Eating is one of the simplest, most human actions possible. The average, lucky person eats three, maybe four times a day. Some, unfortunately, only see food and drink once a day, or even less. But because of how simple and basic this action is, its portrayal in literature is unnecessary without it holding an ulterior purpose. Luís Alberto Urrea’s The Hummingbird’s Daughter, is much the same; portrayals of meals have meaning beyond their face value.
Early on in the novel the young Teresita sneaks her way into the main house, full of curiosity. She is discovered, however, by the patrón, Tomás Urrea. At face value, a dirty peasant girl has trespassed into the master’s house and has subsequently been discovered by the master. She is expected to be kicked out, berated, or possibly even beaten. And yet, none of that comes to pass. The ensuing interaction between Tomás and Teresita is quite telling.
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Even their physical actions end up paralleling that of a parent and their child, as “Tomás (pulls) a chair up to (the) table and (helps) Teresita climb up” (Urrea 61). The purpose of the scene is presented to the reader in extreme clarity; Urrea shows us a father and daughter, even though they have no idea that that is the reality of the situation. Teresita eats cookies and drinks juice, and together they could be a part of a family on TV. Eating cookies and drinking juice is a scene that on its own isn’t necessary for the plot, but the affection and intimacy presented in the scene uncovers the underlying purpose. It is only brought back down to Earth when the pair shake hands as they part ways. With this, Urrea reminds the reader that as far as the characters know, their relationship is that of a master and a layman. Despite