General Group Questions, Bless Me, Última
1.
Cultural
conflict is evident from the opening chapters of Bless Me, Última. What are the different manifestations of this
cultural conflict [family, school, religion, society at large]. How does this
cultural conflict impinge on Antonio’s life?
2.
How
does Antonio look upon change? What lessons/stories about change does he learn
from his elders? What is lost, what is gained from changing over from “old
ways” to “new ways”?
3.
What
“secrets” does Última share with Antonio? What role does she play in Antonio’s
education? How does she teach?
4.
How
do Última’s views differ or compare to
those of María and Gabriel? What lessons, strategies for living, values and/or
problems acquired from these three important individuals in his life
“interpellate” (challenge) Antonio?
5.
What
role does the “pandilla” (the gang) play in Antonio’s struggle to understand
his world? What do Samuel, Cico, Narciso, and Florencio have in common? Why are
these referred to as “la gente mágica” (the magic people?
6.
Anaya
tells us that Última “reflects the nature of La Virgen de Guadalupe, the
indigenous mother born of the synthesis of Spanish virgin and Indian goddess”
(“The New World Man”, p. 361). How does Anaya’s characterization of Última in
the novel support or contradict this perspective? How is Última perceived by
the townspeople? How does Antonio come to perceive her? Why?
7.
Última
seems to represent for Anaya “the true nature of the New World [person], that
person who is authentic to the New World View.” What is this New World view as
Última embodies it? How does Última share this view with Antonio?
8.
Why
does Anaya intersperse the narrative with dream-texts? Of what importance are
these various dreams that Antonio has throughout the novel? What is their
function in the text?
9.
The
dream sequence at the end of Chapter 11 is an important one, because it
foreshadows an important lesson that Última tries to convey to Antonio. What is
Última telling Antonio here? What must he understand?
10.
Anaya
notes that “History moves us toward perfection through small epiphanies”
(“Aztlán”, 383). What important understandings, discoveries, revelations, does
Antonio acquire in the course of his education and development? What turning
points can you identify? What impact do these have on his character formation
and cultural identity?
11.
Social
perceptions often determine justice in the novel. When does Antonio first come to realize this? What impact does it
have on his beliefs?
12.
Anaya has said that “our nature moves us
forward, groping for illumination, yearning for a truer knowledge of our
spiritual and human relationships” (“Aztlán,” p. 383). Comment on Antonio’s
“struggle for illumination” both spiritual and human. How does Antonio struggle
to understand his world?
13.
What
is Florencio’s “heresy”? What do the “sacrilegious games,” plays, and
confessions reflect as to the boys religious education? Antonio gradually
begins to recognize that “the mystery” is escaping him. What does he mean? Why
is this happening?
14.
What
metaphor does Última use to teach Antonio about individual destiny? What
important lesson does this bring home to him?
15.
Florencio drowns in Blue Lake. Comment on the
lifeguard episode in Chapter 21. What cultural gap does this episode reflect?
16.
In
Chapter 22 Antonio has a very important conversation with his father. What
ideas does his father share with him? Why is it important that his father (and
not Última) point these lessons out to him?
17.
How
do we know that Antonio is no longer a child by the end of the novel? How is
this made clear both psychologically and culturally?
18.
How
are oppositional forces resolved at the conclusion of the novel? What is the
“ultimate” lesson that Ultima teaches
Antonio?
19.
Do
you think the novel (or Anaya) offer a solution in the end to cultural and
social conflict? If so, what is that solution or solutions?
20.
What
do the concluding lines of the novel suggest? What does Antonio understand
about the society in which he lives?