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The Santiagos reach Abuela’s home in El Salado, a small rural township and invasión in northern Colombia, named for the nearby salt mine. Mamá’s family, like Petrona’s, was forced out of their farmland by the paramilitary. The family subsequently moved to El Salado and became the first people to settle that area. Abuela operates a store out of the front room of her house. Her husband, Mamá’s father, left her for another woman; therefore, no one in the family speaks of him. Chula draws another parallel between Mamá and Petrona: Petrona’s father is also absent.
Mamá’s sister, Tía Inés, who is pregnant and lives near Abuela, comes to visit with her husband, Tío Ramiro, and their children, Tica and Memo. Mamá and Inés have a tense relationship because Inés still lives in relative poverty while Mamá’s socioeconomic situation has improved. The weather in El Salado is hot, and the whole family struggles to cope, drenching themselves with water before bed and taking turns lying under the ceiling fan. Out of boredom and homesickness, Chula dials her home phone number, expecting no answer. Petrona picks up, and Chula hears a boy in the background, whom she recognizes as the “carpet guy,” Petrona’s boyfriend, Gorrión. The boy tells Petrona to hang up, but she tells Chula, “I’m in danger. I mean I’m in hiding” (100). She begs Chula not to tell anyone because her life is at risk. Chula swears silence, feeling both burdened and privileged to hold this responsibility.
After Mami ostracizes Petrona, Petrona looks for Gorrión. At the playground in the Hills, near where Ramón’s body was found, she meets a young boy named Julián who asks her if she knows “’who he’s involved with’” (102). Petrona is unsure if Julián means Ramón or Gorrión, but when Julián tells her to come back as evening falls, Petrona understands his implication. The guerrillas meet at the playground at dusk, and Gorrión will be there because he is one of them.
One morning, Abuela discovers her house has no running water, so she walks with Tica and Memo to the grocery store. Along the path to the grocery store, Abuela, Tica, and Memo are caught in the crossfire of militant groups; helicopters fly close overhead and guns fire around them. A camouflaged man whom Abuela identifies as a guerrilla yells at them, so Abuela grabs the children and lunges under the cover of cactus bushes. All three of them are severely bloodied by thorns. When they finally return home safely, Abuela tells Mamá to call Inés. Abuela cannot bring herself to explain what happened. Inés is furious, wondering aloud why her children, and not Mamá’s, were put in harm’s way.
Gorrión swears to Petrona that he is not involved with the guerrillas. He says he sympathizes with the encapotados, a term for far-left activists, which Petrona will later understand to be a euphemism for guerrillas. Gorrión tells her not to “get confused” (111) about the different groups, though his explanations are deliberately confusing. Petrona’s love for Gorrión confuses her conscience as Gorrión tells her that Ramón was not a guerrillero either. He encourages her to stay secretly at the Santiagos’ house while they are away as she is unwelcome in her own home. He promises her they will get married and live a safe and carefree life one day. He stays with her at the Santiagos’, and though she feels nervous and guilty, his affection always calms her. While they are living in the Santiagos’ beautiful home, Gorrión tries to indoctrinate Petrona with communist ideas about systematic inequality. She is ambivalent because she feels affection for the Santiagos, but Gorrión’s explanations of his grievances resonate with her experience.
Abuela is withdrawn and somber after the violent incident. The bruises she sustained in her panicked escape grow more gruesome in the days afterward. Cassandra tells Chula that Mamá and Papá are concerned about Chula’s traumatization from the rally in Soacha, and they might take her to see a psychiatrist. Chula abhors the idea and resolves not to show any signs of emotional distress so she can avoid the psychiatrist. Chula begins calling Petrona at her house every night, and Petrona recounts the plots of telenovelas. Petrona always thanks Chula for not betraying her secret, which makes Chula feel embarrassed and guilty, but she likes feeling helpful to Petrona. Abuela becomes more taciturn, and her silence reminds Chula of Petrona.
One day, Chula enters Abuela’s store, although she is not allowed. She steals several items, including a small bottle that reads “LUCK,” which she turns into a necklace, and shampoo, which she mixes into the chicken feed. One night, Cassandra dares Chula to count the stars, even though it is forbidden to do so because Abuela believes that they will die if they count their birth stars. The next day, all of Abuela’s chickens are dead, and Chula thinks they died because she counted their birth stars. She confesses to Mamá. She also feels guilty that Tica and Memo were caught in the crossfire and not her. The act of confessing brings Chula relief, so she also tells Cassandra about Petrona’s boyfriend, the fake carpet guy.
One night, Abuela awakes screaming in pain as if her skin is still covered in cactus thorns. A doctor arrives and says Abuela must not have felt the pain until this point because she has been in shock. While on painkillers, Abuela imagines she is on a cruise, which reminds Chula of Petrona’s hallucinations after eating the fruit of the Drunken Tree. As the family sits at Abuela’s bedside, Chula inadvertently confesses that she poisoned the chickens. Enraged, Mamá physically reprimands Chula and Cassandra, throwing them against the bathroom wall and hurling buckets of cold water at them as they scream.
Gorrión pressures Petrona into hosting friends at the Santiagos’ home. Leticia and three young men come over. Leticia introduces them as “la Pulga, La Uña, el Alacrán”—the Flea, the Nail, the Scorpion (127). Petrona confesses to Leticia that she and Gorrión have had sex. Leticia offers Petrona more work passing envelopes if she needs extra money.
On Christmas Eve, the Santiagos leave Abuela’s house to return home to Bogotá. Chula calls Petrona at their home to warn her. The Santiagos drive first to visit Tía Inés and her family and to give presents to Tica and Memo. When an airplane flies overhead, Tica and Memo run cowering to the corner. Inés explains that they have been running in fear at the sight of airplanes since the crossfire incident with the helicopters. Inés is frustrated, and Mamá comforts Tica and Memo. She reads Tica’s palm and tells her that she “will be beautiful like Cleopatra” (132). This idea calms and delights the distressed Tica. When the Santiagos leave, Chula is relieved to see that Tica is upbeat.
On the drive home, Chula’s mind wanders as she stares out the window at the crescent moon. Abuela once told her that “the crescent moon was God’s nail” (134).
Petrona and Gorrión return to the Hills, taking pains to ensure they are not seen together. Petrona returns to her hut, where her younger siblings greet her warmly. Mami is silent but not hostile, and Petrona feels Mami’s eyes staring deeply into her. Throughout the neighborhood, Petrona feels eyes watching her. Petrona takes her four younger siblings to a local parade, and they bring home gifts to Mami. The family enjoys a peaceful evening, and Mami says it reminds her of the peace they felt in Boyacá. The comparison makes Petrona nervous, and she worries life will fall apart again like it did back then. Petrona remembers how she promised Gorrión that she would not reveal that he stayed with her at the Santiagos. He alludes to potential danger if the encapotados find out.
The Santiagos’ visit to El Salado provides a stark change of setting that triggers a shift in Chula’s perspective. El Salado, where Mamá grew up, is an invasión like the Hills, where Petrona lives, and Chula’s experience of relative poverty and hardship during her stay there offers her a window into Petrona’s life. The sojourn also sheds light on Mamá’s character, whose history closely parallels that of Petrona: both their families were driven off their farmland under paramilitary attacks; both their fathers have been absent since their early childhood.
The character of Mamá is revealed to be more complex as her background in El Salado becomes clearer to the reader and to Chula. Mamá has a violent side evidenced by her physical and verbal abuse of Chula and Cassandra after Chula poisons Abuela’s chickens. Mamá’s abusive behavior will recur more frequently as the tension of their lives escalates. The tension between Mamá and her sister, Tía Inés, who still lives in the invasión, highlights the awkwardness of Mamá’s escape from poverty. Inés’s resentment towards Mamá spills over in illogical ways. For example, Inés bemoans the unfairness of her children’s exposure to guerrilla crossfire, rather than Mamá’s children, although this incident was a simple matter of random misfortune.
Abuela’s shocking metamorphosis after surviving guerrilla crossfire shows Chula the brutal transformative power of trauma, which is an important theme in the novel. Abuela’s post-traumatic stress foreshadows the drama of Chula and Petrona’s experiences with post-traumatic stress later in the novel. Chula experiences muteness, panic attacks, and obsessive compulsive behavior after fleeing to the United States, and Petrona experiences amnesia, flashbacks, and paranoia after her assault.
The families’ struggle to cope with the heat in El Salado introduces the motif of extreme weather. Throughout the rest of the novel, meteorological drama—in the form of heat, drought, and flooding—will intensify alongside the unfolding events of the plot.
Chula’s bond with Petrona becomes private in this section, as the two girls talk secretly over the telephone. Mamá and Cassandra are excluded from their relationship as Chula assumes the cherished role of Petrona’s sole protector. Chula experiences internal conflict between her pride in her sense of responsibility and her guilt over her inability to rescue Petrona. Chula’s bad behavior reflects this inner strife as she steals from Abuela’s shop and poisons the chickens with shampoo.
Petrona, grappling with the distress of homelessness and estrangement from her family, begins yielding more readily to Gorrión’s pressure. She reluctantly agrees to more illicit activities, and, though wracked by guilt, she succumbs to the temptation to take advantage of the Santiagos. For example, Petrona lives secretly in their vacant home and eats their food. Her involvement in Gorrión’s shady dealings reaches a point of no return when she welcomes his three criminal friends, Pulga, Uña, and Alacrán, into the Santiagos’ house. After these three men enter Petrona’s life, Gorrión can no longer protect her from violence.