Flowering Judas

In “Flowering Judas,” the motif of food and eating intersects with several of the story’s central ideas. Bottom of Form Braggioni’s over-indulgence in food (evident in the many references to his obesity) illustrates his self-indulgence. The revolutionary leader’s greed conflicts with his purported ideals; he is described as “swell[ing] with ominous ripeness” (Paragraph 7). This figurative comparison to fruit that is ripe to the point of decaying emphasizes Braggioni’s corruption. The leader’s corpulence is contrasted with his hungry followers, who “blow the foul breath from their empty stomachs in his face” (Paragraph 26). His greed is also juxtaposed with Laura’s self-denial in the name of the cause, illustrated when she dines on a plate of rice, and a cup of chocolate as Braggioni sings to her.

Food, eating, and hunger are intertwined with religious symbolism throughout the narrative. As Braggioni reconciles with his wife, he admits to being hungry and suggests they eat together. His hunger reflects a desire for love and forgiveness, evoking the concept of eating as a form of communion. The Christian symbolism of Holy Communion is more explicitly referenced in Laura’s dream at the end of the story. When Eugenio urges Laura to eat the Judas Flowers, declaring, “This is my body and my blood” (Paragraph 41), his words echo the rite of Holy Communion. Laura’s previous abstemiousness is replaced by an overwhelming “hunger and thirst” as she eats the flowers (Paragraph 6). This hunger is driven by her loss of faith (religious and political) and yearning for spiritual fulfillment. However, when Eugenio accuses Laura of cannibalism, he presents the act as a violation rather than an act of spiritual sustenance. The accusation evokes Eve’s consumption of the forbidden fruit in the Bible and reminds Laura she has betrayed her ideals. This final image suggests that Laura is unlikely to quench her spiritual hunger and thirst in Mexico.

Laura’s use of the word “No” is a motif that occurs several times throughout the story. It is the “holy talismanic word” from which she draws her strength (Paragraph 22). The repetition of the word emphasizes the theme of Female Objectification and Oppression. Laura must continually say no to fend off the men who see her in purely sexual times. “No” also represents Laura’s emotional detachment from life. It symbolizes how “the very cells of her flesh reject knowledge and kinship in one monotonous word” (Paragraph 22). Her use of the word “No” in several scenarios encompasses Laura’s rejection of other people and her growing isolation from everything. In her dream, she says “[n]o” to Eugenio several times, initially refusing to follow him. Her final cry of “No!” as the story concludes underscores her continued reluctance to engage with the realities of life.