Extravagant Masculinity in The Rain Good by A. Islas

Introduction

The concept of masculinity, as theorized by Judith Butler, is a central theme explored within the narrative of Arturo Islas' novel, "The Rain God." Within this literary work, Islas presents an array of male characters that embody a diverse spectrum of masculine representations and roles, particularly within the context of Mexican culture. One key aspect through which Islas constructs and portrays masculinity in his characters is through the examination of the body. Islas himself, having battled polio in his youth and left with a permanent limp, exhibits a heightened awareness of his own physicality. Elements of his own life experiences find their way into "The Rain God," where the character of Miguel Chico serves as a surrogate in this semi-autobiographical novel.

The Body as a Stage for Masculinity

The depiction of the male body within the narrative holds a direct correlation with the level of masculinity ascribed to each character, thereby serving as a significant marker in identifying the presence or absence of machismo. Machismo, though often perceived negatively, is a trait primarily associated with men. As Ernest Hemingway once referred to Américo Paredes, he was "the most hallowed interpreter of the macho," a term which Paredes himself extensively analyzed. In his essay, "The United States, Mexico, and 'Machismo,'" Paredes characterizes machismo as a behavioral pattern that transcends borders, though it is particularly prominent in Mexico. He describes it as embodying qualities such as bravery, honor, and an almost superhuman bravado, yet acknowledges its tainted counterpart, "false" machismo, characterized by extravagant boasting, phallic symbolism, and the reduction of men to mere animalistic instincts. This duality in the definition of machismo contributes to the societal confusion surrounding its performance by men.

Gloria Anzaldúa, in her exploration of "machismo," attributes its development to the historical context of Spanish colonization and conquest. She posits that constructed machismo is a reaction to hierarchical male dominance, a response to oppression by Anglo men, and a consequence of the history of control and dominance over Mexican men. Due to their own feelings of inadequacy and inferiority, Mexican men transfer these emotions by shaming Chicano men. This cycle of shame contributes to a deep sense of racial shame, leading to a false machismo that results in the denigration and mistreatment of women. This cycle perpetuates a distorted expectation of machismo and the performance of masculinity.

Within the pages of "The Rain God," male characters serve as a means to explore the body as a stage for the performance of masculinity. In a theatrical context, a stage is essential to set the scene for actors to perform, and similarly, the body serves as the stage upon which gender, specifically masculinity, is enacted.

Arturo Islas as the symbol of death

Arturo Islas recurrently employs the symbol of death throughout the novel to illustrate the tragic consequences and punishment that befall men who fail in their performance of masculinity. Death becomes a figurative representation of society's condemnation, haunting a family throughout generations and symbolizing their legacy of suffering and retribution. In this context, death does not mark an end but instead signifies punishment for a lineage of "sinners," as articulated by Islas. Death operates as society's critique, condemning those who fall short in fulfilling their expected roles and performances. As the narrative unfolds, death closely shadows each character, acting as the voice of society against the imperfect performance of masculinity. It serves as the ultimate punishment for this perceived transgression. The manner in which death manifests within each character's narrative reflects their individual performance of masculinity.

Society's perceptions and media influences play a pivotal role in shaping the connection between masculinity and the body's image and performance. Islas' emphasis on external appearances and the portrayal of the body underscores how each character accentuates and enacts their masculinity. When the performance of masculinity falls short of societal expectations, it engenders a sense of brokenness, with the body becoming a reflection of this narrative. In such instances, society responds with negative criticism and a lack of acceptance toward those who do not conform to the idealized image of masculinity.

In "The Rain God," Arturo Islas delves into the multifaceted representations of masculinity and the intricate construction of male identities. Through the characters of Miguel Grande, Miguel Chico, Felix Angel, and his son JoEl, the novel introduces us to a spectrum of male representations that society has both constructed, accepted, and rejected. Each of these male characters serves as a distinct voice in the ongoing dialogue of masculinity, defining and redefining it through their actions, relationships, and innermost thoughts. Their experiences and the pain they exhibit and endure shed light on the intrinsic complexities of male gender identity. Despite their physical differences, these characters share internal commonalities. They all belong to the same familial lineage, rooted under the matriarchal influence of Mama Chona. Each man has encountered life-altering events, shaping and influencing their unique identities. It is these identities that others employ as benchmarks to measure their own masculinity.

Miguel Chico as a symbol of the disabled man

Within the narrative, the male body emerges as the narrative thread weaving the tapestry of each character's masculine identity. Miguel Chico, a symbol of the disabled man reliant on a machine, represents the archetype of the "half" man seeking completeness and acceptance. Yet, he is burdened by society's judgment, rejection, and the expectations imposed upon his male identity. In contrast, Miguel Grande, his father, embodies the quintessential "galán," the perfect man characterized by his physical attractiveness, strength, and wide societal acceptance. He epitomizes the ideal of masculinity in the eyes of family, society, and Mexican culture, aligning himself with the widely recognized image of the "macho." This archetype, portrayed in the media and reinforced by authors, serves as a supported model of masculinity, complete with distinct features that perpetuate the stereotype of Mexican manhood.

Felix, Miguel Grande's brother, stands in stark contrast, representing the repressed man, a juxtaposition of the "galán" and the more feminine archetype. Felix's denial of his homosexuality condemns him to emotional and physical decay, epitomizing the masculine identity that suppresses desire and self-expression. As for JoEl, Felix's son, he personifies the damaged man, tormented and scarred by his strained relationship with his father, which only worsens following Felix's demise. Although other characters grapple with father-son issues, JoEl uniquely represents the separation and anxiety that men endure due to the absence of paternal presence. His pain and loss remain unarticulated, inviting further inquiry into the true nature of JoEl and Felix's relationship. JoEl's damaged behavior manifests through his precarious coping mechanisms and his resistance to seeking acceptance.

In essence, each of these characters embodies a stereotype derived from the overarching notion of the ideal "macho." The "machista" represents a more widely embraced and recognized form of masculinity within society. Conversely, individuals such as the disabled or homosexual man are often deemed taboo and rejected, viewed as deviations from the natural order. The "machista" epitomizes the stereotypical male who refuses to let society dictate or govern his actions and conduct. He lives life on his terms, personifying the ultimate image of masculinity, which, to him, represents the only acceptable performance of his body.

Miguel Chico, the eldest son of Miguel Grande and the favored grandchild of Mama Chona, emerges as a central character in the narrative of "The Rain God." It is highly probable that Islas chose to commence the novel with Miguel Chico's story due to the character's role as a conduit for the author's own voice, bearing a more profound personal connection to Islas than the other male characters featured in the narrative. Miguel Chico's physicality embodies the archetype of the disabled man, constantly striving to project an image of masculinity instilled in him since birth. Nevertheless, throughout his life, he is deemed inadequate both by his family and society at large. At a tender age, Miguel Chico comes to the realization that death is an inevitable part of existence, shaping his belief that life should be embraced despite the looming specter of death. This conviction motivates him to distance himself from his family and pursue an education, driven by the notion that knowledge equates to power and may delay the inevitable. However, his divergence from societal expectations for him as a male leads to his designation as a "sinner," with consequences that extend to punishment.

In contrast to Miguel Chico's perceived inadequacy, society deems his father, Miguel Grande, as the epitome of masculinity. Miguel Grande embodies the image of the perfect man – physically attractive, strong, and widely accepted by both family and society. He aligns himself with the widely recognized concept of the "macho," representing the prevailing ideal of masculinity within Mexican culture. This archetype perpetuates stereotypes and is frequently reinforced in media and literature.

The irony of Miguel Chico's situation lies in the fact that, despite his physical disability, the only part of his body that remains whole is his head. Yet, this physical completeness does not suffice to establish a sense of masculinity accepted by family and society. In their eyes, the body must be complete and fully functional to qualify as masculine. Miguel Chico's independence and decision not to procreate are seen as his punishment in the eyes of others. He eventually falls ill, and the medication he takes exacerbates his condition. His faith in knowledge as a means to control his destiny becomes ironic, leading to his downfall when a lack of communication about his medical history results in a prescription that worsens his condition. Subsequently, he finds himself hospitalized, connected to tubes, unable to eat, and facing death. This pivotal moment forces him to surrender to death, accepting that living with a "plastic appliance at his side for the rest of his life" (Islas 7) is a fate worse than death. His body symbolizes incompleteness and a failure to fulfill the role of masculinity. The "appliance" to which Islas alludes is analogous to his own experience with a prosthesis, an artificial attachment that feels unfamiliar and foreign. It serves as a constant reminder of difference, marking him as distinct from others. Miguel Chico, unable to engage in sexual relations due to his condition, represents a masculinity characterized by dependence, akin to the stereotype of a woman trapped in a relationship, unable to break free from dependency on her partner. He stands as an incomplete body, unable to fulfill the expectations of performing masculinity to its fullest extent. Consequently, he is perceived as almost feminine and becomes the embodiment of death, effectively serving as a surrogate for Islas, who uses this character to convey his own story.

The recurring refrain, "You cannot escape from your body, you cannot escape from your body" (Islas 7), echoing in Miguel Chico's mind after his surgery, serves as a poignant reminder of what occurs when one suppresses the desires of the body. The novel encapsulates the lives of individuals who feel compelled to exemplify an idealized image of masculinity imposed upon them by society, familial expectations, and gender roles. Miguel Chico's relentless quest for approval and acceptance within a judgmental family, burdened by excessive expectations, mirrors the struggles of the author himself. As John Alba Cutler notes in his essay, "Prosthesis, Surrogation, and Relation in Arturo Islas's 'The Rain God,'" Miguel Chico functions as the surrogate of Arturo Islas, serving as a vessel for Islas to convey his own experiences, pain, and the insecurities he faced in grappling with his sexuality and physical disabilities. Islas, who battled polio in his childhood, left him with a limp and necessitated the use of a colostomy bag throughout his life, found himself unable to regard sex casually. Despite no one explicitly rejecting him, he carried a constant fear of rejection, epitomized by his vulnerability when exposed. In his own words, Islas confessed,

"I feel the constant specter of rejection, 'You cannot escape from your body, you cannot escape from your body'" (Cutler 8).

This shared vulnerability underscores that the author imbues the Angel family's story with elements of his own life, pain, and attempts to foreshadow his eventual demise from AIDS.

In the narrative, Miguel Chico's recounting marks the occurrence of the first death in the novel, albeit it remains a matter of debate whether this is his own death or merely his transition into a slumber where death is expected to visit him. As Miguel Chico lies in his hospital bed, the voices around him seem distant, calling his name, "Mee-gwell," evoking the sensation that death itself is beckoning (Islas 8). This portrayal paints a vivid picture of him on his deathbed, a scenario he recalls for many members of his family, labeling them as "sinners" – individuals who failed to meet the expectations imposed on them by family and society. In his view, they perished, possibly overwhelmed by feelings of shame, rejection, failure, and, most significantly, as sinners. Miguel Chico believes that sin and failure are punished by death, and this perspective shapes his perception of existence. His death, whether literal or metaphorical, symbolizes Islas' way of extinguishing his own self, serving as a reflection of how society has rejected the author himself and denied the acceptance of his representation of masculinity. However, Miguel Chico's point of view and narration persist as a constant reminder that despite society and his father's rejection and attempts to obliterate his identity, his voice endures.

Miguel Chico remains an omnipresent voice throughout the various narratives within the novel. The story unfolds as a series of flashbacks, encompassing moments preceding his presumed death and his subsequent experiences, including the period after surgery when he is under the influence of medication, drifting into a deep slumber. In his final moments, amidst pain and medical wires, he utters the words, "I'm an angel… At last, I am what you taught us to be" (Islas 8), directed towards Mama Chona, who had long passed away. In this moment, he speaks a profound truth. Even if it does not mark his physical death, it is the moment in which his masculinity perishes. Surgery begets a new life for him, rendering the societal expectations of masculinity even more elusive. From this juncture, he anticipates death, for it is through death that he envisions redemption and finally meets the standards of masculinity he had previously failed to attain. Death, he believes, will render his body whole once more and bring ultimate redemption and forgiveness in the eyes of his family, ultimately becoming the culmination of his existence. This final act would enable him to achieve the masculinity he had struggled to live.

Miguel Chico contends that his disabled and incomplete body inflicts more emotional anguish than physical pain upon him. Although he refrains from categorizing himself as one of the "sinners," he leaves much open to interpretation, particularly concerning his sexuality and the reasons behind his decision not to marry. He often deflects by stating, "Well, I had this operation," allowing others to define his identity (Islas 5). His disability leaves him feeling as though he is only half the man he should be, failing to perform the role he had set for himself. An incomplete body, he believes, robs him of his masculinity, and his inability to engage in sexual activity hampers his pursuit of the masculinity he desires. As John Alba Cutler observes,

"Miguel Chico's narrative is already familiar as narrative; he becomes the character through which Islas's own vexingly ambiguous life story is made readable" (9).

Thus, not only does Miguel Chico's body serve as the narrative representation of masculinity, but it also assumes the surrogate role, becoming Islas' voice. Owing to his disability, Miguel Chico finds it impossible to achieve his expectations of masculinity. The significance of his body as a symbol of masculinity permeates his thoughts and shapes his identity. In his case, Miguel Chico experiences a disconnect due to his inability to control his body, symbolizing a form of femininity evident through his vulnerability and physical weakness.

His disabled body narrates the inadequacy he feels in embodying masculinity. His disability projects an image of femininity, a weak spirit, and a performance of masculinity he has always struggled with. Living in the shadow of his father, burdened by unattainable expectations, has eroded his spirit and his ability to perform the masculine role. He secretly desires attention and love from his father but also grapples with shame for these feelings. He despises the man his father is, yet the realization that he can never become like his father pushes him to reject societal expectations and distance himself from any comparisons. Miguel Chico embodies the voice of Islas; it is his method of inserting himself into the narrative. Consequently, there is ambiguity regarding the narrator's identity. Miguel Chico remains ever-present and all-knowing, embodying Death itself, prompting the question, "Is he our Rain God?" Each story unfolds, recounting the lives and deaths of various individuals, their influences, and the far-reaching consequences of their actions. However, one figure appears exempt from the fate of death, someone whom Miguel Chico envies – his own father, Miguel Grande.

Conclusion

In conclusion, Miguel Chico's illness manifests as a disabled and fragile body, symbolizing a feeble form of masculinity that he has long internalized. Living in his father's shadow, haunted by insurmountable expectations, his spirit deteriorates, and his performance of masculinity is tainted by a sense of inadequacy. He yearns for affection and attention from his father, though these desires are tinged with shame. His physical and emotional vulnerability results in a portrayal of weakness and an incomplete masculine identity. Miguel Chico perceives judgment as an act committed not by a divine entity but by the family itself, with Mama Chona and each individual in the Angel family serving as the judges who pronounce rejection and pass judgment on others. Miguel Chico escapes his own sins and this judgment by distancing himself from the family. His disabled body becomes his penance, a reminder of his inability to evade judgment. He cannot escape this judgment, which has left an indelible mark on him. His journey signifies the loss of the approval of his family, his envy of his father's unpunished sins, and the sense of incompleteness that his disability and societal expectations have foisted upon him. As a result, Miguel Chico's narrative becomes a poignant exploration of masculinity, vulnerability, and the enduring legacy of familial judgments.