2/12/05
Buried Onions by Gary Soto
The three strongest elements of this book are voice, setting, and character interractions. The book is written in the first person. The narrator/protagonist narrates with an amazingly poetic voice which is almost incredulous considering his upbringing, but somehow works in beautiful contrast to the subject matter and setting. His mind is filled to the brim with similies, metaphors, analogies and parallels. He’s a young man living in a world of malevolent ignorance, with the mind of a poet. You can tell from the first page that Eddie is reflective and thoughtful. He has an excellent imagination which he puts to use most noticeably in his idea about onions that people bury to make themselves cry.
He begins by saying how many people he cared for are dead. People he knows are in prison. Everyone he knows is stuck in some way or another, in their mundane life of boredom and squalor, and none more so than he. The book is full of reminders for him that he is imprisoned by his poverty and ignorance, and the poverty, ignorance, and malevolence of those around him. All he can do is keep himself from becoming completely like the people around him. He’s submitted to the lifestyle he can’t escape, even to some extent the mindset that pervades his surroundings. But there’s some kind of light in him that sets him apart from the rest: his lack of hatred. His life depresses him, at times even enrages him. He has no outlet for his feelings, but he is strong enough not to take them out on other people. He only does so twice, but they were acts of desperation, and he holds no real malevolence.
This is most obvious by his lack of the desire for revenge. He doesn’t care who killed his cousin. He never even finds out. His society and what he has been taught both tell him he should care, and should do something about it, but in his heart it’s all the same. It’s a tragedy which nothing will repair. The poor man who killed his cousin will be full of pain anyway, (isn’t everyone?) and will die soon enough.
His lack of malevolence shows in many other places, for example the way he avoids Samuel and his miniature gang rather than beating them and showing them their place. He just doesn’t find all this violence worth it. It just hurts people who are already hurting, and will just die anyway, same as everyone else. Eddie has the aura of a defeated man. He’s a passive protagonist,which I usually find rather annoying, but it worked for this book. He has little willpower, and things happen to him, rather than him going out and making things happen. He’s just another guy trying to get by, and another soul wanting to get out.
As I mentioned, character interractions are a great strong point in this book. They are very realistic, and still filled with the emotional tension that writers love to glorify. It was done realistically, subtly, and emotionally, an excellent combination. Furthermore the dialect and voices of the characters matched the speakers and the setting, a problem I sometimes notice in my own writing. Characters have distinct voices. One of my favorite scenes was the one where Eddie finally talks to coach about his problems. It was described and acted out very realistically. Many people in that situation would feel awkward, embarrassed, and rather stupid, particularly if they are out of practice with communicating feelings, as Eddie obviously is. “I rushed my story which in my heart seemed complicated butwhen told seemed like the stuff you might read on one of those comic strips that comewith Bazooka bubble gum.” His problems when spoken to another seem trivial and mundane, nothing special, nothing interesting. I like how he compared it to Bazooka bubblegum, which has connotations of being common, cheap, and childish.
Another mark of an excellent writer which is evident throughout this book is the use of strong verbs. Strong verbs are words that convey action and meaning in a poignant manner, often even artistically. They are usually used in place of weaker verbs with less meaning and fewer emotional connotations (i.e. “He sauntered down the street” as opposed to “He walked down the street.”) Here’s an example from the book: “Fences sagged and paint blistered.” This phrase is very artistic and effective solely because of the strong verbs in the active voice. They paint an excellent picture for the reader, and also carry with them connotations that can be applied to the setting in general. Sagging suggests depression, defeat, hopelessness, lack of energy and enthusiasm, all of which are evident in the setting and its inhabitants. Blistered suggests uncomfortable heat and pain, also apparent in the setting.
Eddie’s depiction of modern Fresno is a perfect example of the failure of the American dream. Ignorance, poverty, malevolence, hopelessness, violence, drugs, boredom, and a sense of imprisonment all mix together to form the emotional atmosphere that could squeeze the willpower and love out of anyone stuck in it. There’s only one way out. It’s a subtle irony how the way to escape his hell is to join the military and fight for America, whose decay he has experienced for so long. It’s not even like he’s fighting for change, he’ll be fighting to keep it exactly the same. The saddest thing about Fresno is there’s not really a way to change it. Because he’s lower-class, with no talent or mental drive he’s yet discovered, he will live his life out as another one of the lowliest cogs in the American machine.