Breath, Eyes, Memory (Danticat)

Breath, Eyes, Memory 
Edwidge Danticat, 1994
Random House
234 pp.
ISBN-13: 9780375705045


Summary
An Oprah Selection, 1998

At an astonishingly young age, Edwidge Danticat has become one of our most celebrated new novelists, a writer who evokes the wonder, terror, and heartache of her native Haiti—and the enduring strength of Haiti's women—with a vibrant imagery and narrative grace that bear witness to her people's suffering and courage.

At the age of twelve, Sophie Caco is sent from her impoverished village of Croix-des-Rosets to New York, to be reunited with a mother she barely remembers. There she discovers secrets that no child should ever know, and a legacy of shame that can be healed only when she returns to Haiti—to the women who first reared her.

What ensues is a passionate journey through a landscape charged with the supernatural and scarred by political violence, in a novel that bears witness to the traditions, suffering, and wisdom of an entire people. (From the publisher.)

Author Bio
• Birth—1969
• Where—Port-au-Prince, Haiti
• Education—B.A., Barnard College; M.F.A., Brown University
• Awards—(see below)
• Currently—lives in New York City


Edwidge Danticat is a Haitian-American novelist and short-story writer. Born in Port-au-Prince, Haiti, she was two years old when her father Andre immigrated to New York, to be followed two years later by her mother Rose. This left Danticat and her younger brother, also named Andre, to be raised by her aunt and uncle. Although her formal education in Haiti was in French, she spoke Kreyol at home.

Early years
While still in Haiti, Danticat began writing at 9 years old. At the age of 12, she moved to Brooklyn, New York, to join her parents in a heavily Haitian American neighborhood. As an immigrant teenager, Edwidge's disorientation in her new surroundings was a source of discomfort for her, and she turned to literature for solace.

Two years later she published her first writing in English, "A Haitian-American Christmas: Cremace and Creole Theatre," in New Youth Connections, a citywide magazine written by teenagers. She later wrote another story about her immigration experience for the same magazine, "A New World Full of Strangers". In the introduction to Starting With I, an anthology of stories from the magazine, Danticat wrote, “When I was done with the [immigration] piece, I felt that my story was unfinished, so I wrote a short story, which later became a book, my first novel: Breath, Eyes, Memory…Writing for New Youth Connections had given me a voice. My silence was destroyed completely, indefinitely.”

After graduating from Clara Barton High School in Brooklyn, New York, Danticat entered Barnard College in New York City. Initially she had intended on studying to become a nurse, but her love of writing won out and she received a BA in French literature in translation. In 1993, she earned a Master of Fine Arts in creative writing from Brown University—her thesis, entitled "My turn in the fire—an abridged novel," was the basis for her novel Breath, Eyes, Memory, which was published by Soho Press in 1994. Four years later it became an Oprah's Book Club selection.

Career
Since completing her MFA, Danticat has taught creative writing at the New York University and the University of Miami. She has also worked with filmmakers Patricia Benoit and Jonathan Demme, on projects on Haitian art and documentaries about Haïti. Her short stories have appeared in over 25 periodicals and have been anthologized several times. Her work has been translated into numerous other languages, including French, Korean, German, Italian, Spanish, and Swedish.

Danticat is a strong advocate for issues affecting Haitians abroad and at home. In 2009, she lent her voice and words to Poto Mitan: Haitian Women Pillars of the Global Economy, a documentary about the impact of globalization on five women from different generations.

Edwidge Danticat is married to Fedo Boyer. She has two daughters, Mira and Leila.

Books and Awards

• 1994 - Breath, Eyes, Memory (novel)—Granta's Best Young American Novelists; Super Flaiano Prize
• 1996 - Krik? Krak! (stories)
• 1998 - The Farming of Bones (novel)—American Book Award
• 2002 - Behind the Mountains (young adult novel)
• 2002 - After the Dance: A Walk Through Carnival in Jacmel, Haiti (travel book)
• 2004 - The Dew Breaker (novel-in-stories) The Story Prize
• 2005 - Anacaona: Golden Flower, Haiti, 1490 (young adult novel)
• 2007 - Brother, I'm Dying (memoir/social criticis ) National Book Critics Circle Award; Dayton Literary Peace Prize
• 2010 - Create Dangerously: The Immigrant Artist at Work (essay collection,) OCM Bocas Prize for Caribbean Literature
• 2011 - Tent Life: Haiti (essay contributor)
• 2011 - Haiti Noir (anthology editor)
• 2011 - Best American Essays, 2011 (anthology editor)
• 2013 - Claire of the Sea Light (novel)

 (From Wikipedia. Retrieved 9/15/13.)

Book Reviews
Edwidge Danticat's slim yet densely packed first novel chronicles three generations of Haitian and Haitian-American women. Occasionally the matter-of-fact tone of the swift, simple prose in Breath, Eyes, Memory seems inappropriate for its subject matter—which includes rape and sexual abuse as well as third world political strife—but Ms. Danticat's calm clarity of vision takes on the resonance of folk art. In the end, her book achieves an emotional complexity that lifts it out of the realm of the potboiler and into that of poetry. Set in both Haiti and New York, where the narrator is sent to join her immigrant mother, the tale is lovingly dominated by powerful female characters who struggle to make better lives for themselves and their families.
New York Times Book Review

A novel that rewards the reader again and again with small but exquisite and unforgettable epiphanies.
Washington Post

Magic...Illuminates the beauty and family life of Haiti in a way no news report has done.
Boston Globe


A distinctive new voice with a sensitive insight into Haitian culture distinguishes this graceful debut novel about a young girl's coming of age under difficult circumstances. "I come from a place where breath, eyes and memory are one, a place where you carry your past like the hair on your head," says narrator Sophie Caco, ruminating on the chains of duty and love that bind the courageous women in her family. The burden of being a woman in Haiti, where purity and chastity are a matter of family honor, and where "nightmares are passed on through generations like heirlooms," is Danticat's theme. Born after her mother Martine was raped, Sophie is raised by her Tante Atie in a small town in Haiti. At 12 she joins Martine in New York, while Atie returns to her native village to care for indomitable Grandmother Ife. Neither Sophie nor Martine can escape the weight of the past, resulting in a pattern of insomnia, bulimia, sexual trauma and mental anguish that afflicts both of them and leads inexorably to tragedy. Though her tale is permeated with a haunting sadness, Danticat also imbues it with color and magic, beautifully evoking the pace and character of Creole life, the feel of both village and farm communities, where the omnipresent Tontons Macoute mean daily terror, where voudon rituals and superstitions still dominate even as illiterate inhabitants utilize such 20th-century conveniences as cassettes to correspond with emigres in America. In simple, lyrical prose enriched by an elegiac tone and piquant observations, she makes Sophie's confusion and guilt, her difficult assimilation into American culture and her eventual emotional liberation palpably clear
Publishers Weekly


Told from the viewpoint of a young Haitian American, this novel concentrates on relationships between generations of women, both in Haiti and in the United States. Sophie's mother leaves Haiti to find work in the States, and Sopie soon follows, growing up troubled in New York until she exorcises her demons in a Santeria ceremony. The book's strength lies in the rarity of its Haitian viewpoint, a voice seldom heard in American literature. However, the writing itself falls a bit flat. The characters and plot are interesting, but the narrative style doesn't evoke the emotional response that would seem appropriate to the action. Danticat is herself a 24-year-old Haitian American who, like the novel's narrator, came to the United States in her early teens to join her family. Her first novel shows promise of better works in the future. Recommended for larger fiction collections. —Marie F. Jones, Muskingum Coll. Lib., New Concord, Ohio
Library Journal

Discussion Questions 
1. Edwidge Danticat has said that in Haiti, "Everything is a story. Everything is a metaphor or a proverb." How does the character of grandmother personify this tendency? How do some of the proverbs and tales she tells Sophie relate to the events and themes of the novel?

2. As a young girl, Martine's favorite color was daffodil yellow; in middle age she is obsessed with the color red. What significance and associations do these colors have for her? In what way does the change from yellow to red symbolize the change in Martine's own character? Does Danticat use color symbolically elsewhere in the story?

3. Martine once hoped to be a doctor; later, she transfers her ambitions to Sophie. "If you make something of yourself in life, " she says to her daughter, "we will all succeed. You can raise our heads" (p. 44). Why does Sophie consciously reject her mother's ideal of high achievement? Why does she choose to become a secretary rather than, for instance, a doctor?

4. The character of Atie is perhaps the most complex and mysterious in the novel. Why is Atie so changed when Sophie returns to Haiti? Why does she so resolutely stick to her idea of staying with her mother and doing her "duty, " even though Ifé; says, "Atie, she should go. She cannot stay out of duty. The things one does, one should do out of love" (p. 119)? What does "chagrin" mean to Atie? What significance does the act of writing in her notebook take on in her life?

5. Atie says to Sophie, "Your mother and I, when we were children we had no control over anything. Not even this body" (p. 20). How does this knowledge help Sophie shape her life? In what ways does Sophie takecontrol of her own life as her mother and aunt never were able to?

6. In the graveyard, Atie reminds Sophie to walk straight, since she is in the presence of family. Grandmother Ifé; plans carefully for her death, which she thinks of as a "journey" (p. 195). How does Sophie's grandmother's attitude toward death and the dead, as illustrated in this novel, compare with American ones? How does each culture attempt to foster a sense of wholeness, of continuity, between the generations?

7. Sophie feels that Haitians in America have a bad image as "boat people." Are her efforts to assimilate, to become "American, " in any way related to her physical self-loathing ("I hate my body. I am ashamed to show it to anybody, including my husband" [p. 123])? How does her bulimia express such self-loathing?

8. Breath, Eyes, Memory is primarily a story of the relationships between women: mothers, daughters, grandmothers, sisters. But there are two significant male characters in the novel, Joseph and Marc. Does Danticat depict Joseph and Marc as full, rounded-out characters, or do we see them only through Sophie's slanted point of view? How does Sophie express her ambivalent feelings about both of them? Why is she so angry with Marc after her mother's death? Do you feel that her anger is justified? Is it possible that Sophie's aloofness from both these men stems from her upbringing in an almost exclusively female world, where "men were as mysterious to me as white people" (p. 67)?

9. The Haitian goddess Erzulie is both a goddess of love and the Virgin Mary. What does this tell you about the Haitian culture and its ideas of love and religion? How does this differ from American and European culture?

10. Martine's rape by an unknown man, possibly a Macoute, is the defining event in her life, bringing with it overpowering feelings of fear and self-loathing which she passes on to her daughter. Sophie's therapist even suggests that Martine undergo an exorcism. How does Sophie in her own way succeed in "exorcising" the evil events of the past? "It was up to me to avoid my turn in the fire" (p. 203), she says; how does she achieve this?

11. When Sophie breaks her maidenhead with the pestle, she likens it to "breaking manacles, an act of freedom" (p. 130). What exactly does "freedom" mean to Sophie? Which of her other actions represent bids for freedom and autonomy? What does she accomplish when, at the end of the novel, she beats the stalks of sugar cane? What does the final cry of "Ou libéré;" (p. 233) mean to Sophie? To Atie? Do you feel that Martine in some manner "liberated" herself by committing suicide? Or was her act one of submission?

12. Do you believe that the three women in the sexual phobia group have comparable problems? Is the word "abuse" equally appropriate in each of their cases? How effective is their joint attempt to free themselves from their past? Is Buki's wrecked balloon a pessimistic symbol? Do you believe that the therapist's psychological tools are adequate to deal with the complex, culturally rooted problems of Sophie and Buki?

13. What is the significance of Martine's "Marassas" story in the context of the relationship between Martine and Sophie? Why does Martine tell the story to Sophie as if she is "testing" her? Why is the theme of likeness, of identification between mother and daughter, so important to Martine? Why does Sophie resist it? When she comes to terms with her mother at the end of the novel, is it because she identifies with her mother or because she comes to feel independent of her? Or both? Do you sense that she has fully forgiven Martine for the hurt she has caused her?
(Questions issued by publisher.)

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