20 pages • 40 minutes read
Leslie Marmon SilkoA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The omniscient narrator of the short story follows Leon as he navigates the burial of his grandfather, Teofilo. Silko does not provide any physical descriptions or interior monologues for the characters within the text. As a result, Leon’s character and values can only be inferred from his actions and dialogue with other characters. Leon is a firm believer of Pueblo traditions and must be convinced by his wife, Louise, to allow the priest to bless Teofilo’s grave with holy water. She convinces him to permit this Christian rite only by framing it in the context of Pueblo belief that the spirit needs food and water to move into the afterlife. Leon is a man of few words. Though he wishes to quench Teofilo’s thirst, he does not attempt to convince the priest to come with him. Leon stands with the priest in silence, not needing to argue with him to persuade the man to assist them. Leon’s silence and calm are steady. He smiles often, most notably at the beginning and end of the story after he has completed a Pueblo custom that ensures Teofilo’s comfort in the afterlife. Leon’s devotion to his heritage and way of life is a defining characteristic. Through Leon, Silko conveys the different beliefs around death and life in Pueblo customs.
Louise is one of two women characters in the short story and the only one that has spoken lines of dialogue. Her devotion to her family is clear, however, as she cleans and dresses Teofilo for his burial. Though Louise plays only a small role in the short story, it is she who bridges the gap between Pueblo tradition and Christianity. She suggests that Leon go to the priest so that they can quench Teofilo’s thirst in the afterlife with holy water. That Louise may believe in both Christianity and Pueblo customs is not explicitly stated, however.
Teofilo is the family patriarch who dies unexpectedly. Though he is dead, Teofilo’s presence pervades the entire text. Found under the cottonwood tree, Teofilo is the only character who has a detailed physical description. Dressed in his “Levi jacket and pants [that] were faded light blue,” Teofilo embodies the contradictions of modern Pueblo life (1). Dedicated to traditional customs, “the new moccasins that Teofilo had made for the ceremonial dances in the summer” is put on his body for his burial (3). In this short text, Silko depicts Teofilo as wearing Levi jeans and jackets as well as traditional ceremonial moccasins. This bridging of the seeming past and present embodies the multiplicity of Indigeneity, the linking of tradition and modernity.
Father Paul is the town priest. He holds strong beliefs about his faith and treats everyone in town as a parishioner. Though Teofilo and Leon do not share his faith, Father Paul attempts to get them to come to church every Sunday. Father Paul is initially frustrated at Leon’s refusal to tell him about Teofilo’s death. He harbors some frustration and even distrust towards Leon for his different beliefs. Though he originally refuses, Father Paul eventually acquiesces and sprinkles holy water on Teofilo’s grave and learns to reconcile his faith with Pueblo customs.
Ken is Leon’s brother-in-law and Teresa’s husband. He is a minor character in the text, but he assists Leon with Teofilo’s burial. Ken is the one who goes to get the gravediggers, eager to bury Teofilo before dark, as per Pueblo tradition. Through this, the reader can postulate that he, too, is a devoted follower of Pueblo customs.
By Leslie Marmon Silko