logo

41 pages 1 hour read

Elizabeth Acevedo

Family Lore

Fiction | Novel | Adult | Published in 2023

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.

Themes

The Cost of Silence

Though the Marte women in Family Lore love one another, their relationships are nevertheless strained by silencing. Elizabeth Acevado suggests the Marte family’s gaps in knowledge not only perpetuate misunderstanding but patriarchy. As a member of the family’s youngest generation, Ona explicitly poses the question, “How do lineages of women from colonized places, where emphasis is put on silent enduring, learn when and where to confide in their own family if forbearance is the only attitude elevated and modeled?” (131). In the novel, the answer lies in silence, isolation: Despite being surrounded by other women, the Martes lack support due to self-isolation. For example, the Martes lack medical knowledge of the female body, leading to painful situations such as Ona’s reliance on pornography to reclaim her vaginal gift and Mamá Silvia and Matilde’s miscarriages. Outside of medical issues, Pastora never learns of her mother’s hatred for the Santana family on her behalf. The Martes’ refusal to clarify and question norms upholds patriarchy, as it thrives on keeping women ignorant. For example, though Matilde’s husband Rafa is an adulterer, Silvia insists the couple stay together, as Matilde’s inability to conceive makes her “broken.” Silvia accepts Rafa’s behavior as the norm, dooming her daughter for years.

Ona’s question (131) also foreshadows her research project, as amassing her mother Flor’s, aunts, and cousin’s experiences is what finally breaks their silence. The novel ends with an abstract, revealing the novel as Ona’s project; in completing the story, the reader is made privy to the Martes’ knowledge and becomes a part of their history. However, Ona admits her project is incomplete: “I had to make up the parts you could not tell me […] all the things you barred behind your teeth” (338). Like Flor’s unspoken story for Yadi (Chapter 39), this quote underlines the Martes’ history as “barred behind teeth,” clenched in collective pain. Ona cannot collect all memories, but despite this limitation, her project begins to fill in gaps left behind by past and present generations of silenced women—and promises dialogue for future generations such as her own baby (perhaps, a daughter).

The Limitations of Foreknowledge

The Marte women’s magical gifts are often treated with reverence, specifically Flor’s foresight and Pastora’s truth-hearing. As both have keener insight into family matters—by parsing deaths and lies—they tend to be complacent. Acevedo highlights the limitations of this dependency by showing their users disconnecting from reality. While Pastora’s exposure to lies and secrets does affect her, Flor allows her own gift to actively shape her present and future. When young Flor is courted by Pedro, she believes in their future because she knows how he will die: “Falling in love would be too cloying a phrase for what she felt. […] Knowing both the beginning and the end led her to believe he would be a comfortable companion” (272). She is naïve, putting distance between herself and Pedro because of her power: She manufactures a false sense of security and ignores the implications of being married to him for a set amount of time, and the misery she will endure because of his alcoholism. Knowing how he dies gives no indication of how he will live, and how Flor will live with him. Being the youngest Marte sister, Camila perpetuates this misunderstanding by believing she and Matilde are at a disadvantage due to lacking powerful gifts.

Overall, Flor has relied on her gift rather than being spontaneous in her personal life and relationships—with her living wake being yet another death-related decision. Her chosen path provides a knowable (dis)comfort: “She didn’t know what it said about her that although her sisters seemed to chafe at their restraints, she felt safe with the tight and structured rules and ways of living. If she did not go looking for surprises, very few ever found her” (152). Yet, life is seldom structured, and this quote reveals Flor’s disconnect from her sisters and struggle to connect with her daughter Ona. She actively limits her life and foregoes passion to feel safe. Yet, this approach does not ensure safety—as she eventually experiences Pedro’s alcoholism and squandered finances firsthand. Though Flor is gifted with powerful magic, Acevedo underlines that power is no substitute for experience.

The Constraint of Duty

Throughout the novel, Acevedo discusses characters’ relationships with cultural and familial duty. Often, there is a generational divide in how duty is understood: To Pastora, “One thing the old people knew that this new generation forgets is duty. But duty is not soft, or padded” (172). She refers to both cultural and familial duty in the context of Papá Susano’s reaction to her abuse by La Vieja [Redacted]. To spare his family the shame of her ordeal and Nun Aunt’s judgment, he shakes Nun Aunt’s hand. As a child, Pastora endures slander and mistreatment for the “greater good” of her family. However, as an adult, her verbal abuse by La Vieja and Mamá Silvia, as well as Susano’s reaction, likely fuel her obsession with “helping” her sisters. To her, duty comprises standing up for Matilde by confronting Rafa’s mistress, rather than letting Matilde suffer in silence.

Being bound to cultural responsibilities and traditions, such as obeying authority figures without question, often entraps individuals—as seen in Pastora’s exile to La Vieja, Matilde’s temporary abandonment of dancing, Flor’s initial foray into sainthood, and Camila’s marriage to Washington. Though Silvia makes these decisions to protect her family and their reputation, they often come at the cost of selfhood: Pastora is temporarily left without a support network, Matilde’s passion for dance is relegated to stolen hours at a dance class, Flor is used to further the family’s social standing until she is deemed a liability, and Camila is unable to choose her own husband. Regardless of intent, Silvia’s love is lost on her daughters: Matilde believes “She was a woman who did not express love” at all (239). In other words, Silvia’s commitment to duty puts distance between her and her daughters, teaching them that love is conditional. While Flor’s relationship with her own daughter Ona is imperfect, Ona knows Flor loves her. To her, duty comprises preserving her family’s history as an anthropological research project.

blurred text
blurred text
blurred text
blurred text