logo

41 pages 1 hour read

Ana Castillo

So Far from God

Fiction | Novel | Adult | Published in 1993

A 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

Animals

Animal imagery is plentiful in So Far from God,often tying in with mystical and magical realistic tendencies of the novel. Loca is in deep communion with the animals around her and is described as “Patrona de todas las criaturas” (232), or “patron of all the animals.” She is an accomplished horsewoman, despite the fact that she was never given instruction. Loca’s connection to animals reinforces her ties to nature and relationship with the spiritual world. Animals also carry symbolism in the world of the novel, as when Francisco considers the hummingbirds nesting over Caridad’s doorway as, “an omen of true love” (199).Animals allow characters to tune in to the mystical messages around them.

Furthermore, animals provide insight into characters and their relationships. Caridad is deeply attached her to horse,Corazón, and has a premonition of the horse’s death. The horse is found by the side of the road with a broken hoof and subsequently shot by a policeman. Upon discovering this, Caridad demands, “My Corazón is dead?” (52), literally translating into “My heart is dead?”

Corazón’s own death mirrors Caridad’s near-death experience when she is mutilated and left by the side of the road. So, too, do Charles’s peacocks provide insight into the changing dynamics of the neighborhood. He is a white lawyer who breeds peacocks, and Sofi’s neighbor notes, “he did not have to earn his living from raising the birds, much less use them for food” (139). Thepeacocks connect to the model of white people encroaching on Latino territory and utilizing the land that many of the original residents can no longer afford. Thus, the use of these animals ties into the overarching theme of stronger forces dominating weaker ones.

The Number Three

The number three surfaces frequently in So Far from Godand harkens to this number’s mystical and symbolic tradition in many cultures, especially Christianity. There are three members of the Trinity, three gifts of the Magi, three Marys, and Jesus rose after three days, just to name a few.

Many plot actions adhere to this rule of three. Sofi and Domingo marry after a three-year courtship, and Sofi’s daughters are born three years apart. La Loca is three years old when she dies and rises from the dead. Here, the novel paints Loca as a Christ-like figure, especially paired with her ability to heal like Jesus healed people. So, too, does the number three follow Francisco. When he is in third grade, his teacher tells him that God reveals signs in indirect ways. He carves bultos “just three feet high” (101). When he becomes a penitente, he is thirty-three years old, the same age at which Jesus began his public ministry. Three men, including himself, go to try to rescue Caridad from her cave. Francisco also comes across as a Christ-like figure in the novel, though his powers are far less than the powers of the female Christ-like embodiment of La Loca. In this way, the number three assists in character development and also helps to situate the story within at least a partially-Christian construct.

Visions, Dreams, and Miracles

In the world of So Far from God, miracles are part of the everyday. The use of visions and miracles is what most strongly situates this book within the tradition of magical realism, in which supernatural events occur in a real-world setting. Many Latin-American authors have employed this technique, such as Gabriel García Márquez and Isabel Allende, and Ana Castillo’s efforts place her novel within this tradition. 

The residents of Tome accept the healers and miracle-workers of their communities, most notably La Loca, Caridad and doña Felicia. They come to consult Caridad and doña Felicia as many might consult a medical doctor. In this community, it’s normal to seek spiritual healing in addition to physical healing. Such a community also accepts visions as predictions of the future. La Loca has several visions, all of which come true. La Llorona appears to her, and Loca explains, “she came a little while ago and told me that Esperanza won’t never be coming back because she got killed over there” (159). So, too, does Caridad begin having visions after her attack. Both Loca and Caridad receive the gift of vision and healing after their death and near-death experiences, thus underscoring the novel’s theme of healing and nurturing as a response to trauma and aggression.

blurred text
blurred text
blurred text
blurred text