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37 pages 1 hour read

Julia Alvarez

In the Name of Salome

Fiction | Novel | Adult | Published in 2000

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Chapters 8-10Chapter Summaries & Analyses

Chapter 8 Summary: “Shadows, Havana, Cuba, 1935”

Camila has moved backward another six years as she recalls teaching in Cuba in 1935. Her life is busy with classes and spearheading a women’s protest to gain the vote. While she is planning her latest march, a stranger approaches. The narrator describes Camila’s reaction to him: “A large mulatto with a handsome, big-featured face and a body that, because she has been printing placards, she instantly thinks of as ‘all in capital letters’ comes forward and introduces himself” (148).

His name is Domingo, and he speaks with a stutter as he explains that he has been commissioned to sculpt a bust of Camila’s father. The Cuban government is planning to present the statue to the Dominican government. Although Pancho is dead, Domingo explains that he can capture the man’s spirit if his daughter will pose as his model. Camila warily agrees because this is one more task to add to her overloaded schedule. She goes to Domingo’s studio and sits through several sessions. It takes many conversations about Pancho to give the artist a feel for the man himself. Camila finds herself attracted to Domingo, but this is confusing given her earlier romantic interest in Marion.

After one of their sessions, Camila returns home to find an embassy car parked in front of her house. Her brother, Max, wants to chat. Max is part of the current government regime in the Dominican Republic. He says that Camila’s involvement in the suffrage movement reflects badly on the family. Angered by Max’s demand that she withdraw her support, Camila walks out and goes to Domingo’s place to seek comfort. Domingo assumes Camila has called so late because she’s interested in a sexual liaison. The narrator describes Camila’s glimpse of her father’s bust: “In the studio they walk through on their way to the back room, she catches a glimpse of the bust [Domingo] has left uncovered. Her own face stares back at her, fierce and almost finished” (168).

Chapter 9 Summary: “Sombras, Santo Domingo, 1880-1886”

By 1880, Salomé’s life has become very full. She and Pancho have married and are moving into a house of their own. All the while, Salomé continues to write fiery political poems. The couple meets a middle-aged Puerto Rican man named Hostos, who has come to the Dominican Republic to join the Friends of the Country organization. He is charismatic and quickly becomes the leader of the country’s progressive movement. Salomé falls under his spell. She thinks to herself, “I had heard people say amusing things, clever things, romantic things, but never before had anyone spoken so simply and with such moral authority that inside myself I felt the rightness and goodness of what he was saying” (172).

Salomé finds the scope of her poetry narrowing to her love for Pancho, even though he urges her to continue writing political verse. When Pancho is appointed the president’s secretary, and his duties cause him to travel frequently, Salomé is desolate. While he is away, Pancho asks Salomé to take over teaching at the school he founded for boys. Hostos agrees to help when he can but also urges Salomé to establish a school for female pupils. She feels herself pulled in multiple directions. Although she fears that her poetry will be neglected, she complies. The government votes to provide funding for Salomé’s new school. Between her school duties and the birth of three sons, Salomé has no time to write. She says to herself, “Every once in a while, when I had a minute to myself, I would sit down and close my eyes and hear an old call from deep inside [...] Hush now, I would whisper” (188).

Chapter 10 Summary: “Love and Yearning, Washington, D.C., 1923”

Camila’s memories have retreated another 12 years to 1923 when she and her family are living in exile in Washington, DC. Pancho had been president for only four months before the United States occupied the Dominican Republic. He stubbornly refuses to act as president under the auspices of the United States, though his protégé, Peynado, is far more cooperative with the Americans and wishes to assume the presidency himself. Peynado has loaned his townhouse in Georgetown to the Henríquez family, but Pancho is deluded into believing the house is leased to the Dominican government. He also believes that he has a chance of meeting with President Harding to get the Americans out of his country.

During this time, Camila writes many letters to Marion that she doesn’t send. She’s met a young naval officer named Scott Andrews, who has proposed marriage. Camila thinks she is in love with Scott but vacillates over their possible future. The narrator describes Camila’s thought process about this issue:

She will live in a house, not unlike this one. She will bear children, not unlike her little nephews. She will kiss her kind husband, a man not unlike Scott Andrews…Already she feels bored with this version of what is coming (205).

After Pancho’s repeated attempts to gain an audience with the president, Camila gives Scott an ultimatum. If he wants her to marry him, he will have to arrange an interview for her father. A few days later, Scott arrives with Peynado. They try to convince Camila that the interview is impossible. Furious and disappointed, she sends both men away.

Chapters 8-10 Analysis

This set of chapters covers Camila’s life in reverse between 1923 and 1935, while Salomé’s life moves forward from 1880 to 1886. The theme of fused identities is emphasized strongly in Camila’s chapters as she becomes romantically involved with two different men. One is a Cuban sculptor in 1935, and the other an American soldier in 1923. Camila rejects both. Her attachment to Marion isn’t the true motivation for her behavior: Camila is so deeply enmeshed in her mother’s life that marrying either man would preempt her primal attachment to Salomé. Camila unconsciously feels that she couldn’t keep her mother alive in her heart if someone else has a stronger claim on her affections.

The same chapters also highlight the recurring pattern of patriots in exile. Ironically, it is the Cuban government that wants to immortalize President Pancho with a bust rather than his native Dominican government. He is living in Washington in 1923, vainly trying from afar to oust the Americans from his country. In 1935, Camila is leading a suffrage movement and teaching classes to students in Cuba rather than in her own land.

Salomé’s chapters once again highlight the theme of the function of art. As she becomes submerged in domestic duties caring for three young sons, she has no time to write poetry. The poetry that she does write glorifies her husband and domestic bliss. While Pancho offers tepid praise for her literary efforts, he wants her to focus on political subjects. This once again emphasizes the question of art’s purpose. Should it satisfy the needs of the poet or of her readers? The mundane chores of family life also act as a dampener on Salomé’s muse. She sacrifices her inner need to express her feelings in favor of her family and country.

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