Flowering Judas

“The gluttonous bulk of Braggioni has become a symbol of her many disillusions, for a revolutionist should be lean, animated by heroic faith, a vessel of abstract virtues.”

Laura finds Braggioni to be lacking in the qualities of a true revolutionary hero; he does not embody either the physical characteristics or internal faith that would encompass the values of revolution and social justice. He exemplifies and symbolizes Laura’s loss of faith and disillusionment; she is let down both by who he is as a leader and by the cause that results in suffering and death.

“She has encased herself in a set of principals derived from her early training, leaving no detail of gesture or of personal taste untouched, and for this reason she will not wear lace made on machines.”

Laura’s internal contradictions are exposed in this passage. By visiting a church and buying homemade lace, she holds onto certain elements of her upbringing even though they are counter to the Socialist cause. Her former religious faith and American childhood are an integral part of her and she cannot divorce herself from those influences. This underscores the theme of Betrayal of Self and Others as it exposes Laura’s secrecy and hypocrisy.

“Still she sits quietly, she does not run. Where could she go? Uninvited she has promised herself to this place; she can no longer imagine herself as living in another country, and there is no pleasure in remembering her life before she came here.”

This excerpt highlights Laura’s disconnection from both home and purpose. She has committed herself to her current life in Mexico City but is not fully content in it; still, she does not wish to return to America. Her difficulty in escaping her circumstances also relates to the theme of Female Objectification and Oppression. Laura’s options are limited, and Porter’s word choice underscores the gendered aspect of Laura’s circumstances: Laura has “promised” herself to a political cause in the way a “virtuous” young woman might promise herself to either a suitor or a convent.

“Nobody touches her, but all praise her gray eyes, and the soft, round under lip which promises gaiety, yet is always grave, nearly always firmly closed.”

Laura is a foreigner in Mexico City and unintentionally attracts suitors. Here, she is described through the lens of the objectifying male gaze. The focus on the sensuality of her “soft, round under lip,” despite her mouth being “grave” and “firmly closed,” highlights how Laura is consistently sexualized while offering no encouragement. Although “nobody touches her,” a sense of sexual threat is always present. The passage highlights the theme of Female Objectification and Oppression.

“Lupe came silently and whispered expert counsel in her ear: ‘if you will throw him one little flower, he will sing another song or two and go away.’”

The symbol of the flowering Judas tree is introduced in Lupe’s advice to Laura about her unwanted suitor. However, when Laura throws the flower to the young man, the gesture seems to encourage rather than repel him. The incident illustrates the contradictions and confusing practices that take place in the story. It also demonstrates that Laura is powerless to prevent unwanted sexual attention in Mexico.

“She tells herself that throwing the flower was a mistake, for she is twenty-two years old and knows better, but she refuses to regret it, and persuades herself that her negation of all external events as they occur is a sign that she is gradually perfecting herself in the stoicism she strives to cultivate against the disaster she fears, though she cannot name it.”

This excerpt illuminates the internal struggle Laura faces; she convinces herself that her approach to life, unattached and disconnected, is a protective measure against her fear of the future. She feels strengthened by denying and avoiding unpleasant experiences. This illustrates the theme of Betrayal of Self and Others as Laura avoids recognizing the truth of her situation.

“Not for nothing Braggioni has taken pain to be a good revolutionist and a professional lover of humanity. He will never die of it. He has the malice, the cleverness, the wickedness, the sharpness of wit, and the hardness of heart, stipulated for loving the world profitably.”

The description of Braggioni is invested with irony, underlining his hypocrisy as a revolutionary leader. Porter uses juxtaposition to highlight how Braggioni’s claim to love humanity conflicts with his “malice,” “wickedness,” and “hardness of heart.” The assertion that he “will never die” of his cause contrasts with the fates of his followers, particularly Eugenio. Also deeply ironic is the suggestion that a Socialist leader can pursue his cause “profitably.”

“When he was fifteen, he tried to drown himself because he loved a girl, his first love, and she laughed at him. ‘A thousand women have paid for that.’’’

This passage characterizes Braggioni as a womanizer whose ego was severely bruised by the actions of a girl in his teenage years. He feels that the hurt he endured as a young man justifies his current abuse of women, and all women in the story (and in his life) are potential victims of his misogyny and patriarchal oppression.

“Tonight Laura envies Mrs. Braggioni, who is alone and free to weep as much as she pleases about a concrete wrong.”

The theme of Female Objectification and Oppression is expressed in Laura’s envy of Mrs. Braggioni, who has been abandoned by her husband. Laura is burdened by the day’s events yet unable to escape Braggioni to mourn in private. Neither woman’s situation is appealing, but Laura feels Mrs. Braggioni is better off as she is alone and free to express her emotions in private. This excerpt highlights the effects of misogyny and patriarchal control in Mexico.

“He asks her to oil and load his pistols. Standing up, he unbuckles his ammunition belt, and spreads it laden across her knees.”

This scene creates an uneasy, threatening atmosphere. The juxtaposition of Laura’s knees, modestly covered, holding ammunition and the weaponry on her lap suggests a violation of innocence. The description of Braggioni standing, unbuckling his belt, and placing the weapons on Laura’s lap hints at sexual violence. The image of the pistols also underlines that Braggioni’s power lies in his love of violence, hinting at future deaths. As Laura stares at the pistols, there is ambiguity in what could happen next. Laura has the opportunity to shoot Braggioni, but she does not take it, remaining in a state of stasis.

“Everything must be torn from its accustomed place where it has rotted for centuries, hurled skyward and distributed, cast down again clean as rain, without separate identity. Nothing shall survive that the stiffened hands of poverty have created for the rich and no one shall be left alive except the elect spirits destined to procreate a new world cleansed of cruelty and injustice, ruled by benevolent anarchy.”

Here, Braggioni expresses his revolutionary vision of a future Mexico. His Biblical-style rhetoric underlines the parallels Porter draws between political and religious faith. The reference to a cleansing rain evokes the rite of Baptism. Meanwhile, his claim that only “elect spirits” will reap the benefits of this world echoes the Christian concept of salvation. Braggioni’s vision of an equal society notably differs from his present lifestyle as he exploits his followers while enjoying a luxurious lifestyle.

“He goes away. Laura knows his mood has changed, she will not see him any more for a little while.”

This quote marks an important shifting point in the narrative; Braggioni is affected by the news of Eugenio even though he reacts to the news callously. His return home to reconcile with his wife illustrates a change in his character.

“It is monstrous to confuse love with revolution, night with day, life with death—ah, Eugenio!”

In the last passage before the concluding nightmare, Laura is pained at the loss of Eugenio and realizes that she has been mistaken in her approach. It connects to the theme of Faith and Disillusionment. It also alludes to the original description of Laura’s visits to the prison in which the prisoners do not know night from day, and the sleeping pills allow them to establish night and help them find rest. It highlights the difficulty Eugenio faced as a result of his commitment to the Revolution and how he wrestled with whether it was better to live or die.