Como Agua Para Chocolate
Verbal and Visual Representation of Women: Como agua para chocolate / Like Water for Chocolate
By MARÍA ELENA DE VALDÉS
Como agua para chocolate is the first novel by Laura Esquivel (b. 1950 ). Published in Spanish in 1989 and in English translation in 1992, followed by the release of the feature film that same year, the novel has thrust this Mexican woman writer into the world of international critical acclaim as well as best-seller popularity. Since Esquivel also wrote the screenplay for director Alfonso Arau, the novel and the film together offer us an excellent opportunity to examine the interplay between the verbal and visual representation of women. Esquivel's previous work had all been as a screenwriter. Her script for Chido Guan, el Tacos de Oro ( 1985 ) was nominated for the Ariel in Mexico, an award she won eight years later for Como agua para chocolate.
The study of verbal and visual imagery must begin with the understanding that both the novel and, to a lesser extent, the film work as a parody of a genre. The genre in question is the Mexican version of women's fiction published in monthly installments together with recipes, home remedies, dressmaking patterns, short poems, moral exhortations, ideas on home decoration, and the calendar of church observances. In brief, this genre is the nineteenth-century forerunner of what is known throughout Europe and America as a woman's magazine.1 Around 1850 these publications in Mexico were called "calendars for young ladies." Since home and church were the private and public sites of all educated young ladies, these publications represented the written counterpart to women's socialization, and as such, they are documents that conserve and transmit a Mexican female culture in which the social context and cultural space are particularly for women by women.
It was in the 1850s that fiction began to take a prominent role. At first the writings were descriptions of places for family excursions, moralizing tales, or
By MARÍA ELENA DE VALDÉS
Como agua para chocolate is the first novel by Laura Esquivel (b. 1950 ). Published in Spanish in 1989 and in English translation in 1992, followed by the release of the feature film that same year, the novel has thrust this Mexican woman writer into the world of international critical acclaim as well as best-seller popularity. Since Esquivel also wrote the screenplay for director Alfonso Arau, the novel and the film together offer us an excellent opportunity to examine the interplay between the verbal and visual representation of women. Esquivel's previous work had all been as a screenwriter. Her script for Chido Guan, el Tacos de Oro ( 1985 ) was nominated for the Ariel in Mexico, an award she won eight years later for Como agua para chocolate.
The study of verbal and visual imagery must begin with the understanding that both the novel and, to a lesser extent, the film work as a parody of a genre. The genre in question is the Mexican version of women's fiction published in monthly installments together with recipes, home remedies, dressmaking patterns, short poems, moral exhortations, ideas on home decoration, and the calendar of church observances. In brief, this genre is the nineteenth-century forerunner of what is known throughout Europe and America as a woman's magazine.1 Around 1850 these publications in Mexico were called "calendars for young ladies." Since home and church were the private and public sites of all educated young ladies, these publications represented the written counterpart to women's socialization, and as such, they are documents that conserve and transmit a Mexican female culture in which the social context and cultural space are particularly for women by women.
It was in the 1850s that fiction began to take a prominent role. At first the writings were descriptions of places for family excursions, moralizing tales, or