Hour of the Bees

Serge identifies as a proudly-Mexican man and believes that his family should share this pride in their ancestry and identity; this is evident in the exposition when he meets his grandchildren. Raúl introduces “Carol” and “Lu” and Serge responds: “‘I know,’ Serge snaps. ‘Carolina. And Luis’” (14). Serge’s angry tone, as well as his use of their full names, reveals that Serge resents their using anglicized versions of their names. Serge continues to insist that Carol should call herself Carolina: “‘Caro-leeen-a,’ he says, ‘is a beautiful, strong, Spanish name. You should use it. Every day. For everything’” (24).

For Carol, her Mexican identity, epitomized in her “long, dramatic, embarrassing Spanish name” is a source of shame; she wishes to be American, not Mexican (43). The novel further establishes her self-consciousness about her Mexican identity when she criticizes Patricia for speaking Spanish and cooking Mexican food while at the ranch; when Patricia defensively points out, “‘We’re Mexican, after all’” (43), Carol is quick to point out that they’re “Mexican American,” suggesting that Carol places more value in the “American” part of her identity than the “Mexican” part. In addition, Patricia’s transition to using more Spanish language and cooking Mexican food, such as fajitas, alludes to the role of the ranch in reconnecting Carol’s family to their Mexican roots.

Serge’s repeated use of the word “roots” is important; it’s a word that ties Serge’s identity to the natural environment. He angrily tells his son, “This is where my roots are!” and asks Carol: “Why do you spit on your roots, chiquita?” (57, 25). “Roots” has both literal and metaphorical meanings: Serge believes that his family should honor their Mexican identity and that they should continue their family’s legacy on the ranch, where the roots of the magical tree were once located. This introduces the theme of Nature’s Role in Shaping Identity.

Carol initially hates the ranch, describing it to Gabby as “awful” and “too hot” (30). She envies her friends, who “get to stay in Albuquerque and hang out while I’m stuck here for the summer” (30). Carol’s initial resentment of the ranch parallels her resentment of her Mexican identity; in later chapters, she comes to appreciate her Mexican roots (as evident in her use of her full name, Carolina) as well as the ranch’s familial importance and beauty. The beginning of this process is evident in Carol’s increasing discomfort over the sale of the ranch; she criticizes her father for indifferently selling the family’s place of origin, echoing Serge’s sentiments and revealing Serge’s growing impact on Carol’s connection to the land and her family’s story: “It’s his history, his family. It’s his roots” (117).

Carol’s confidence grows through her time on the ranch. These initial chapters emphasize her insecurity to contextualize the change she goes through. Carol believes that Alta epitomizes beauty and coolness, and she contrasts this with her own perceived ugliness and awkwardness: “[Alta] has Mom’s round, gleaming mineral eyes and toasted brown skin,” whereas “I have Dad’s squinty eyes and a stranger’s blunt nose” (45). She also contrasts their hair as evidence of her comparative unattractiveness: “Alta’s black hair is cut bluntly at her shoulders; when she moves, it sways like an expensive silk scarf, draped across her clavicle,” whereas, “I’m a natural tumbleweed, with frizzy dry hair that has to be fried into submission” (45). Because of her low self-confidence, Carol is quick to dismiss Serge’s compliment that she has “a hidden fire,” saying, “that sounds more like Alta. Not me” (82). Serge responds: “‘No […] Sounds like you, Caro-leeen-a,’” emphasizing his role in building Carol’s self-confidence over the summer (82).

In addition, these chapters introduce and explore The Impact of Aging on Individuals and Families as a theme. Serge is often rude to his family, such as when he snaps at Carol: “I rush to be his crutch but he barks, ‘I can do it’” (21). In particular, Raúl (whose relationship with Serge is already fraught) struggles with Serge’s explosive outbursts, telling Patricia, “‘He just keeps shouting, ‘This is where my roots are!’”(57). This ongoing argument illustrates the challenge for families with aging loved ones who are reluctant to enter care facilities; Raúl worries that Serge will hurt himself if he’s left on the ranch, but Serge interprets Raúl’s actions as a betrayal.

Fiction and reality blur in Serge’s mind, such as when he mistakes Carol for Rosa, which makes it difficult for Carol to distinguish between truth and dementia-induced “word salad,” particularly given the fantastical nature of elements of the family’s heritage, such as the magical, life-giving tree and the lake taken by the bees. Due to Serge’s dementia (as well as the outlandish nature of his story), Carol assumes that his claim that the bees will bring rain is simply word salad, and that he’s telling a make-believe story. She even dismisses the fact that the characters have the same names as her grandparents: “He misses Grandma Rosa so much that she creeps into his fictional world” (98). Even Inés, the dog, features in the story, mirroring Serge’s age as she does in real life. When Sergio (Serge) is a boy, Inés is a “rascally black puppy” (85). Carol’s uncertainty about the story’s truth establishes doubt and mystery, integrating fact and fiction within the fantastical story.

Serge’s story introduces The Power of Story in Identity and Connection as a theme. The recurring appearance of the bees, which begins in Chapter 1, alludes to the truth of Serge’s story: “Highlighted for a millisecond, in the stream of a sunray, is another bee. I blink, and the bee is gone” (29). Additionally, Serge’s story alludes to Rosa’s mysterious, mythical connection to the tree and Carol’s connection to Rosa, while bees symbolize these connections: “Bees followed [Rosa] in a halo around her head” (86). Carol’s resemblance to Rosa further establishes their connection: “‘I know it’s you, Caro-leeen-a,’ he says. ‘You just look so much like [Rosa]. You shine like she used to shine’” (81). However, Serge’s dementia continues to lead Carol to question the truth of the tale: “Serge said there were no bees in a drought. Was that the dementia talking, or is he right? Are these miracle bees?” (29).

Within Serge’s story, Sergio and Rosa’s opposing views frame one of the story’s pivotal conflicts, between the excitement of the new and the safeness of the known. Rosa epitomizes wanderlust: “I want to see the corners of the earth. I want to see oceans. Mountains, forests, even other deserts. Snow” (90). Sergio, conversely, believes in the importance of appreciating what one has, as the novel epitomizes his adoration of the tree and the village around it: “The world was the empty clam shell and the tree, the pearl” (92). This metaphor reveals Sergio’s belief that the villagers should protect their inheritance rather than seek greener pastures.