woman. He orders Fulgor to deal with Bartolome, telling him to make the man “disappear” (94) when he reaches his mine in La Andromeda. Without her father, Susana will have no choice. She will have to marry Pedro. First, Fulgor must win Bartolome’s trust.
Rain falls on Comala on an “ill-fated day” (95). In the market, a group of Indigenous people tries and fail to sell herbs in the market. The men are out building irrigation in the fields, leaving the town empty. Justina buys some rosemary and then returns to the Media Luna ranch, where Susana is hidden away in “the darkness” (96) of her room. Justina hears a voice, telling her that she should leave Comala. She feels as though she must stay for Susana’s sake, as Susana is sick. She wonders whether the voice belongs to Bartolome. Then, she screams. Her screams wake Susana, who scolds Justina. However, Justina insists that she did not scream. She claims that Susana is “dreaming” (98).
They discuss the house cat, each claiming to have been with the cat the previous night. Justina feels overworked and she has no time for Susana’s hallucinations. She decides that she will quit her job and leave Comala the following morning. Susana knows that this is a bluff. Justina admits that she loves Susana too much to go, as she has raised Susana since she was a little girl. The women are now inseparable.
Susana stirs in the middle of the night but falls back asleep. The next day, she calls for Justina and complains that the cat is disturbing her sleep again. Justina shares bad news: Bartolome “died night before last” (100). Susana is not upset. She believes that the noise in the night that she believed to be the cat must have been her father’s spirit, coming to her. She recalls a time when her father lowered her down into his mine. He showed her a skeleton, which they picked apart to search for “round gold coins” (101). The memory makes Susana laugh, which confuses Justina.
The storm stops but the strong winds continue “to blow, day after day” (102). Father Renteria enters Susana’s room with a candle, though he is cloaked in shadows. They talk about Florencio, Susana’s first husband. When Renteria offers his comfort, Susana asks him to leave. As he leaves, Susana asks why he visits her when he is “dead” (103).
El Tartamudo is nicknamed this due to his stutter. He visits Media Luna ranch to talk to Pedro, claiming that so-called revolutionaries have “m-murdered Don Fulgor” (104). El Tartamudo was allowed to live to pass on the demands of the revolutionaries to Pedro: They want all his land in Comala. Pedro gives a response for El Tartamudo to pass to the revolutionaries, telling them to visit him as quickly as possible. He also wants El Tartamudo to pass a message to a local man named El Tilcuate, asking for a meeting.
After El Tartamudo leaves, Pedro does not spend long thinking about Fulgor. He is more concerned about Susana, who is shut away in her room all day. From the corner of her dark room, Pedro watches her “endless agitation” (105). He knows that she has some hidden trauma. Though he does not understand his wife’s pain, he is pleased that she has come back to him after so many years apart. She is all he needs in life.
In the present, Juan and Dorotea listen to Susana’s voice. She talks about swimming with a man in the ocean. He swam with her, even though he did not like the sea. This made Susana feel pure and whole. She likes the way the ocean water caresses her naked body, so she swims each day. The man does not always go with her when she is “giving [herself] to the waves” (107).
In the past, Pedro welcomes “about 20” (107) revolutionaries into his ranch. He feeds them dinner and they marvel at the breadth of his land. When asked, they explain that they are revolutionaries, but they struggle to explain the purpose or cause for which they fight. They are waiting for their orders, so they do not know why they are in Comala, although one revolutionary claims that they may be fighting against the land-owning elite, stating that men like Pedro are “lowdown bandits and slick thieves” (108). Pedro decides to lend them his support. He offers a large sum of money and promises to bolster them with 300 men of his own. They accept his offer of “both men and money” (109).
In the latter half of the novel, a new protagonist is introduced. While other characters have been permitted to share the narrative spotlight, Susana moves into the position as one of the novel’s key characters. Her introduction in the closing stages of Pedro Paramo introduces a new perspective and further highlights the malicious nature of Pedro.
Throughout the novel, Pedro’s only consistent characteristic is his self-proclaimed love for Susana. Though she left when they were only children, he has treasured her memory and—in doing so—has created an idealized version of her that exists only in his mind. This idealized version of Susana does not resemble the real Susana. Once the real Susana returns, once she assumes the mantle of the narrator’s duties, the difference is stark. The young, innocent girl with whom Pedro fell in love no longer exists. The girl who returns to Comala is scarred by grief for the loss of her mother, her husband, her father, and for the life she had before she returned to Comala. Only by glimpsing into Susana’s perspective will the audience understand this.
Pedro is incapable of empathizing with Susana, as to do so would mean that the idealized Susana is his own creation who diverges from reality. Pedro does not want to deal with this possibility, so he pretends that her grief and her depression are caused by some terrible, unknowable force. He does not want to understand her as the audience understands her, even though he insists that she is the woman whom he loves. The reveal of the interior world of Susana is a demonstration of the limitations of Pedro’s love and humanity.
When glimpsed through Susana’s eyes, her childhood is rife with death and terror, but, like Juan’s mother, nostalgia colors these experiences and transforms them into something blissful. In one incident, she remembers being lowered into a mine by her father. In practical terms, Susana’s father is lowering his only child into a dark and dangerous place, one filled with dead bodies and skeletons, in the hope that she is able to retrieve some sort of buried treasure. He is willing to risk his daughter’s well-being—in a physical and psychological sense—for “round gold coins” (101). This scene in which a young girl is forced to rummage around human remains to support her starving family is bleak. When Susana remembers this moment, however, she does so with a nostalgic tint. She views the past with a tenderness that is absent from her present life. Though she has everything she could ever need as Pedro’s wife, she still prefers her old life. She would rather rummage through human remains than be married to the monstrous Pedro.
The Mexican Revolution (See: Background) also casts a long shadow over the latter stages of the book. Through the majority of Pedro Paramo, the narrative is limited to Comala and the surrounding area. Pedro’s influence extends to the boundaries of his land; while people in Contla may know and fear Pedro, his malign influence does not directly affect them. For the most part, his corrosion and degradation are highly localized. However, Pedro is representative of a deeper malaise in contemporary Mexican society. He is emblematic of the powerful landowners who dominate the local people with threats of violence and who are beholden to no one, perpetuating The Cyclical Nature of Violence across classes and generations.
When violence breaks out elsewhere in Mexico, the rebels claim that they are fighting against “lowdown bandits and slick thieves” (108), by which they mean the landowners. Pedro’s violence is being revisited against him. While the rebels’ goals and tactics may be vaguely defined and ill-formed, so are those of Pedro. The emergence of the rebels is demonstrative of the way in which cycles of violence trap people across generations. These rebels have been the victims of traumatizing generational violence, so they return that violence against their oppressors. The vagueness and the nebulous nature of their demands and intentions only speak to the ambient level of violence in society: After generations of oppression, violence is the only language they have been taught, so now it is the only language with which they can respond.
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