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72 pages 2 hours read

Karen Tei Yamashita

Tropic of Orange

Fiction | Novel | Adult | Published in 1997

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Symbols & Motifs

Oranges

The most important orange in the novel contains the Tropic of Cancer and was grown on a tree on Gabriel’s property in Mazatlán, Mexico, right on the tropic. The tree the orange grew on is small and in poor condition, but Rafaela took extra care in nurturing it. The tree represents trade and movement between countries in the Northern and Southern Hemispheres: “It was a navel orange tree, maybe the descendant of the original trees first brought to California from Brazil in 1837 and planted by L.C. Tibbetts” (13). The tree came from Riverside, California, an area of California known for citrus experimentation and cultivation. Gabriel views the planting of a tree from America in Mexico as “a significant act of some sort,” and he planted it “as a marker—to mark the Tropic of Cancer” (13).

The plot of the novel tracks the movement of the orange from Mazatlán to Los Angeles. Because the line of the Tropic of Cancer runs through the orange, it distorts weather, geography, time, and space as it moves. The orange moves the tropic along with it, forcing the South into the North in a great collision of cultures akin to the end of the world, as prophesized by Arcangel. At the end of the wrestling match between El Gran Mojado and SUPERNAFTA, Rafaela feeds the orange to the dying Arcangel. The crowd whisks him away, to “[b]ury him under an orange tree. Plant him at the very edge of the sun’s shadow. Maybe grow another line right there. Mark the place” (229). This echoes Gabriel’s romantic notion of marking the Tropic of Cancer, and it provides a sense of hope of new relations between the United States and Mexico after the chaos subsides.

The orange from Gabriel’s tree is the last remaining orange in Los Angeles, and thus becomes an object of public curiosity. The rest of the oranges have been confiscated, thrown away, or hidden. A string of deaths in the novel, including Margarita’s, a street vendor Buzzworm is fond of, and a young man he gives an orange to, is linked to a potent, cocaine-like narcotic with which an unknown number of oranges are laced. Therefore, oranges are labeled as contraband. Gabriel can trace the shipment of oranges throughout South America but cannot find out anything more except that the oranges originated in Brazil. The fact that the drugged oranges are linked to the other subplot of human organ trafficking evokes the death and destruction wreaked on Central and South America due to America’s war on drugs and the rise of drug cartel violence.

Buzzworm’s Watch Collection

Buzzworm has an extensive collection of watches; at any given time, he is wearing one or more. Each watch has a story connected to it, and he always wears at least one with an interesting story as a conversation piece. Buzzworm occasionally gives watches to the people he helps, including the young man who claimed to have seen bullets curving and who died from eating a poisoned orange that Buzzworm gave him. Buzzworm’s watches symbolize the care he puts into helping members of his community: He has time for everyone.

Palm Trees

To Buzzworm, palm trees represent his neighborhood in South Central. He grew to admire palm trees for their tenacity and ability to survive on next to nothing, while still rising above the place they grow. Buzzworm extolls the virtues of palm trees, giving anyone who will listen a summary of their biology and ecology. He always wears shirts with palm trees printed on them.

When he left his part of town for the first time, Buzzworm realized, “you could just skip out over his house, his streets, his part of town. You never had to see it ever. Only thing you could see that anybody might take notice of were the palm trees” (31). Palm trees serve as a physical marker of his neighborhood, a reminder to the outside world that it exists. To Buzzworm, the trees disclose “a beauty you could only notice if you were far away” because “Everything going on down under those palm trees might be poor and crazy, ugly or beautiful, honest or shameful—all sorts of life that could only be imagined from far away” (31). Like Manzanar Murakami’s maps and grids, Buzzworm’s palm trees are geographic markers that symbolize a real aspect of Los Angeles.

The Tropic of Cancer

Gabriel is initially drawn to the property he now owns in Mexico due to its proximity to the Tropic of Cancer, the most northern latitude where the sun can be positioned directly overhead on the Summer Solstice—the day the novel begins. To Gabriel’s romantic mind, the tropic represents the romanticism of Mexico: The reason he bought the property was its proximity to the tropic. Though the Tropic is an imaginary line, Rafaela begins to see it as “a line—finer than the thread of a spiderweb—pulled with delicate tautness” (14). The Tropic of Cancer is tangled up in the orange from Gabriel’s property, and it physically brings the geography and population of the South into the North when Arcangel brings it across the border.

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