Table of ContentsIntroductionThe body as a scene of masculinityArturo Islas as a symbol of deathMiguel Chico as a symbol of the disabled manConclusionIntroductionThe concept of masculinity, as theorized by Judith Butler, is a central theme explored in the narrative of Arturo Islas' novel, "The Rain God". In this literary work, Islas presents a range of male characters who embody a diverse spectrum of masculine representations and roles, particularly in the context of Mexican culture. One of the key aspects through which Islas constructs and represents the masculinity of his characters is the examination of the body. Islas himself, who battled polio in his youth and emerged with a permanent limp, demonstrates a heightened awareness of his own physicality. Elements of his own life experiences are found in "The Rain God", where the character of Miguel Chico serves as a surrogate in this semi-autobiographical novel. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get the original essay The body as a stage for masculinity The representation of the male body in the narrative directly correlates with the level of masculinity assigned to each character , thus serving as an important marker to identify the presence or absence of machismo. Machismo, although often perceived negatively, is a trait primarily associated with men. As Ernest Hemingway once said of Américo Paredes, he was “the most sacred exponent of macho,” a term that Paredes himself analyzed at length. In his essay “The United States, Mexico, and Machismo,” Paredes characterizes machismo as a pattern of behavior that transcends borders, although it is particularly prevalent in Mexico. He describes it as embodying qualities such as bravery, honor and an almost superhuman bravado, while recognizing its corrupt counterpart, "false" machismo, characterized by extravagant boasting, phallic symbolism and the reduction of men to simple animal instincts. This duality in the definition of machismo contributes to the societal confusion surrounding its performance by men. Gloria Anzaldúa, in her exploration of “machismo,” attributes its development to the historical context of Spanish colonization and conquest. It posits that constructed machismo is a reaction to hierarchical male domination, a response to the oppression of Anglo-Saxon men, and a consequence of the history of control and domination over Mexican men. Due to their own feelings of inadequacy and inferiority, Mexican men transfer these emotions by shaming Chicano men. This cycle of shame contributes to a deep sense of racial shame, leading to false machismo that results in the denigration and mistreatment of women. This cycle perpetuates a distorted expectation of machismo and the performance of masculinity. In the pages of “The Rain God,” male characters serve as a means to explore the body as a stage for the performance of masculinity. In a theatrical context, a stage is essential to set the stage on which the actors perform, and in the same way, the body serves as the stage on which gender, particularly masculinity, is performed. Arturo Islas as a symbol of death Arturo Islas repeatedly uses the symbol of death. death throughout the novel to illustrate the tragic consequences and punishment that befall men who fail in their performance of masculinity. Death becomes a figurative representation of society's condemnation, haunting a family across generations and symbolizing its legacy ofsuffering and punishment. In this context, death does not mark an end but rather signifies a punishment for a line of "sinners", as Islas explains. Death operates as a critique of society, condemning those who fail to fulfill expected roles and performances. As the narrative unfolds, Death follows each character closely, acting as society's voice against the flawed performance of masculinity. This constitutes the ultimate punishment for this perceived transgression. How death manifests in each character's narrative reflects their individual performance of masculinity. Societal perceptions and media influences play a central role in shaping the connection between masculinity and body image and performance. Islas' emphasis on outward appearances and body representation highlights the way each character accentuates and showcases their masculinity. When masculinity does not meet society's expectations, it creates a feeling of fragility, with the body becoming a reflection of this narrative. In such cases, society responds with negative criticism and a lack of acceptance toward those who do not conform to the idealized image of masculinity. In "The Rain God", Arturo Islas examines the multifaceted representations of masculinity and the complex construction of male identities. . Through the characters of Miguel Grande, Miguel Chico, Felix Angel and his son JoEl, the novel presents us with a range of masculine representations that society has both constructed, accepted and rejected. Each of these male characters serves as a distinct voice in the ongoing dialogue about masculinity, defining and redefining it through their actions, relationships, and most intimate thoughts. Their experiences and the pain they manifest and endure highlight the intrinsic complexities of male gender identity. Despite their physical differences, these characters share internal commonalities. They all belong to the same family lineage, rooted in the matriarchal influence of Mama Chona. Each man has faced life-changing events, shaping and influencing his unique identity. It is these identities that others use as benchmarks to measure their own masculinity.Miguel Chico as a symbol of the disabled manIn the story, the male body appears as the narrative thread weaving the tapestry of each character's masculine identity. Miguel Chico, symbol of the disabled man dependent on a machine, represents the archetype of the “half” man in search of wholeness and acceptance. Yet he is burdened by society's judgment, rejection, and expectations of his masculine identity. On the other hand, Miguel Grande, his father, embodies the quintessence of the “galán”, the perfect man characterized by his physical attractiveness, his strength and his broad acceptance by society. He embodies the ideal of masculinity in the eyes of family, society and Mexican culture, aligning himself with the widely recognized image of the “macho”. This archetype, represented in the media and reinforced by perpetrators, serves as a sustained model of masculinity, with distinct characteristics that perpetuate the stereotype of Mexican manhood. Felix, Miguel Grande's brother, stands in stark contrast, representing the repressed man, a juxtaposition of the "galán" and the more feminine archetype. Felix's denial of his homosexuality condemns him to emotional and physical decadence, embodying the masculine identity that suppresses desire and self-expression. As for Joel, Félix's son, he plays the man wounded, tormented and marked by his strained relationship with his father, which only gets worse after Félix's disappearance. Although other characters are struggling with problemsfather-son JoEl uniquely represents the separation and anxiety that men endure due to the absence of a father's presence. His pain and loss remain unexpressed, inviting further investigation into the true nature of JoeEl and Felix's relationship. Joel's damaged behavior manifests through his insecure coping mechanisms and resistance to seeking acceptance. Essentially, each of these characters embodies a stereotype derived from the overarching notion of the ideal “macho.” “Machista” represents a form of masculinity that is more widely adopted and recognized within society. Conversely, individuals such as the disabled or homosexual men are often considered taboo and rejected, seen as deviations from the natural order. The “macho” embodies the masculine stereotype who refuses to let society dictate or govern his actions and conduct. He lives his life on his terms, personifying the ultimate image of masculinity, which, for him, represents the only acceptable performance of his body. Miguel Chico, Miguel Grande's eldest son and Mama Chona's favorite grandchild, appears as a central character. in the story of “The Rain God”. It is most likely that Islas chose to begin the novel with Miguel Chico's story due to the character's role as a conduit for the author's own voice, having a deeper personal connection to Islas than the others male characters presented in the story. Miguel Chico's physicality embodies the archetype of the disabled man, constantly striving to project an image of masculinity that has been instilled in him since birth. However, throughout his life, he is considered inadequate both by his family and by society in general. At a tender age, Miguel Chico realizes that death is an inevitable part of existence, which shapes his belief that life must be accepted despite the looming specter of death. This belief motivates him to distance himself from his family and pursue an education, motivated by the idea that knowledge equals power and can delay the inevitable. However, his divergence from society's expectations of him as a man leads to his designation as a "sinner", with consequences that extend to punishment. Contrary to Miguel Chico's perceived inadequacy, society views his father, Miguel Grande, as the epitome of masculinity. . Miguel Grande embodies the image of the perfect man – physically attractive, strong and widely accepted by family and society. It aligns with the widely recognized concept of "macho", representing the dominant ideal of masculinity in Mexican culture. This archetype perpetuates stereotypes and is frequently reinforced in media and literature. The irony of Miguel Chico's situation lies in the fact that, despite his physical disability, the only part of his body that remains whole is his head. However, this physical fullness is not enough to establish a feeling of masculinity accepted by the family and society. In their eyes, the body must be complete and fully functional to qualify as masculine. Miguel Chico's independence and decision not to procreate is seen as a punishment in the eyes of others. He ends up getting sick and the medications he takes make his condition worse. His faith in knowledge as a means to control his destiny becomes ironic, leading to his downfall when a lack of communication about his medical history results in a prescription that worsens his condition. Subsequently, he found himself hospitalized, connected to probes, unable to eat and facing death. This pivotal moment forces him to surrender to death, accepting that living with "a plastic device by his side for the rest of his life" (Islas7) is a fate worse than death. His body symbolizes incompleteness and inability to fulfill the role of masculinity. The “device” to which Islas refers is analogous to his own experience with a prosthesis, an artificial attachment that seems unfamiliar and foreign. This constantly reminds him of his difference, setting him apart from others. Miguel Chico, unable to have sex due to his condition, represents a masculinity characterized by dependence, similar to the stereotype of the woman trapped in a relationship, unable to free herself from dependence on her partner . It presents itself as an incomplete body, incapable of fully meeting the expectations of successful masculinity. Therefore, he is seen as almost feminine and becomes the embodiment of death, effectively serving as a surrogate for Islas, who uses this character to tell her own story. The recurring refrain: “You cannot escape your body, you cannot escape your body” (Is 7), which resonates in Miguel Chico's mind after his operation, serves as a poignant reminder of what is happening when we suppress the desires of the body. The novel encapsulates the lives of individuals who feel obligated to exemplify an idealized image of masculinity imposed on them by society, family expectations, and gender roles. Miguel Chico's relentless quest for approval and acceptance within a critical family, weighed down by excessive expectations, mirrors the struggles of the author himself. As John Alba Cutler notes in his essay "Prosthesis, Surrogation, and Relation in Arturo Islas's 'The Rain God,'" Miguel Chico functions as Arturo Islas's surrogate, serving as a vessel for Islas to convey his own experiences, his pain , and the insecurities he faced regarding his sexuality and physical disabilities. Islas, who battled polio as a child that left him lame and having to use a colostomy bag throughout his life, found himself unable to consider sex casually. Although no one explicitly rejected him, he felt a constant fear of rejection, embodied by his vulnerability when exposed. In his own words, Islas confessed, "I feel the constant specter of rejection: 'You can't escape your body, you can't escape your body'" (Cutler 8). This shared vulnerability emphasizes that the author permeates the story of the Angel family. with elements of his own life, his pain and attempts to foreshadow his eventual demise from AIDS. In the story, Miguel Chico's account marks the occurrence of the first death in the novel, although it remains a matter of debate whether it was his own death. or simply his transition to a sleep where death should visit him. As Miguel Chico lies in his hospital bed, the voices around him seem distant, calling his name "Mee-gwell", evoking the sensation that death itself is calling to him (Islas 8). This portrait paints a vivid picture of him on his deathbed, a scenario he reminded many of his family members of, calling them "sinners" – individuals who failed to live up to the expectations that their family and society society imposed on them. According to him, they perished, perhaps overwhelmed by feelings of shame, rejection, failure and, most importantly, as sinners. Miguel Chico believes that sin and failure are punished by death, and this perspective shapes his perception of existence. His death, whether literal or metaphorical, symbolizes how Islas passes away, reflecting how society has rejected the author himself and denied acceptance of his portrayal of masculinity. However, Miguel Chico's perspective and narration persist as a constant reminder that despite the rejection ofsociety and his father's attempts to erase his identity, his voice endures. Miguel Chico remains an omnipresent voice throughout the different stories of the novel. The story unfolds as a series of flashbacks, encompassing the moments leading up to his presumed death and his subsequent experiences, including the period after the operation where he is under the influence of medication, drifting into a deep sleep. In his final moments, amid pain and medical wires, he utters the words: “I am an angel… Finally, I am what you taught us to be” (Islas 8), addressed to Mama Chona, deceased for a long time. . In this moment, he is speaking a profound truth. Although this does not mark his physical death, it is the moment when his masculinity perishes. The surgery gives him a new life, making societal expectations of masculinity even more elusive. From this moment on, he anticipates death, for it is through death that he envisions redemption and finally achieves the standards of masculinity that he had previously failed to achieve. Death, he believes, will make his body whole and bring ultimate redemption and forgiveness in the eyes of his family, ultimately becoming the culmination of his existence. This final act would allow him to achieve the masculinity he had fought for.live.Miguel Chico says his disabled and incomplete body inflicts more emotional anguish on him than physical pain. Although he refrains from classifying himself as a "sinner", he leaves much room for interpretation, particularly regarding his sexuality and the reasons for his decision not to marry. He often deflects by stating, “Well, I had this operation,” allowing others to define his identity (Islas 5). His disability makes him feel like he is only half the man he should be, incapable of fulfilling the role he set out to do. According to him, an incomplete body robs him of his masculinity and his inability to engage in sexual activity hinders his quest for the masculinity he desires. As John Alba Cutler observes, “Miguel Chico's story is already familiar as a story; he becomes the character through whom Islas’s frustratingly ambiguous life story is made readable” (9). Thus, Miguel Chico's body not only serves as a narrative representation of masculinity, but it also assumes the role of surrogate, becoming the voice of Islas. Due to his disability, Miguel Chico finds himself unable to fulfill his expectations of masculinity. The importance of his body as a symbol of masculinity permeates his thoughts and shapes his identity. In his case, Miguel Chico experiences a disconnection due to his inability to control his body, symbolizing a form of femininity evident through his vulnerability and physical weakness. His disabled body speaks of the inability he feels to embody masculinity. His disability projects an image of femininity, a weak mind and a representation of masculinity that he has always struggled with. Living in his father's shadow, burdened by unattainable expectations, eroded his spirit and his ability to play the masculine role. He secretly desires his father's attention and love, but he also struggles with the shame of these feelings. He despises the man his father is, but the realization that he can never become like his father pushes him to reject society's expectations and distance himself from comparison. Miguel Chico plays the voice of Islas; it’s his method of inserting himself into the story. There is therefore an ambiguity as to the identity of the narrator. Miguel Chico remains ever-present and omniscient, embodying Death himself, which begs the question: “Is he our Rain God?” Each story unfolds, recounting the lives and deaths of various individuals, their influences and the.