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65 pages 2 hours read

Xóchitl González

Olga Dies Dreaming

Fiction | Novel | Adult | Published in 2022

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Symbols & Motifs

Revolution

Olga Dies Dreaming is filled with mentions of revolution, and two revolutions happen within its text. The first is the most obvious: In the future flash forward that ends the novel, Blanca oversees the revolution in Puerto Rico, in which the Pañuelos Negros and their supporters flood the streets and set off bombs to isolate the island from American intervention. The second occurs within Olga in relation to her mother.

The first letter we read from Blanca justifies her reasons for leaving Olga and Prieto to work for liberation in Puerto Rico: “one day my work will make you proud […] And you can take pride, knowing your sacrifice was a part of it” (26). For much of the novel, Olga believes that sacrifice is essential to revolution, but she slowly comes to realize that Blanca decided to sacrifice her children without giving them a choice. Olga has no part in her mother’s revolution; yet she does also feel some pride when it does happen. However, this pride is not about her mother’s involvement; rather it is in seeing Puerto Ricans as a people rise up together.

Blanca describes the revolution as long in the making: “The Yanqui has counted on us being asleep for years, but their neglect and exploitation is slowly waking up all of Borikén, and when they rise from their nap, we will be there” (222). This parallels Olga and Prieto’s experience as well: Just as the US controls the island, so has their mother run their lives from a distance. Her “neglect and exploitation” finally wakes Olga and Prieto up, and at the end, their family is there for them.

Hurricanes

Hurricane Irma and Hurricane Maria both hit Puerto Rico in 2017. In the novel, these events are catalysts for revolution (see the Revolution motif above). In a literal sense, the storms reveal the vulnerability of Puerto Rico to environmental disaster and illustrate the American government’s neglect of the island, which receives much less aid than a state would despite being a US territory. More figuratively, the hurricanes symbolize the building tension in Olga, one that reaches its climax in the wake of Hurricane Maria.

When Hurricane Irma leaves Puerto Rico without electricity, we’re clued into the growing interest in privatization on the island. Though the machinations of the Selbys and Dick, we learn that American corporate interests have pressured Congress to put their interests ahead of those of regular Puerto Ricans. Real estate businesses wish to gain access to Puerto Rican land and to the tax breaks that they can receive from opening up facilities there. Then, when Hurricane Maria hits and Puerto Rico still does not receive necessary resources for recovery, readers understand that FEMA has become a tool for making ordinary Puerto Ricans to leave, so that developers can buy up land on the cheap.

Olga becomes obsessed with watching the hurricanes and feels more connected to her homeland than ever before when it is under threat from these storms. As she watches the news, it “disturb[s] her that people might be dependent on an ad-hoc goods drive being run on Prieto’s cell phone from her OBGYN’s office” (253). Eventually, can no longer keep silent, ranting about the sinister reasons for the government’s lack of response in Puerto Rico while on Good Morning, Later. Ultimately, the hurricanes catalyze Olga’s connection to her heritage.

PROMESA

The Puerto Rico Oversight, Management and Economic Stability Act (PROMESA) was a real law passed to install an appointed control board in Puerto Rico after the island defaulted on loans in the wake of the 2008 global financial crisis—a default caused in part by corporate tax havens created by Congress in Puerto Rico that have crippled the island’s economy. The board’s creation is demeaning, making it look like the territory cannot govern itself. Moreover, the board immediately becomes rife with corruption.

Blanca tries to convince Prieto to vote against the measure: “It’s not a promise, but a death sentence for our people. […] It’s designed to worsen our people’s lives while stuffing the bankers’ coffers. It forces puertorriqueños to foot a bill run up by gringos and our complicit compatriots” (299). Prieto’s vote in favor of PROMESA weighs upon him, as does the Selbys’ interest in having the board stay in place. Ultimately, however, PROMESA backfires—in the novel’s imagined future, its unfilled promises spur Puerto Ricans to join the Pañuelos Negros.

Real Estate Development

The novel in part chronicles gentrification in Brooklyn and Puerto Rico, and property ownership is a hot-button topic for both the Acevedo family and for the larger national story the novel is telling.

Olga is a proud Brooklynite: “I bleed Old Brooklyn, thank you very much. My family’s been in Sunset Park since the sixties. One of the first Puerto Rican families in the ‘hood and we owned our house” (19). Abuelita’s crafty house purchase is the stuff of legend in the family: The story of how she got their racist landlord to capitulate and sell her the property despite his opinion that Puerto Ricans were encroaching too much into Brooklyn is reiterated several times. Abuelita’s reaction to the man’s racism wasn’t direct confrontation. Instead, she worked to ensure a better life for her family by more indirect means. Now, her house is the center of family life—real estate that symbolizes their belonging.

As a wedding planner, Olga meets many real estate developers who have much less personal plans for Brooklyn and Puerto Rico, places where they can make a profit, regardless of who gets hurt. The Selbys blackmail Prieto into voting the way they want on issues that make it easier for their company to buy in the borough. They also want to take advantage of the devastation in Puerto Rico, using their financial resources and access to corrupt politicians to delay recovery resources to push Puerto Ricans off the island. The Selbys hope to buy the vacated land cheap, so that they can open factories, resorts, and other facilities there. Doing so would, in turn, also provide them with a tax break, making their profit margins even higher. Dick’s visit to the Selby’s mansion on the island illustrates this in stark detail. While islanders lack electricity, water, and other basics of life, Nick Selby is living a life of luxury.

Good real estate development appears as well. Matteo reveals that he owns a number of properties, all because he wants to ensure that they stay open. As Olga tells him, he is “saving me—all of us—from being washed away. You’ve put down little anchors, even if it’s just a few” (360). She is shocked when Matteo brings her to Sylvia’s Social Club, “[t]he last of the Puerto Rican social clubs” (72) that he has saved when many Puerto Rican businesses have been priced out by rising rents. Matteo’s approach is a stark contrast to the Selbys’ efforts; he balances his desire to live comfortably on his income with the needs of those whose homes and businesses he owns.

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