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In the middle of the night Nicolás sneaks into the pantry. This is his third night of work on his escape plan, and he thinks he is close to getting through to the other side. He has his crowbar, Swiss army knife and a large spoon. The house is so quiet that it spooks him. He works with the light off, using his hands to feel along the wall and make an opening in the plaster. Suddenly he hears footsteps in the kitchen. He hides himself against the wall inside the pantry, prepared to use his crowbar as a weapon if necessary. He realizes it must be Vidal stopping by the kitchen on his nightly visit to the latrine. Once the footsteps fade away, he slumps to a seated position in the dark.
Nicolás awakens later that night. The beams of light from La Virgen surround him, and he hears her voice. In a dream state he feels that he is in a hot cave like version of the pantry. she tells him not to be afraid and warns him that at noon he must be strong. She says he will see her at noon, and he must follow her to safety. Then she is gone, and he is left in darkness.
In the morning Nicolás rises with the soldiers and performs his exercise with energy. He eats breakfast so quickly that Ofelia says he’s acting like he’s being chased. As Nicolás sweeps the sidewalks he sees the men getting ready for the rifle range. He asks if he is needed to carry the ammunition, but someone else already has the job. A soldier sees him watch the men and asks Nicolás if he wishes to have a uniform and rifle like them. Before he can answer, La Niña Rocio asks him to come into her store to help her.
She tells him that the shop smells good because of a vase of blood red roses. She needs help getting a key that she dropped under a shelf. Her key fell exactly at the point that he planned to break through that very night. He gets a chance to inspect the area he would be working through, and wonders if it is a miraculous opportunity provided by Our Lady. La Niña Rocio is so grateful that he is brave enough to stick his arm under the shelf (she is afraid of what bugs or creatures might lurk underneath) that she rewards him with two caramels. He puts them in his pocket along with his carved lion. As he walks away from the store, he remembers a tale his mother often told of an Indian man named Juan Diego, to whom “La Virgen Guadalupe appeared...On the hill where her figure stood, blood red roses bloomed...the flowers. The key. The shelf. His eyes so near the path of freedom. It was La Virgen’s doing. And it wasn’t even noon” (184).
At 12:10 p.m., 30 soldiers are eating lunch. Lieutenant Galindo is away having his Jeep serviced. Vidal is posted at the entrance. La Niña Rocio sits on her stool listening to music. Nicolás is in the bathroom with an upset stomach. Unbeknownst to the Army, a truck filled with heavily armed guerrilleros heads toward the Garrison. Thirty guerrillas approach on foot, disguising their weapons. Three men in plain clothes approach the entrance of the garrison, one tipping his hat to Vidal before shooting him point blank. The other two men open fire and kill all of the guards. When the soldiers eating lunch hear the gunfire, they immediately go for their weapons, but they are surrounded by the truck full of guerrilleros and the thirty men on foot.
An enormous gunfire battle erupts, and the building is suffering major damage. Chabela is hit by a stray bullet. The captain fires at guerrilleros from his office before he is killed by their bullets. Silvia and Ofelia are in the kitchen, struggling to stay out of harm’s way. Ofelia screams at Nicolás that he must be an informant because he was acting so strangely all day. He ignores her and listens to the voice of Our Lady telling him he is a lion. He bares his teeth and roars like a lion, using his hands to claw open the wall inside the pantry. He struggles to get through to the store, and finally pulls himself through to the counter in the shop. La Niña Rocio is gone, and he hears the sounds of the kitchen behind him smashing. He is almost free when something hits him and knocks him forward. He touches his side and finds he is bleeding. He stumbles out of the shop, sees Vidal bleeding in the street, and looks across the road only to see a poster of La Virgen. He focuses on her and follows the sidewalk toward Alvarado’s house without looking back.
Nicolás makes his way to Señor Alvarado’s house. A woman named Clara opens the door. Nicolás asks for help and tells them he has been shot in the attack that is taking place now at the armory. They can hear the explosions and gunfire from their open door. Alvarado picks Nicolás up and carries him to a bed. He inspects the wound and determines that he has been very lucky: the bullet has only grazed him, he will live. Nicolás declares it the miraculous work of La Virgen. Alvarado wants to know how Nicolás was injured, so he explains what has transpired since they last saw each other. He also admits to Alvarado that his mother is dead.
Nicolás tells them he must leave because he promised he would meet his grandfather in El Retorno, and that Ofelia thinks he is an informant. Alvarado assures him he will be safe with them. He cleans his wound and gives him pain medication. Nicolás sleeps for a very long time, dreaming that he is floating on a peaceful river. He is eventually awoken by the news on the radio, which gives a very different report than what actually happened. The news makes it sound like the guerrilla attack was unsuccessful, when in fact they raided the armory and killed most of the people at the garrison, including Ofelia.
Alvarado receives a phone call from Basilio Fermin. He tells Alvarado that he has been trying to help Tata and Nicolás find each other, and that his employer wants to help take care of them both. He tells Alvarado that he will pick Nicolás up in the morning and drive him to El Retorno to see his grandfather. Nicolás doesn’t understand what he is hearing from the one-sided conversation, only that someone is coming for him. He refuses to be captured. So, he plans to wait for Alvarado and Clara to fall asleep and then sneak out. When the moon is high, he quietly gets out of bed and dresses in the clean shirt left on a chair next to him. He puts his boots on as well as possible without being able to bend over. His wound hurts and he knows it will get worse if he doesn’t care for it properly, so he takes some gauze and ointment with him. He tiptoes through the hall, hearing Alvarado’s snores along the way, and hopes to find something to eat in the kitchen.
Suddenly a figure appears behind him and tells him not to be afraid. She asks where he is going. He tells her that he must find his grandfather. She asks if he is hungry and prepares him a sack of food to take with him. She tells him to be careful and to go slowly. As he leaves the house, he catches the smell of roses from the figure, and decides that she must be la Virgen, appearing to him once again to guide his way.
The imagery of roses returns to Nicolás, foreshadowing death. Just as Nicolás saw the faded red roses on the bedsheet before Dolores and her team were killed, Nicolás sees the blood red roses in the corner market before the garrison is attacked. He understands this to be a sign from La Virgen indicating that he will need to follow her at noon, as she instructed him in his dream. This is a fine example of magical realism, where the otherwise realistic plot is moved by magical elements, such as a statue that comes to life and speaks to Nicolás in his dreams. The dream accurately predicts the midday attack, and the novel depicts a surreal cascade of events, ending with Nicolás miraculously surviving and escaping. Just as at other life or death moments, La Virgen appears: “on one of the doors hung the image of La Virgen Milagrosa. Nicolás locked his eyes on the sweet milky face of his benefactress. He staggered across the street. He thought he saw beams of light coming from her little hands” (188). Nicolás follows the beams of light to safety, a seemingly impossible task in the chaos surrounding him.
The use of magical realism and La Virgen helps express an experience that is otherwise too emotionally overwhelming and illogical for a nine-year-old. This novel demonstrates how the child’s mind copes with trauma. When Nicolás is most afraid and in need of protection, he conjures the image and guiding words of La Virgen. This literary device also demonstrates the way adults can use art to make sense of historical events that encompass both horrific tragedy and miracles. It is far more comforting to understand Nicolás’s life as special, protected, and miraculous than simply very lucky. Similarly, magical realism allows Benitez to rewrite Nicolás’s life story as one of redemption and bravery rather than loss and random chance. These sentiments are perfectly captured in his interaction with Alvarado. Alvarado inspects Nicolás’s bullet wound and tells him that he is going to be all right because the bullet didn’t go below the skin. He calls it a miracle, implying that Nicolás got very lucky. Nicolás changes this to “It was La Virgen” (190). For Nicolás, it is too much to think that he just got lucky, because luck can run out. If he has the unwavering protection of La Virgen, he can keep going through this arduous journey.
By Sandra Benitez