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Amabelle describes a cave behind a waterfall where she and Sebastien first “made love” (100). She says the cave stays light even when night has fallen. She wishes this impervious light will reach those who have recently died, as well as reach her parents.
Despite several offers to help him, Señor Pico insists on digging his son’s grave. Señora Valencia wants to join but Juana convinces her she needs to care for Rosalinda. Señora Valencia begs Juana to talk about Señora Valencia’s mother and Juana concedes, describing her as a happy mother and, after some initial hesitancy, a happy wife. Amabelle leaves to go to Sebastien’s and stops by Don Carlos’s compound on the way, in order to try and speak with Kongo. Félice is sitting outside his lodgings and announces he will not let her in, but he allows Amabelle in. Kongo tells Amabelle how helpful Sebastien has been to him. She explains that Papi, Señora Valencia’s father, wants to visit him and to pay for Joël’s funeral but Kongo refuses. She goes to Sebastien’s, where they tussle over Sebastien smiling at Rafi’s death. He is angry that she is so defensive of the folks she works for and walks her back to stay the night with them. The next morning, Señor Pico leaves to bury Rafi. Señora Valencia helps to prepare him for burial but stays at home to care for Rosalinda during the ceremony. While she is sitting on the verandah, she sees a group of cane workers walking by and asks Amabelle to invite them in. They’re suspicious but based on Kongo’s actions, a bunch of them follow Amabelle back to Señora Valencia’s. She has Juana and Amabelle make them coffee and use her orchid-patterned tea set. Kongo separates from the group and approaches Señora Valencia. He tells her he understands her pain as he just lost a son, too. The cane workers then leave, knowing they could lose money if they don’t come to work on time. When Señor Pico comes home and finds out about Señora Valencia’s guests, he breaks all the orchid-patterned teacups.
Amabelle recalls how her father used to make lanterns shaped like monuments for her. When she asked him to make a lantern of his face, he said that “It would be too vain […] to spend more time than God reproducing oneself” (117).
This section highlights the fact that despite all of the characters living in the same location, they lead vastly different lives based on their social caste. The parallels, as well as the discrepancies, are pointed, especially between Kongo and Pico. Both men have lost their sons, although Kongo’s connection to his son was much deeper (albeit Pico’s son was an infant). Despite being closer, Kongo is forced to bury his son alone, without the typical trappings or ceremony, due to his social standing. Additionally, the community at-large does not react to Joël’s death as anything more than another instance of nationalism, whereas the community comes in droves to honor the death of Rafi. Rafi is given a hand-painted casket, blankets, and a procession, whereas Joël is buried body to earth. Señor Pico also has a wife and daughter to fall back on, while Kongo has no one but himself. The inescapability of class cuts through this section and demands readers attention.
While Valencia would seem to desire being around people after the death of her child, Pico’s response of learning that Haitian sugarcane workers have been in his house is to smash the cups they’ve used. Just like Pico, Rafi, the other male in the family, is absent from the domestic sphere, with Pico leaving to bury him. In Pico’s patriarchal, nationalistic absence, we have a moment where the cane workers are treated as equals, and invited into a place they otherwise would not be.
By Edwidge Danticat