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36 pages 1 hour read

Tess Uriza Holthe

When the Elephants Dance

Tess Uriza HoltheFiction | Novel | Adult | Published in 2002

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Part 1Chapter Summaries & Analyses

Part 1 Summary: “Alejandro Karangalan”

His father struggling with malaria, 13-year-old Alejandro understands his responsibility: Along with his younger brother, Roderick, Alejandro takes to the streets of war-ravaged Manila whenever it is safe and barters cigarettes for food to help his family and their friends. Fifteen in all, they hide in the cellar of his family’s home to wait out what they hope is the last few weeks of a brutal three-year occupation by the Japanese. Today, Alejandro and Roderick make their way through the burned rubble and rotting corpses in the street.

The two brothers are intercepted by Japanese soldiers who question them concerning the whereabouts of Domingo, the elusive leader of the underground Filipino guerilla movement. That movement is suspected in the killing of a Japanese officer that morning. Alejandro denies knowing Domingo, although Domingo and his wife and children have taken refuge in the Karangalan cellar. The two brothers are then rounded up with others suspected of aiding the movement, among them Domingo himself (the Japanese do not know what he looks like). They are herded to the barricaded grounds of Fort McKinley on the outskirts of the city. The Japanese, determined to find the killers, use barbed wire to suspend Alejandro by his thumbs to make him talk. Even as he screams in agony, the soldiers arbitrarily select others to be shot. Unknowingly, they lead Domingo himself out to the woods; Alejandro hears a single shot. When another boy under similar torture admits to the killing, Alejandro is released.

Alejandro returns quickly to his family’s small, crowded cellar. Those gathered there struggle with sickness; they are terrified by the rolling thunder of artillery overhead; they are starving and thirsty. One of the older women wishes there was magic that would make the Japanese disappear. To help ease the anxiety and to pass the time, Alejandro’s father, Carlito, shares a story of magic from his childhood, a tragic love story about a magnificent church and a mysterious woman named Esmeralda Cortez.

Carlito, a sickly child growing up in poverty, adored his neighbor Esmeralda from a distance. An orphan raised by nuns, Esmeralda was reputed to have magical powers—neighbors brought their problems to her and she conjured potions from flowers and fruits to alleviate the suffering. She listened to their stories of heartache with compassion. Her magic was said to bring happiness, love, and peace. A local Catholic nun, however, decried Esmeralda as a threat to the church (later the same nun revealed to a stunned Esmeralda that she was, in fact, her mother). Esmeralda had a lover, the haughty and macho Tirso. Tirso, despite his passion for Esmeralda, had been negotiated into marriage with Catalina Marquez from a wealthy and established family.

Catalina knew of Tirso’s love for Esmeralda but believed that the infatuation would end with the marriage. Esmeralda was inconsolable even after Tirso coldly offered to continue their affair after he was married. Leave me, she said, and never come back. The day of the wedding Esmeralda, wearing a white gown, walked into the church, her beautiful face radiating calm. Even as the vows began, the ground itself commenced to rumble, and an earthquake swallowed most of the church and many of the guests, among them Esmeralda. Carlito uses the story to show that magic cannot solve life’s problems: “My infatuation with Esmeralda started small ripples in the quiet ocean of her life that soon turned into a tidal wave of misfortune” (66).

At story’s end, those in the cellar realize that Alejandro’s older sister, Isabelle, has not yet returned. They worry but decide to wait until dawn. The next morning there is still no sign of her. Rumors reach the cellar about the growing desperation of the Japanese, aided by the Makapili (a disparaging term for Filipinos who cooperate with the Japanese) as the Americans advance. Amid the consternation and hopelessness, Roman Flores, a journalist, shares a story from his childhood about a wizened fisherman named Minno.

Minno was rumored to possess magical powers that caused fish to obey him and leap into his nets. Roman grew up amid privilege but felt a strained distance from his father and disdained his family’s wealth. He bonded, however, with his grandfather who believed in the powers of Minno. Curious, Roman went into the woods to meet Minno. There many strange things happened. The sea appeared from nowhere and fish appeared everywhere. Roman was not sure whether they were visions or some alternative reality, but the fish were real. The boy began to bring home baskets of fish to his family. Roman, fascinated by the visions, became apprentice to Minno.

The boy was taught how to summon the fish. When Roman became involved with a girl in the neighborhood his family did not approve of, his father despaired of his son. Roman did not care. Under the influence of the wizard, Roman then abandoned his faith in the Catholic Church. Minno told the boy that in a special ritual during an upcoming eclipse the boy would officially be consecrated as his minion. However, during the strange ritual, the magic revealed itself to be malevolent and unnatural—Minno transformed into a grotesque giant catfish. In a moment of bravery, Roman’s grandfather interrupted the ceremony and stabbed Minno, thus saving the boy from a hideous fate. Roman’s story was intended to tell those in the cellar to stay faithful to their God and to their family against monstrous foes who only appear to be human.

His story finished, Roman agrees to lead a small party, including Alejandro, to find both Carlito and Isabelle. Once in the chaotic streets, they are detained by the Japanese at bayonet point and led away with others who have been rounded up for interrogation. 

Part 1 Analysis

Part 1 sets up the character of the man-child who will emerge as the hero in the closing section. As a boy who has never known a world not embroiled in a vicious war, Alejandro prides himself on being a savvy, streetwise boy who understands the realities of a world of violence and brutality. As he scavenges the streets with his basket of cigarettes negotiating for scraps of food, Alejandro steps around burned, decapitated corpses without reaction and hears the pop of rifle fire without flinching; it is the only world he knows.

The torture at the hands of Japanese soldiers defines the positive elements of young Alejandro’s character but indicates how much he still must learn. Helpless and alone in the yard of Fort McKinley, the boy refuses to cooperate with the Japanese. Under intense pain—over the course of an hour, the boy, suspended by barbed wire and held at bayonet point, has his thumbs systematically shattered, an interrogation technique that Holthe recounts with unblinking realism—he refuses to say anything that might help the Japanese ferret out the growing underground insurgency fighting for Filipino independence. He is a boy, as the Japanese admit in releasing him, of remarkable honor.

However, Alejandro lacks any vision of a future. Like most of the Manila residents caught up in the everyday atrocities of a civilian war in the streets, Alejandro is driven only by survival. His plans seldom edge beyond a few hours. He understands the need for food and water. He understands that no amount of wishing will make the Japanese vanish. This first part, then, defines the Filipino people as long suffering, locked into this grim world of survival.

The stories told by those who hide in the cellar are offered to dispel the fantasy that magic can rid their world of the occupation soldiers, that the pre-war world could magically return. As Alejandro works those same streets now in ruins, he thinks back on the days when the streets were alive with families and friends. He understands that such memories are pointless escapism, and similarly, the tales shared by those in the cellar provide a welcome respite from the reality of the world above them. However, the enchanting spell of stories cannot last or restore the world they have lost; the family and friends are literally and symbolically buried alive.

In the end, each of the characters in the embedded stories learns all they have is each other to help through evil times. The real magic, for instance, of Esmeralda is not her rumored supernatural powers (it is never made clear whether the earthquake is her conjuring or a simple natural catastrophe) but rather her willingness to listen to her neighbors who share with her their assorted troubles at home, families that have splintered, hearts that have been broken. Her magic is not the potion—they are harmless homeopathic mixtures—but rather her compassion. The neighbors get from her what they cannot get from the Church that sees such frailties as sins.

Part 1 tests a variety of strategies for maintaining hope in such a dark time, but each fails. There appears no authentic escape, only the solace of stoicism and endurance. The section closes with a desperate search party volunteering to head into the dangerous streets on what they see as a hopeless mission. Alejandro despairs, “We will die, be butchered like Domingo Matapang” (113). The figure of Domingo has been the hope of the Filipino people. Alejandro is wrong: Domingo was not killed at Fort McKinley. He will, in fact, undergo a profound, if symbolic, resurrection in the first pages of Part 2. 

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