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54 pages 1 hour read

Of Women and Salt

Fiction | Novel | Adult | Published in 2021

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Chapters 4-6Chapter Summaries & Analyses

Chapter 4 Summary: “Harder Girl”

(Jeanette, Miami, 2002)

Jeanette and her friend Sasha, both in high school, are spending the night out on the town in Miami Beach. First, they take advantage of a deluxe car wash to smoke marijuana in Sasha’s car; next they go to IHOP; and now they’re at a gas station trying to flirt with older men to get the men to buy them cigarettes. After one failed attempt, a man named Johnson agrees to buy them cigarettes in exchange for a favor, which Jeanette recognizes as a come-on. He takes a flyer out of his car and invites them to an all-ages foam party. Sasha refuses to go with him, and she and Jeanette have their first argument over it. Eventually, Sasha leaves, and Jeanette goes with Johnson to the party. Jeanette lies and tells Johnson that she’s 18, that her name is Caro, and that she’s been to clubs and foam parties before (although she did go to a club once before). Johnson is confused by her—he doesn’t seem to understand why she’s going with him or what her “end game” is. They spend most of the ride in silence.

The party isn’t quite like Jeanette had expected. Only a handful of people are there: Most are men, and a few are women who look around the same age as Jeanette. She asks for an amaretto sour, but Johnson brings her a Long Island iced tea made with Bacardi 151. She gets drunk quickly, and the two begin dancing provocatively. However, at one point, Johnson takes things a bit too far, and she suddenly leaves to sit down. Johnson finds her and takes her to the bathroom. He snorts cocaine and offers her some; she doesn’t want to do it but is afraid of what he’ll think of her if she says no, so she tries it. When the high hits her, she feels like dancing again and takes him back to the dance floor. As they dance, she thinks about how she wants to kill her father.

They leave the club at three o’ clock in the morning after Johnson nearly gets into a fight with someone who checks out Jeanette. Johnson takes her to the water, and Jeanette realizes that he’s going to have sex with her whether she wants to or not. She decides not to fight it, but then she notices a dead body in the water, which freaks them both out and gives her enough strength to push him off her. She wants to call the police, but Johnson knows that he’ll be arrested if the police come because they’re both high and she’s underage. The two run; Jeanette follows him for a while, but when Johnson isn’t paying attention to her, she disappears down a side street and hides until sunrise.

Chapter 5 Summary: “Find Your Way Home”

(Gloria, Mexico, 2016)

Gloria is initially afraid for Ana when she arrives at the detention center but is relieved to discover that Ana is resilient. Gloria and Ana must share a single cot, but they manage; Ana, sensing Gloria’s tension, doesn’t pester her about where they are or why. Ana doesn’t like the food or her new school, where she isn’t allowed to speak Spanish, even with the children who don’t understand English. Gloria recalls when Christian missionaries came to visit them in El Salvador, and “how they delighted in everything we eschewed, favored the grubbiest clothes and the simplest food despite the rolls of bills in their lanyard wallets” (85). This confused Gloria: They venerated her for being happy with so little, but to her, she was simply surviving.

Ana and Gloria spend just under a month at the detention center together before they’re deported. Even though they’re from El Salvador, the immigration officers drop them off in Mexico and tell them to find their own way home. At this point, Gloria tells Ana why they left El Salvador and why they can’t return. Gloria’s brother owned a small store, for which he had to pay dues to the local gang. After he fell behind on payments, and after several warnings, the gang raped Gloria as a final warning. This rape resulted in Gloria’s pregnancy with Ana. Six months after Ana was born, the gang killed Gloria’s brother, so Gloria fled to the US. Gloria therefore thinks that returning to El Salvador is too dangerous and instead decides to remain in Mexico. She knows that they’re likely to experience hardship and persecution there too but believes it’s the best of several bad choices.

Chapter 6 Summary: “Prey”

(Carmen, Miami, 2016)

Carmen is setting the house up for Thanksgiving with her extended family when she’s surprised to hear a loud growl. She’s only been to a zoo once before, so she isn’t sure what wild cats sound like, but she thinks it’s the sound of a wild beast of some kind. She goes out to investigate; when she hears it again, she thinks it’s coming from her neighbor’s house across the street. She returns inside to shower and dress for the party and then crosses the street to knock on her neighbor’s door. No one answers, but she sees what look to be spots of blood on the driveway. Inside, she hears footsteps and then what sounds like a loud sigh and purring. She imagines, with some relish, a wild animal devouring her family members at dinner.

Jeanette is just out of another stint in rehab, and this will be her first visit in years, after Carmen cut off ties with her until she could prove her sobriety. Jeanette arrives last; she says that Mario, her one-time boyfriend, is on the way, which surprises and angers Carmen. Jeanette insists that Mario is sober now too and that they’re just friends. She adds that her mother can’t judge her relationships. Despite Carmen’s insistence on no alcohol at dinner, she sees one of the guests, Pepe, pour something from a flask into his drink. She tries to investigate, but her niece, Vanessa, beats her to it, taking the glass to the kitchen to dispense of the alcohol. Vanessa tries to ask about Jeanette, but Carmen leaves to keep tabs on her. Mario arrives, and Jeanette makes a point of cheerfully reacquainting them.

At dinner, Pepe makes a point of asking about Carmen’s mother, Dolores, even though he knows that Carmen and Dolores don’t speak to one another. He then tells Jeanette that Dolores won’t stop asking about her and that Dolores wants Jeanette and her cousin Maydelis in Cuba to reunite the family. Jeanette says that she and Maydelis email often and that she’d love to visit. Vanessa tells the family that she learned that their ancestors worked at a cigar factory in Cuba and that they can still buy those cigars today. Mario steps outside to smoke a cigarette. Carmen, frustrated by all the talk of Cuba, steps outside as well. She watches him take out a pill, and when he’s startled by a growl from across the street, Carmen confronts him and accuses him of being back on drugs. Mario is too startled to speak, but shows her the pill bottle, which turns out to be an antacid prescription. They silently return to the house.

While cleaning up, one of the children brings some dishes to Carmen in the kitchen. Carmen accidentally calls her Ana; she remembers who Ana is and then thinks about the news on immigration raids and detention camps. She dislikes the way her generation believes that they’re better than other immigrants, and she regrets handing Ana over to the police. Jeanette walks into the kitchen, and the child, Lila, leaves. Jeanette tells Carmen that she and Mario are leaving because she feels like everyone is judging her, most of all Carmen. She criticizes Carmen for continuing to lie about her father’s abuse. Carmen wonders if she really cut ties with Jeanette because she reminded her too much of that mistake. Jeanette hid the abuse until Julio died; when Carmen accused Jeanette of disrespecting her father’s memory by showing up to his funeral drunk, Jeanette lashed out and told Carmen that the reason for her substance abuse issues was that Julio had molested her. Rather than comforting her daughter or even believing her, however, Carmen questioned her, and Jeanette stormed off. At Thanksgiving dinner, Jeanette criticizes her mother for barely discussing the revelation in the years since; Carmen wishes that Jeanette could instead learn to live without bringing up her past trauma. Jeanette, unable to answer, excuses herself.

Carmen again crosses the street to her neighbor’s house. She tries to look in through the windows but can’t see anything, so she sneaks into the backyard and enters the house through the back door. In the house, she finds a large cage; inside it, a Florida panther sleeps, and a trail of blood runs from a still-bloody piece of meat to the cage door. Carmen marvels “at the similarities between the panther and her cat Linda” (108). The cat wakes up and begins hissing at her to stay away; Carmen briefly imagines what it would be like to smear herself in blood and offer herself as a sacrifice, but when she hears her neighbor arrive back home, she collects herself and returns the way she came. She considers calling the police or animal control, but eventually decides to keep her neighbor’s secret. Five years later, the panther escapes the cage and mauls her neighbor.

Chapters 4-6 Analysis

These chapters are united in the way they explore relationships between mothers and daughters: Jeanette and Carmen in “Harder Girl” and “Prey” and Gloria and Ana in “Find Your Way Home.” Both relationships are about parental failure, which is more obvious with Carmen and Jeanette: Although Carmen is still torn in “Prey” about the way she handles Jeanette’s revelations about Julio and her subsequent substance abuse issues, her uncertainty reads as culpability, not for Julio’s actions but for her own reaction to the revelation and her refusal to connect Jeanette’s substance abuse with her sexual abuse. However, Gloria’s chapter, which reads like a letter of confession to Ana, is filled with apologies and regret: Gloria blames herself, to some extent, for the difficult life Ana will have since she’ll never have a real “home.” Nevertheless, Gloria acknowledges that they’re victims of circumstance: “It’s the flick of a coin,” she tells Ana, “and we are born” (89). In that respect, Gloria’s regret boils down to which of the many bad choices she was forced to make, and moreover, that she couldn’t shield Ana from being a victim of circumstance. In the same way, Carmen’s culpability is a product of reacting poorly to a situation beyond her control: She put up with Julio’s physical abuse and neglect because she believed he was a good father to Jeanette, when in reality her decision to stay eventually resulted in Julio destroying Jeanette’s life instead.

These chapters also explore Jeanette’s self-destructive impulses in greater detail, notably in “Harder Girl,” which goes back to 2002, when Jeanette is just 15. What’s interesting about “Harder Girl” is the extent to which it shows that the seeds of Jeanette’s later substance abuse stem from a complex sense of insecurity in public and tension at home. Besides introducing Johnson and the dead body episode, the chapter presents Jeanette and Sasha as two high school girls struggling to find their place in society—they’re not popular, but they’re not part of the “uncool” crowd that rejects things that popular kids like, and they constantly flirt with the normal trouble that teenagers get into. However, this particular night marks a breaking point between Jeanette and Sasha, as Jeanette is willing to go with Johnson, whereas Sasha is not. Importantly, though, they both seem to recognize the inherent danger in Jeanette’s actions; the difference isn’t that Jeanette’s naive but that she believes she’s willing and able to be the kind of girl that takes those chances. She goes with Johnson because he thinks she will and she doesn’t want to disappoint him, and because she thinks it’s the kind of thing the cool kids would do—she even adopts her crush’s girlfriend’s name, Cora. She spends the night going along with what Johnson wants to do because she cares what he thinks of her, even as a voice in the back of her mind tells her that she doesn’t like what she’s doing. It takes a dead body—a symbol of someone paying the ultimate price—to snap her out of it and push back against Johnson.

As a result, “Harder Girl” presents a complex, often contradictory mash-up of desires and personas. Jeanette wants to be wanted but is aware of the kind of unwanted attention her father is beginning to pay to her, and in many ways her desire to be wanted is a desire to be wanted normally. Johnson’s desire for her, however, is not normal—it’s pedophiliac, and despite Jeanette’s initial lie, Johnson is clearly aware that Jeanette is underage and decides to pursue her anyway. At the same time, Johnson is himself insecure and uncertain; this is not to excuse his behavior but rather to show how it aligns with the chapter’s concern for the contradictory and complex nature of toxic masculinity. For example, Jeanette marvels that the old men who catcall her and Sasha likely go home to wives and children whom they treat with respect, and though she recognizes “fucking” as a kind of sexual desire, she has trouble squaring it with the kind of sex loving couples have. The chapter thus presents Jeanette as getting to a normal stage of teenage development and sexual awakening but being denied the opportunity to let herself develop naturally—instead, she gets attention from her father and older men while feeling neglected and unwanted by boys her own age.

“Prey” is one of the novel’s more surreal chapters, as mysterious growling haunts Carmen’s chaotic Thanksgiving dinner party. At first, the panther may feel like a strange throwaway—this other thing that happens in the novel alongside everything else, something to add to the narrative’s often dreamlike quality and poetry. However, the key to understanding the panther’s role is in Carmen’s comparing the panther with her own housecat, particularly in the similarities she sees between the two animals: “the ears, parallel and curved back, the tight wiring of the whiskers” (108). Some years later, the panther escapes and mauls its owner, showing not only that it’s still wild but that its power makes it dangerous; in contrast, housecats are domesticated and small enough that even when they act out, they can be kept under control. In other words, this scene illustrates measures of control and degree and, as such, works as a metaphor for Carmen and Jeanette. Carmen is all about control and suppression; for instance, she wishes that Jeanette could just ignore her trauma, as Carmen has. Jeanette, on the other hand, taps into her wildness. Carmen is fascinated with this at times, to the point that she indulges in brief fantasies of wildness, first by imagining the panther devouring her houseguests, then by imagining the panther devouring her. Just as the panther eventually mauls its owner, Jeanette eventually succumbs to her substance abuse. However, both the panther and the housecat are only acting on natural instinct: The panther isn’t to blame for mauling its owner. As a result, this chapter reinforces the complex way that humans interact with their own circumstances and natures—and the importance of the choices that humans make when confronting those pieces of themselves.

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