60 pages • 2 hours read
Karen Tei YamashitaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
GGG continues to research Matacão plastic. After extracting more samples, they find they can create near-perfect imitations of real objects. At a convention, attendees are unable to differentiate between a real tiger lily and a Matacão replica. Matacão plastic can improve numerous markets—construction, clothes, plastic surgery, even food: “in short, the myriad of commercial products with which the civilized world adorns itself” (127). The dominance of Matacão plastic comes to be referred to as the Plastics Age.
Kazumasa and the ball continue to travel from one place to the next, being the only two beings who can locate more of the Matacão around the world. Together, they find several other sites. Rival companies and governments send spies after Kazumasa. Initially open-hearted and friendly, Kazumasa sees more people that want to take advantage of him, and worse, take the ball away. He calls his house, looking forward to speaking with Lourdes. Instead, Tia Carolina answers. Excited to finally hear from Kazumasa, Tia Carolina urges him to call Radio Chico, where Lourdes remains.
Newspapers print headlines pondering Kazumasa’s whereabouts. Hiroshi worries about his cousin, too. People pray, and yet others try to extort Hiroshi, sending destroyed imitation balls and claiming Kazumasa is in danger. Meanwhile, Kazumasa accepts the task of finding more Matacão plastic. Embittered from the lackluster results of his charity, he hopes the plastic will help the people of the world. He remains compliant with GGG’s desire to keep his location a secret, but he realizes he misses Lourdes in a way he’s never missed anyone before: “The Brazilians called the longing for someone or something saudades, and Kazumasa thought that this must be what he was feeling for Lourdes” (132). Kazumasa dreams of ending his work for GGG and returning to his friends and family, but the ball knows J.B. won’t let them leave so easily. Lourdes, meanwhile, helps callers at Radio Chico. Tia Carolina calls and tells her Kazumasa is alive.
Mané Pena becomes an honorary doctor through the newly founded Matacão University. His recognition as a founder of featherology brings him fame but drives his wife Angustia and children further away, and they leave. Mané misses the way things were. Alone, he copes using the nostalgia available to him, television: “He was sad, but he had been told that history would exonerate him in the end. […] he consoled himself with the company of his color TV, which […] brought him the same old programs everyday” (134).
Mané calls Chico Paco. Chico is happy that his mother, Dona Feliz, and Gilberto are with him now, but also frustrated with their habits. Now that Gilberto can walk, he maintains an adventurous and energetic spirit, and Chico’s mother uses the bathtub for gardening. As they continue to talk, Chico senses a change in Mané; “Chico Paco heard the sadness in Mané Pena’s voice. It was a sadness that he was not used to hearing from him. Mané had always been a man of balance” (135). Both men confide in one another, sharing their feelings.
They then discuss the increasing commotion around feathers and birds. The rapid commodification of bird feathers as a health item leads to poaching, black markets, and forgeries. As a figurehead in the feather community, Mané opposes the killing of birds for decorative purposes, but, officially, he still supports using feathers for the betterment of humanity, elevating his inner turmoil. J.B. sends a feather made from Matacão plastic, and Mané is unable to tell the difference between the fake feather and a real one, confusing Mané even more. Personally, and professionally, Mané has problem after problem. Overwhelmed and sad, Mané sits alone in his house and falls asleep with the television blaring.
J.B. and Michelle’s public profile escalates. High-profile magazines feature them and ask about their sex life. Michelle takes to the attention naturally, using the podium to advocate for buying ethically sourced bird feathers. J.B. remains hesitant and quiet regarding his public image. Emboldened by J.B. and Michelle, other people with various extra appendages and oddities come forward, hoping society will finally accept them. Their movement becomes known as the trialectics movement, or the “freak movement.” Michelle shows sympathy to the movement, whereas J.B. feels indifferent; “J.B. felt no empathy with the painful self-consciousness most of these people spoke of. He had always felt that he was one of the more privileged human begins, a more advanced specimen” (141).
Using Matacão plastic, GGG manufactures fake feathers and dominates the market with both real and artificial feathers. The runoff from mining the Matacão plastic mutates rats. GGG reassures the concerned masses that they are ecologically mindful and diligent with their waste management. J.B. handles more of GGG’s public relations as a result of the rats, to his chagrin. He feels “he was now in a constant fear of finding himself deposed from the top, lopped off the twenty-third floor of GGG” (142). However, in his personal life, J.B. lives a happy life with Michelle, and he is ecstatic when she becomes pregnant with triplets.
Chico and his followers continue listening to the prayers they receive over the radio. Some of Chico’s followers do a poor job fulfilling prayers for others but are weeded out. Chico remains youthful in the eyes of the public but grows and matures:
Pilgrimages and food had filled out the long, thin frame and thickened the growth of blonde hair on his face. His eyes, however, were still the same iridescent green, the same mysterious color; they did not betray the changes within the man (144).
At home, Chico’s mother adapts to life in his apartment, moving the garden out of the bathtub. Gilberto, meanwhile, remains relentless in his desire for speed and excitement. Despite Chico’s disapproval, Gilberto dabbles in various high-octane sports like roller skating and riding motorcycles. Gilberto’s daredevil ways scare Chico, but he loves Gilberto like a brother and enjoys the chance to spend time with him. Still, when Gilberto proposes building an amusement park, Chico shutters with dread. Making matters worse, J.B. enthusiastically agrees to invest in the park, seeing it as another way of promoting Matacão plastic. Chico confides in Lourdes, who assures him that Gilberto’s wildness is only a phase. Lourdes continues to help at Radio Chico and search for Kazumasa, whom she misses dearly. She decides, when she finally finds him, she will confess her feelings.
With the help of J.B.’s money, Gilberto’s amusement park is constructed and named Chicolándia. It features elaborate recreations of historical monuments and movie sets, all made from Matacão plastic. Gilberto happily costumes himself in various outfits and reenacts movie scenes in his personal fantasy park. Chico watches, worried by Gilberto’s stunts, and regrets agreeing to the park. Complicating matters further, Hiroshi receives another threatening message. Someone claims to have Rubens and Gislaine. They want Kazumasa and the ball in exchange for the children’s lives.
Batista gravely misses Tania as she continues to jet set around the world and expand their business. He tears himself apart, thinking in circles: “Batista was alternately consumed with jealously and depressed with his inability to treat their separation with nonchalance” (151). What if she’s having affairs as she travels the world? He drives himself into an anxious fury, constantly missing and being angry with his wife at the same time.
While Batista pictures Tania living a lavish and extramarital lifestyle, Tania’s real travel is laborious. She works hard, is honest with buyers, and performs the legwork necessary to expand the business. Batista is unaware what her life is really like, and “If Batista could hear his Tania Cidinha, he might have been impressed, but he had no idea” (152). Meanwhile, Tania—like Kazumasa earlier—feels saudades; bittersweet joy that comes from love. She misses Batista, but his angry and jealous messages also drive her away. She continues working and never has an affair.
Batista, meanwhile, frequents Hiroshi’s karaoke club. He flirts and drinks and dances with women, but never anything more. He sees Michelle, now near the end of her pregnancy. Michelle sings to relax, wishing to be as stress free as possible for the duration of her pregnancy.
Subtitled "More Loss," Part 5 shows many of the characters face exactly that. Mané Pena, for example, faces many hardships. Turning feathers into a commodity for sale harms many birds. In his personal life, his wife and children abandon him. His loss comes because of a foreign company, GGG, moving in and acting selfishly, fooling him into thinking they had a mutually beneficial relationship. As Mané’s life unravels, Yamashita shows how global corporations can harm the impoverished and less privileged. Conversely, J.B. continues to be the sole main character benefiting from GGG’s actions. He fears his public profile and position of power, foreshadowing his demise. Nevertheless, he chooses to act in the same way. J.B.’s lavish and successful life shows greed can be beneficial, at least for a time, and at the price of the wellbeing of others.
Similarly, Batista fails to change and suffers because of it. He knows his jealousy is ruining his marriage but changing proves to be difficult for him. He considers it, but Batista never engages in adultery at Hiroshi’s karaoke bar, showing he still loves Tania and wants to make it work between them. Tania, too, never has an affair, though her wanderlust feeds Batista’s jealousy. The couple have not worked out their marital issues, but not giving into temptation suggests their relationship can still be saved.
Within their respective chapters, Part 5 also elevates the tension in Kazumasa and Chico’s plot lines. In Chapter 22, Kazumasa feels heartache for Lourdes, recognizing she is a special person to him. In Chapter 25, Lourdes similarly decides she won’t let her feelings remain hidden when she finds Kazumasa, if she can him. Through the structure of the novel—jumping back and further between characters—Yamashita lets Kazumasa and Lourdes meditate on their feelings for one another. The reader gets both perspectives, and now we’re left waiting to see if the two can reunite and tell each other how they feel. Rubens and Gislaine’s kidnapping adds even more tension going into the final act. In addition, previous sections saw Chico face adversity by grappling with his reception as an angel by the faith-based community. The drama of his story increases in Part 5 when Gilberto and his mother move in with him. Now, for the first time, Chico’s personal life causes him the most stress, so much so that he talks to Mané and Lourdes about his anxiety. Chico’s personal life weaves into the larger story as well. Chicolándia’s construction provides the setting for all the characters to come together in the last section.
Lastly, the effects of globalization become more apparent in Part 5. Chicolándia, for example, is modeled after Gilberto’s favorite movies: “Cabaret; Heidi; Cleopatra; Snow White; Spartacus; Hello, Dolly; Cat Ballou; Raiders of the Lost Ark; The King and I; Star Trek IV and so on” (148). All the movies are American films, showing the influence American cinema has internationally. In Chapter 23, American animal-rights activists take issue with the feather market, and Mané for supporting it. Mané handles the protestors with patience, but other Brazilians do not:
[They] expressed indignation at the presence of these foreigners who came from big cities with high crime rates and serious drug problems and who arrived via Varig, sipping expensive wines and pecking at cold salmon on rye, to criticize a national figure raised from humble beginnings (136).
The feather market connects Mané with the rest of the world, but not everyone gets along. When other Brazilians take issue with how others perceive their culture, it demonstrates the unintentional hostility different cultures might have when interacting for the first time.