60 pages • 2 hours read
Content Warning: This section of the guide describes the text’s treatment of child abuse, violence against Indigenous people, violence against women, and the violent actions of an oppressive political regime, including several scenes of mass murder.
Cayetana Chávez is also known as la Semalú (the Hummingbird) by the people of Tomás Urrea. She gives birth to her daughter on an October morning as people around her prepare for Día de los Muertos (the Day of the Dead).
Tomás, the patrón (boss and owner) of a ranch. He and his foreman, Segundo, have recently returned from a trip to the sea to pick up his best friend, the engineer Don Lauro Aguirre. On their return journey, they stop at El Farolito cantina and speak of the government’s need to control the Indigenous population. Tomás also talks to his friend, Lieutenant Enríquez, about his hatred of bandits.
The day before Cayetana gives birth, she walks across the ranch and meets a man on the road eating cherries. He offers them to her and tells her that she will have a girl.
Cayetana is now in labor. A woman named Huila pays Cayetana a visit. Huila is known to the People (the Indigenous workers) as a midwife and commander of spirits. In addition to being a revered figure among the People, she is also the respected head of Tomás’s household staff. As she goes to Cayetana, Huila sees Tomás and his men and thinks that she does not like “Yoris,” the People’s word for white people. She also regards Tomás as “El Rascacielos,” the Sky Scratcher. She is relieved when she finally reaches Cayetana and does not smell death at the woman’s door.
Tomás, Aguirre, and Segundo wait for the wagon of supplies early in the morning. They hear Cayetana’s screams, and although Tomás is curious to see a birth, he remains with his men. When Tomás’s friend Enríquez arrives with the wagons, he Tomás asks him if there are any women in the wagon train for Aguirre, who struggles to meet women. Meanwhile, Cayetana tells Huila that she has sinned, but Huila dismisses her concerns. The baby is born with a red triangle on her forehead, which signifies she is a powerful child. Huila was also born with such a triangle, but she does not mention its meaning to Cayetana.
Cayetana names her baby Rebecca. Two years pass. Cayetana does not love motherhood and is annoyed by the toll it takes on her body and by the constant cleaning and care that a baby requires. She does occasionally feel intense love for the baby, but she notices that the child has blonde hair like Tomás. One day, as Cayetana works, she watches Tomás receive visitors, the first of whom is an old man whose land was seized by the government and given to an American. The old man tells Tomás that he was whipped and that his wife died on their journey to the ranch. Tomás sends him to Huila and receives his second visitor, who tells him of approaching Rurales, or government police. The Rurales soon arrive with the severed head of El Patudo, a notorious bandit, to serve as a warning to all. Cayetana gasps when she recognizes the head as that of the man who once gave her cherries.
Tomás eats dinner with Huila. His wife, Loreto, is feeling unwell. Meanwhile, Cayetana packs her few belongings and walks into the night with her child. Tomás asks Huila why everyone fears her, and Huila tells him that the People respect her. In turn, she asks why he loves the People. Tomás tells her of Don Refugio, an Indigenous man who helped to raise him while his father was busy.
Tomás states that Don Refugio survived Bácum, the slaughter of Indigenous people by Yoris. He survived by grabbing a crying boy from the child’s unconscious mother and hiding in a bush, where he watched in horror as 450 people were locked in a church and burned. One day, Tomás and Don Refugio saw a line of Indigenous women who were chained together. Many had missing hands, and they were all being led to their execution. Seeing this, Don Refugio asked Tomás for a cigar, doused himself with gasoline, and lit himself on fire.
The girls of the ranch see Huila as a god-figure, and everyone wonders how someone of her stature and power could work for Tomás and his family. Cayetana thinks of Huila as she walks to her sister’s home. She asks her sister to watch the baby until morning while she helps to deliver a cow across the ranch. Her sister calls Cayetana a liar, but Cayetana denies this. With Rebecca now in her sister’s hands, Cayetana leaves, heading for the nearby town of Ocoroni.
Huila sees a child as she walks across the ranch early one morning and recognizes her as Rebecca. The child corrects her, telling Huila that she calls herself Teresa, after the Saint Teresa who loves God more than anyone. Huila tells the girl that she does not look like she is of the People. When Teresa, or Teresita, as she is often called, asks her Tía (her aunt) about her identity, the woman dismisses her. Teresita’s life with Tía is hard, and Tía resents the burden of an extra child. One day, Teresita goes to find Huila and meets a boy who claims that Tomás is his father. Curious, Teresita follows Tomás into the big house, looking for Huila. When Tomás finds her, he sits and speaks with her instead of punishing her for entering uninvited. He brings her to the kitchen for juice and cookies and directs the serving girl to bring Huila to Teresita.
Huila watches as Teresita eats her cookies. She teaches the child manners before taking her on a walk. Hearing about the child’s homelife, she explains that it is wrong for Tía to call Teresita’s mother a “whore,” and that it is a sin to accuse Teresita of being the same. Later that day, Teresita returns to Tía and gives her a cookie. Tía does not save the cookie for her own children, and when Teresita explains that she got the cookie from the main house, Tía beats Teresita unconscious and throws her into the pig pen.
Teresita wakes up in the pig pen, and the boy who claims that Tomás as his father reappears and introduces himself as Buenaventura. He lifts her out of the pig pen and brings her to Huila, who takes Teresita inside and tends to her cuts. As Huila washes Teresita, she feels heat in the girl’s hands and realizes that she has a spiritual gift. Loreto, Tomás’s wife, joins them and recognizes that Teresita is an Urrea. Loreto tells Teresita that she can stay the night in the house; she even gives the girl a gown to wear. That night, Teresita dreams of a hummingbird gifting her a feather. After instructing Teresita on how to pray, Huila brings the girl back to Tía and makes her wait outside. She then speaks with Tía, cursing the woman.
As Aguirre and Tomás ride to the house, Aguirre asks Tomás about the Indigenous people who work on the ranch. Tomás acknowledges that this land originally belonged to the Indigenous people. After briefly meeting Loreto and the children, the men retire to discuss politics over drinks and express concern over President Porfirio Díaz’s increasingly corrupt regime. The president is installing more allies in government positions across the country, and this could prove dangerous for Tomás. Aguirre warns of encroaching Americans, but Tomás soon shifts the conversation to his desire to keep bees.
Teresita proves to be a troublemaker. One morning, Huila begins Teresita’s spiritual education. She tells Teresita of the Mayos seeing the Virgin Mary. In the story, when the Virgin Mary descended to meet them, she got stuck on a cactus. Because she was the first white person the Mayos had seen, they shot arrows at her until she told them to fetch a ladder. In addition to relating such stories, Huila also shows Teresita how to ask the plants for permission to use their leaves. She explains that although God is everything, everything is not God.
Teresita tells Huila of her hummingbird dream and states that the bird turned to the left after giving her the feather. Huila explains that the hummingbird is a messenger of God and that the left is the side associated with the heart. She tells Teresita that the feather is a key, though for what she does not know. She goes on to teach Teresita how to use plants medicinally and how to feel their power. Huila warns the girl never to tell Yoris (white people) about the plants. She urges the girl to accept mystery into her life and to not always feel compelled to seek definitive answers. Finally, Huila tells Teresita to pierce her ears to show God that she is listening. She gives the girl two gold hoops.
On a Saturday morning, Segundo comes to the village and tells the People that because of Díaz’s government interference, Tomás and his family are no longer safe in Sinaloa and are moving to their northern ranch in Sonora. He explains that everyone will have the day off to decide their futures. To stay means accepting a new patron, but leaving will guarantee work. Everyone begins packing, and nostalgia sweeps through the community.
The Hummingbird’s Daughter details the many abuses and crimes the Mexican government perpetrates against its various Indigenous populations, and Urrea establishes this pattern quite early in the novel. By revealing the extent of this violence, the novel also demonstrates the many ways in which Indigenous resistance springs up as a response, both in individual and collective ways. In these initial chapters, Tomás demonstrates some awareness of the tension between Indigenous people and the government, for he openly recognizes the theft of land and the gruesome murders of whole communities. This awareness is instilled by his time with Don Refugio, the Indigenous man who raised him and told him of his survival of a massacre. The description of this traumatic event offers an example of Indigenous Resistance Against Government Abuse, for amid this violence, Don Refugio feigns support for government soldiers in order to seize the opportunity to save a small boy from the impending massacre. As the novel states, “And he had been waved on, to collect the small victim. Don Refugio took the boy in his arms. He backed through the cactus hedge behind them [...] [H]e held the boy and watched as the soldiers slammed the doors and nailed them shut and the people within began crying out” (44). This small act saves two lives and stands as a prime example of strategic resistance against systems of oppression. Tomás’s later support of Teresita and her pilgrims also reflects this sense of resistance, as he will advocate for Indigenous land rights and witness resistance at a larger, collective level.
Amidst these broader societal troubles, The Complexity of Familial Relationships also comes to the fore, for the various family connections that the novel presents are often highly strained and emotionally taxing. In Part 1, for example, Teresita primarily lives with Tía because her mother abandoned her. Faced with the unwanted burden of an extra child to raise, Tía is abusive and dismissive of Teresita. Tía’s relationship with motherhood is strained at best, for she is exhausted by the responsibilities of caring for her children and constantly working to put food on the table. The unspoken stresses of this situation become apparent when Teresita brings Tía a cookie. Although Tía means to save it as she believes a mother should, she finds herself rationalizing her uncontrollable urge to eat the cookie herself. As the narrative states, “She knew she should save the rest for her children. Any mother would save it. She took another bite. The children were small—they’d need less of the cookie than she did. Didn’t she deserve it?” (66). Tía’s bitter rationalizations over this petty act of selfishness illustrate the unspoken tension between her desire to be a better parent and her conflicting need to enjoy an indulgence of her own, without thinking of her children first. She knows that as a mother, she needs to save the cookie, but because she feels exhausted and undervalued, she reasons that she deserves the cookie more than her children do. The responsibility of being a single mother clearly takes a toll, and the ongoing stress of her situation manifests in moments of petty selfishness and more serious abuse, as when she impulsively beats Teresita. Thus, the conflicts and ambiguities that plague family connections are introduced quite early in the novel.
The union between Catholic and Indigenous traditions and spirituality plays an important role in The Hummingbird’s Daughter, for many characters use both faiths to define themselves. Under Huila’s tutelage, Teresita begins to learn more about God and about key Indigenous traditions, the most important of which involve the healing properties of plants and the significance of dreams. Huila unites these two traditions effortlessly, and when she explains Teresita’s own history, she demonstrates the close connections between Catholicism and Indigenous culture. As she asserts, “Your grandfather was Catholic, and your grandmother followed the old ways. She was Mayo, and her own mother was Yaqui. Your grandfather was Tehueco, and the soldiers put him in a tree before you came” (70). Although Huila explains that the Catholic faith is a part of Teresita’s family, she also emphasizes the importance of the Indigenous identity that comes from multiple sides of the girl’s family, thereby introducing the novel’s thematic focus on The Union of Catholic and Indigenous Spirituality. The two cultures and traditions become so closely tied through families and across generations, and coexist through the passing down of knowledge, such as with Huila’s education of Teresita. Huila’s explanation of Teresita’s family tree also introduces the legacy of violence that comes with the confrontation of these two traditions, for Teresita’s grandfather was hanged by soldiers. Even with this legacy, the preservation of Indigenous traditions and spirituality is preserved through Teresita’s work later in the novel, as she uses what she learns from Huila and others who see themselves as being under the guidance of God.
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By Luis Alberto Urrea