26 pages • 52 minutes read
Pedro PietriPuerto Rican Obituary
Fiction | Poem | Adult | Published in 1973A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Symbols & Motifs
Christianity
“Puerto Rican Obituary” references the religion of Christianity in several places, setting a motif into place that illuminates the speaker’s cynical attitude towards Christian values. No matter the placement of the reference to Christianity, the speaker views the practice of this religion negatively. He refers to the afterlife as a “groovy hereafter / the protestant collection box / was talking so loud and proud about” (Lines 257-259), emphasizing the expectation that Christians give money to the church in exchange for few practical benefits. The irreverent mention of “the groovy hereafter” (Line 257) carries a mocking tone, implying that heaven and the afterlife are make-believe; instead, it is the capitalistic need of the very real “collection box” (Line 258) that is meaningful to the five, not unlike the indulgences paid by early Catholics in order to earn their way into heaven.
Stanza 17 is even harsher in its take on Christianity, referring to using “the white supremacy bibles / for toilet paper purpose” (Lines 279-280). Pietri connects Christianity, as symbolized by the bible, to the racist views that keep people of color, such as the five Puerto Ricans in this poem, from getting ahead in life. The poet’s choice to link racism with Christianity draws attention to the contradiction that exists in Christian values for some non-believers; while the church promotes values like generosity, mercy, and kindness, the realities of capitalist America often seek to take advantage and to victimize the vulnerable.
Death
Death symbolizes the end of the struggles these five characters face in life, and it appears as a relief and as an equalizer. As mentioned previously, death provides relief from debt, as the five are able to die and then to pass “their bill collectors / on to the next of kin” (lines 30-31). Similarly, Miguel, who “died waiting for the welfare check” (Line 66), no longer has to worry about supporting his family when he is dead. Once they have died, they become part of “the groovy hereafter” (Line 257), where the word “groovy” suggests a carefree experience.
But this is just one interpretation of the notion of death as Pietri uses it in the poem. On those “nervous breakdown streets / where the mice live like millionaires” (lines 59-60), “the people do not live at all / are dead and were never alive” (Lines 61-62). Death is not merely a literal end to life; it also symbolizes the lack of opportunity and comfort in the five’s experiences of the world. Like these five characters, many Puerto Ricans in New York in the 1960s faced obstacles that prevented them from being able to live with health and security. Instead of finding enjoyment in their families and outside activities, “They worked / ten days a week / and were only paid for five” (Lines 11-12). They were so busy working to maintain a subsistence-level existence that they were never able to truly live.
Names
The five characters in this poem—Juan, Miguel, Milagros, Olga, and Manuel—symbolize the experience of most, if not all, Puerto Ricans in New York. They are part of a never-ending cycle of poverty, “passing their bill collectors / on to the next of kin” (Lines 30-31). While Pietri often includes details specific to each character—including their “hating” and “dreaming”—he often uses the plural pronoun “they” to symbolize more than just these five. All Puerto Ricans would benefit, according to Pietri, from keeping
their eyes open
at the funeral of their fellow employees
who came to this country to make a fortune
and were buried without underwears (Lines 288-291).
The lessons of past generations fall on deaf ears, just as they will not come to realize that “to be called negrito / means to be called LOVE” (Lines 314-315) until it is too late. In this way, Pietri depicts the challenges faced by all Puerto Ricans in New York, whether immigrant or Nuyorican in origin.
The name Milagros can be translated to English to mean “miracles.” That Milagros lives a life that is not at all miraculous reinforces the poet’s criticism of Christianity. Believing in miracles is an act of faith, and the character of Milagros must live according to the practicalities of life that she can observe; waiting for miracles to happen, for Milagros and the others, is not a practical solution to her earthbound problems despite the Christian belief in God’s potential to come to the aid of believers.
