Mexico: Like Water for Chocolate

The morning papers brought disturbing news about Mexico today. Acapulco reported substantial losses for little or no flow of tourism in response to the wave of violence unleashed by the rival groups of drug cartel. A girl of only twenty, criminology student has been named police chief in Guadalupe, a town near the border with Texas and neighboring Juarez is one of the areas hardest hit by the current violence. In New York writers and journalists gathered to condemn the indifference to the killings of journalists in Mexico and demand "an end to impunity for crimes against journalists."

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Among these writers was Laura Esquivel, author of the well-known novel How Water for Chocolate , published in 1989, and subsequent 1991 film version. The work, in its two different formats, awakens intense feelings in everyone who approaches her, causing a wave of magical scents, tastes and appetites that go far beyond the strict culinary sense.

And is that Esquivel has been able to just point to your recipe, combining the ingredients that make the novel not only a fiery love story, but also a statement of rebellion and independence for Mexican women.
By submitting a story, which places women as actors and deposited the possible solution of the conflict in female hands, Esquivel is facing more traditional patriarchal narrative, and must swim against the current macho a nation in which, Octavio Paz, one of its most important theorists expressed in The Labyrinth of Solitude :
For Mexicans, the woman is a dark, secret and liabilities. [...] Being herself mistress of her desire, passion, or caprice, is being untrue to itself. (Paz 172)
The play opens with the most important stage for the story of its protagonist: the kitchen. There Tita is born, and grows amid the smells of the dishes from his nana and will become since then in private realm, where Tita show your personality and will unleash their deepest emotions. Center of the action space, the kitchen is witnessed births, fights, loves hidden, shared secrets between sisters and family decisions. Traditionally considered a marginal space, Esquivel makes the kitchen a space power, territory Tita serving vehicle of communication and means to vent all her repressed sexuality.

 The film version, meanwhile, makes the most of the possibilities offered by the image to show the viewer the warm and safe in this space as well as its quality of female domination full of tools, pet foods, and where the fire is comforting always on.

 The planes are used by the director of the film to show the presentation of trials or conflicts that affect women. A closeup of a seemingly innocent grinder ground meat reveals reflecting oppression they experience girls within the family and by extension the patriarchal society; another plane reflects the confinement of Tita in the kitchen and the hard work that is subject to an order of his tyrannical mother, and takes the viewer to think of a kind of modern-day Cinderella.

 The marriage of his sister nondescript man she loves reinforces this resemblance to the fairy tale. It is clear that the recipes for the dishes in this work have double meaning, and can also be seen as recipes for independence and transformation of women. One can think for example that the chiles en nogada, last dish prepared by Tita in the novel, representing the colors of the Mexican flag and act as liberators of the instincts of all characters in the play. The kitchen in Like Water for Chocolate plays undoubtedly a role of social transgression.
At the end of the novel, after the fire of the ranch where Tita and Pedro, actors, shared his passion for so long repressed, appears among the ashes Cooking cookbook written by Tita, small paper containing space in its pages the story of a passion, and would happen from hand to hand of women family descendants. Tita's recipes they serve to modern women to learn from the troubles of that time time women prompted the family to begin the slow process of transformation of Mexican women.
fiction Beyond, this week Marisol Valles, the twenty-Mexican student, was the only dangerous to accept the job as chief of police in your area. Perhaps because the blood was in his ability to command, as Gertrude, the Generala of Laura Esquivel's novel.
So just walks Mexico: Like Water for Chocolate.
A young Mrs. Valle desire to accompany him luck and good will noble people gave this land. And finally to Mexico being so close to the United States, but not so far from God.