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Original By Jeffrey C. In typical Fuentes fashion, the fantastic serves to shroud an allegory that holds social significance. The conflict in each story centers around a fantastic force portrayed as a pre-Columbian deity, an allegorical figure, or symbolic entity. Secondly, in each work the conflict comes about because the protagonist fails to properly recognize or acknowledge the fantastic. Scratching it only made it worse. It was something more An orchid was coming out of his ass! The reader is unsure whether to be frightened, repulsed, confused or merely tolerant of the ambiguity of an orchid that has just sprouted from his coccyx. The absurd and suggestive image of Muriel sauntering through the marketplace with an orchid protruding from the seat of his pants seems farcical, but completely appropriate, as he dresses the part for the ostentatious and irreverent Carnival season. From the root of the orchid came shrieking, tense waves like a litany. Greek, orxij ; Latin, orchis. The orchid, once obstacle, is now opportunity. Muriel only has to cut off the orchid each morning, sell it, and wait for another to grow back. With one quick slice, he severs the orchid form his coccyx and imagines the fortune he will amass. But he pays the price for his greed: the orchid ceases to sprout outwardly and the root transforms into a splintery stake which turns inward and impales him, bringing to mind an ancient punishment for sodomy:. Muriel lay split in half, impaled, his arms splayed out in opposite directions. Outside, between the prepositions, Panama hung from its own teeth. Pro Mundi Beneficio. The final words of the story leave the reader with an intentionally ironic barb. By analogy, if Panama has been forced to surrender its autonomy in favor of others, then who truly benefits? The orchid has unnaturally severed Muriel in two parts, just as the canal has done, and all for the sake of monetary expedience. The construction of the canal, built by outsiders for imperialistic and capitalistic gain, is as unnatural as the severed orchid sold for profit. While the effect is death and the agent is the canal, the true cause is prostitution, or rather the prostitution of Panama. Its lack of autonomy brought about by capitalism and greed from outside forces have led to his demise. Fuentes explicitly illustrates the polemical and immutable icon—the Canal of the s—all the while obfuscating his message within a baroquely rich poetic. It could even be argued that Fuentes employs the over-the-top style perhaps intentionally to disguise the commonplace message. That is to say Fuentes takes a well-trodden commentary and brings it into his own artistic voice. In doing so, his experimental use of poetic and allegorical language allows him to protest the U. Moreover, as in the other stories in The Masked Days , the farcical circumstances of an orchid that impales its exploiter demonstrate a tenuous link on the one hand between a credible world invaded by elements of the fantastic and, on the other, a fantastic world which embraces commonly accepted traits of reality. It is this tenuous link which affords the author the aesthetic discourse to go beyond the mere didacticism of social thesis and, instead, convey a poetic allegory the reader must decipher. Gyurko Barnett, Jeffrey C. Jelena O. Brushwood, John. UT Press, , Dominguez, Daniel Z. Fuentes, Carlos. Mexico City: Biblioteca Era, Jeffrey C. Exchanges Literary Journal. Gyurko, Lanin. Barnett translates from the Spanish. Original by Carlos Fuentes. Mary Esther Diaz translates from the Spanish. Original by Fernando Sorrentino. Works Cited Barnett, Jeffrey C. Litany of the Orchid Jeffrey C.

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