by John Steinbeck. "In the town they tell the story of the great pearl - how it was found and how it was lost Coyotito read from a great book. "This is what the. "In the town they tell the story of the great pearl- how it was found and how it was lost again. They tell of Kino, the fisherman, and of his wife, Juana, and of the. riamemamohelp.ml PEARL Notes including • Life and Background of the Author • Introduction to the Novel • List of Cha.
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is the theme of John Steinbeck's The Pearl. his characters in his novel The Wayward Bus. () In this anxious state, he finds the Pearl of the World. The Pearl by John Steinbeck "In the town they tell the story of the great pearl - how it by the little fire in the brush hut while Coyotito read from a great book. The Pearl Study Guide – You do NOT have to answer the chapter questions. Throughout the novel, there are various types of animal imagery. What is.
When Kino regain consciousness, Juana returns the pearl to him from where she found it lying behind a rock and tells him that they must flee the village because he has killed a man. Juana leaves to gather their belongings; Kino goes to check on their canoe and finds that a large hole has been smashed into its bottom.
As they approach their hut, they see it burning in flames. Taking Coyotito, they go to Kino's brother's hut and spend the day hiding there.
Kino continues to believe that the pearl is not something evil but instead offers a more promising future for him and his family. Kino, Juana, and Coyotito leave their village and head toward Loreto. Kino is careful to make sure that they leave no tracks but knows that they will be followed because of the pearl's great value.
Because they are traveling at night, the next dawn they conceal themselves and settle down for the day. Juana and Coyotito fall asleep, and soon Kino does too. He is suddenly awakened by noises, creeps out from where they are hiding, and sees trackers who are following them. Once the trackers pass by the hiding place, Kino and his family head toward high mountains. When they reach the first rise of the mountains, Kino tries to convince Juana to hide with Coyotito while he leads the trackers away, but she refuses so they head higher up the mountains to where Kino finds a stream.
There, Kino hides Juana and Coyotito in a small cave and makes false tracks up the side of the mountain, hoping to mislead the trackers; he then hides in the cave with his family. The trackers arrive at the spring and make camp for the night. Kino, realizing that the trackers will discover them in the morning, vows to attack the trackers before the trackers attack he and his family. As he moves more closely to the trackers' campfire, one of the trackers who is keeping watch aims his gun toward where he has heard a cry in the night and fires his gun; Kino jumps on the tracker and kills him with his knife.
Kino grabs the dead tracker's gun and shoots a second tracker. The third tracker scrambles away from Kino, but Kino shoots and kills this tracker as well.
He then notices how quiet the night is.
The Pearl John Steinbeck
This quiet is punctured by the sounds of Juana's crying; Coyotito has been killed by the watcher's gunfire. He married Carol Henning and the newlyweds settled in staid Pacific Grove, which he sometimes satirized in his writings.
There, Steinbeck met Ed Ricketts, whose friendship strongly influenced Steinbeck's work. Ricketts was the owner of a biological supply laboratory on Monterey's Cannery Row, and Steinbeck's novel Cannery Row is dedicated to "Ed Ricketts, who knows why or should. In the late thirties, Steinbeck and Ricketts became partners and engaged in a lengthy exploration of marine life along the shores of the Gulf of the California Baja, the setting of The Pearl.
It was here that Steinbeck met the type of Indians who became the characters in The Pearl, and it was here that he first heard the story of the "pearl of great price. As a result of his trip with Ed Ricketts, Steinbeck writes of these people in The Pearl with complete conviction. By 1935, with the publication of Tortilla Flat, Steinbeck was now being recognized as an important American writer. Steinbeck received between three and four thousand dollars for the Hollywood film rights.
With a demand for his controversial work, he placed short stories in Esquire and Harper's and wrote a series of articles for the San Francisco News concerning life in California's migrant labor camps, material he used later for The Grapes of Wrath. After touring England and Ireland, Russia and Sweden, he produced a play version of the book with the famous playwright, George Kaufman. Steinbeck became a celebrity when the play enjoyed a long run, won the New York Drama Critics' Circle award on the first ballot and later became a popular film.
Unsurprisingly, however, the night that Of Mice and Men opened on Broadway, Steinbeck was living in a migrant camp. In preparation for writing his novels, Steinbeck would often live, work, and be with the people about whom he was to write.
Thus, in preparation for writing The Grapes of Wrath, Steinbeck went to Oklahoma, joined some migrants and rode with them to California. Once in California, he stayed with the migrants, living with them in "Hoovervilles," joining them in their search for work, and attempting as nearly as possible to come to terms with their essential characteristics.
Leaving them, he made several trips to various camps to observe firsthand the living and working conditions of migrants. He wrote some short pieces in which he described the plight of these people and pleaded for a more tolerant approach in dealing with them. These articles, however, were not very effective. It was only when he molded his new experiences into the form of a novel that positive effects were achieved. The appearance of The Grapes of Wrath was the major publishing event of 1939.
Publishers Weekly listed the novel as the best seller of 1939 and the eighth ranking book of 1940. It was estimated that over half a million copies of the original printing were sold. In addition to several American editions, there have been numerous foreign editions and translations.
The novel later became a highly significant social protest film. Also in 1940, Steinbeck was elected to membership in the National Institute of Arts and Letters and won the Pulitzer Prize for having written the best novel of the year, as well as the American Booksellers' award.
He also went to Mexico to film The Forgotten Village, a semidocumentary about introducing medicine into a suspicious community. During 1942, Steinbeck's wife sued for divorce and that same year, the Army Air Force requested a promotional book, Bombs Away, to popularize the flight training program and to allay parental fears about flying.
Steinbeck gave the royalties to the Air Forces Aid Society. Steinbeck's World War II works included the play-novella, The Moon Is Down, for which he was decorated by the king of Norway in recognition of the book's contribution to the liberation effort. His film scenario Lifeboat is sometimes thought to be his most significant war writing.
His human-interest articles, written while he was a special war correspondent for the New York Herald Tribune from June to December, 1943, appeared as a collection, Once There Was a War, in 1958.
Evidently, Steinbeck had considered writing a novel about the war but in The Wide World of John Steinbeck, Peter Lisca comments that Steinbeck was "too disheartened by what he had seen of the war to prolong the experience in any way and he decided not to publish it.
Steinbeck's last major novel, The Winter of Our Discontent, appeared in 1961 and won high critical acclaim for its author. Of his many works, The Pearl has always been a favorite with readers of all ages.
Steinbeck died in 1969. First, there is, as was just suggested, the beauty and power of the narrative itself. One need go no further than simply noting the power, the restraint, and the beauty with which Steinbeck narrates this simple story.
The entire book rings with authenticity. As noted above, Steinbeck was thoroughly familiar with his material, and thus the novel, through its narrative and characterization, conveys a sense of the very essence of primitive life with all of its trials and rewards.
Second, some critics consider the novel from an ecological point of view. Just before writing this novel, John Steinbeck and his friend Ed Ricketts were exploring the seacoast in terms of the ecological functions of the various organisms that existed there.
It was during this exploration that Steinbeck first heard of the story of the "Pearl of the World," a large pearl which was eventually tossed back into the sea from where it was originally taken. Because of Steinbeck's interest in ecology at the time, some critics have understandably viewed the novel as Steinbeck's statement about the need for the ecology to be left as undisturbed as possible.
When one takes a great pearl from its natural setting, then one is destroying a part of the natural order of things, which could result in some type of disaster. Third, there is the obvious sociological interpretation. In many of his previous novels, Steinbeck was interested in the relationship between the worker and capital. In Dubious Battle and The Grapes of Wrath both show the plight of the working man at the hands of unscrupulous and evil landowners.
Also in this novel, we have a conflict between the simple and naive pearl fishers and the pearl downloaders, who use their position to exploit the powerless natives. Likewise, there is the doctor and the priest who have shown no particular concern for the dreadful plight of the natives until there is the rumor about the Pearl of the World.
Earlier, the doctor had selfishly and callously refused to treat Coyotito's scorpion bite because the child's father, Kino, had no money to pay. Likewise, the priest had used his church authority to teach the natives that they were to be content with their station in life because it blended with God's concept that everything has its own place in the world.
Immediately upon hearing about the pearl, however, the priest begins to think about the repairs in the church that could be attended to with the price of the great pearl. Then, too, there is the obvious level of the parable, or the allegorical or symbolic level of interpretation. The pearl is a pearl of great price. It represents the vanity of human wishes. With the pearl, Kino can do all the things that he has never dared to do before.
But then, as Steinbeck writes in the introduction: "If this story is a parable, perhaps everyone takes his own meaning from it and reads his own life into it. Yet, Steinbeck reverses this symbol here because his pearl represents evil, and only by casting it away can Kino regain a spiritual sense of well-being.
Philosophically, the novel is concerned with life and death and the meaning of both. During the course of the story, a simple family, through no particular fault, is brought to a tragic end.
Their pearl is supposed to be used to bring their child out of darkness and into the world of light; he will be able to learn to read and write, and he will then be able to help all of the natives. Instead, the pearl becomes the direct instrument of the child's death. The greatness of this novel is that at any level, or at all of them, it is a beautiful tale told with wonderful precision and perfect simplicity. Juana Kino's wife and faithful partner in eking out a meager living; she is obedient and devoted to her family.
Coyotito Coyotito is Kino and Juana's infant son; he is bitten by a scorpion and recovers miraculously only to be later killed by a bullet, a bullet intended for Kino. Apolonia Juan's fat wife, who has no real significance in the story.
The Doctor A thoroughly heartless, self-seeking man whose love of money is displayed when he refuses to help Coyotito because Kino cannot pay him his fee.
The Priest The discovery of the pearl is said to "put a thoughtful look in his eyes and a memory of certain repairs necessary to the church. In other words, the main legend begins with the discovery of the pearl and the effects that the discovery has on a young Indian boy. Steinbeck thus begins his novella by introducing us to the type of life that Kino lived before the discovery of the pearl so as to contrast the effects of the discovery on not only himself but also its effects on his entire family.
Then, Chapter Six closes the novel with the end of another day, its focus being three days later with the chastened and saddened Kino and Juana returning to the shores of the Gulf to throw the "evi1" pearl back into the water. As noted, Steinbeck begins his novel with a simple description of the natural surroundings.
It is dawn and the beginning of a new day. Both Kino and his wife arise and go about their usual morning habits. His wife, Juana, prepares the fire, checks on the baby, Coyotito, and makes their meager breakfast while Kino sits and watches the ocean and remembers one of the ancient songs that come from his culture--the Song of the Family. It is a song from the old traditions of his race, and as he remembers the song, he takes pleasure in watching his wife go about her chores.
He even watches some ants moving hastily about; in general, "it was a morning like other mornings and yet perfect among mornings. After Kino has eaten the simple breakfast that he eats every morning--a hot corncake dipped in sauce--he suddenly becomes aware that a scorpion is slowly descending into the basket where the baby, Coyotito, is lying. As the scorpion moves down the rope of the hanging crib, Coyotito spots it and is excited by its movement. Juana immediately utters an ancient incantation from far back in her cultural past and also one Hail Mary.
Kino inches quietly but steadily towards the scorpion, frightened to move too fast lest he cause the scorpion to sting. Other ancient songs come to his head--the Song of Evil is foremost in his thoughts. Without warning, the baby makes a sudden move, jarring the scorpion, and it falls into the basket and immediately stings Coyotito.
In an extreme fit of primitive rage, Kino grabs the scorpion and rubs it "to a paste in his hands. By this time the entire Indian village is aware of the situation, and everyone is thoroughly taken aback when Juana tells Kino to go for the doctor.
Never in the memory of any of the Indians has the doctor ever come to attend any of them. The doctor will not come, and so Juana suddenly decides to take the dying child into town to the doctor. The entire village follows her. Along the way, others from the poorer section follow to see what will happen; even the beggars from in front of the church join in the procession because it is the beggars who best know the doctor.
They knew his ignorance, his cruelty, his avarice, his appetites, his sins. They knew his clumsy abortions and the little brown pennies he gave sparingly for alms. This doctor was of a race which for nearly four hundred years had beaten and starved and robbed and despised Kino's race.
The doctor is a contrast to all the others: he is dressed in opulence and is lying in bed, sipping chocolate and dreaming of a past time when he lived in Paris. Upon hearing about Kino's request, he immediately sends the servant down to see if Kino can pay.
Kino gives the servant his entire savings--a few "misshapen seed pearls, as ugly and gray as little ulcers. For example, from the very beginning, there is some type of musical theme or composition running through Kino's mind.
When he awakens, there is the Song of the Family.
It is a song of security, warmth, and love. The novella opens on this song and it will later be replaced in the last chapters by the Song of Evil. The introduction of this basic song motif emphasizes the primitive reactions of these characters to life and to their surroundings.
When Kino hears Juana sing her morning song, he feels the warmth of her love and security: "Sometimes it rose to an aching chord that caught the throat, saying this is safety, this is warmth, this is the whole. The appearance of the scorpion threatens the security and safety of the family as a unit, and thus the Song of Evil prepares us for all the other evil that appears to destroy the family.
The scorpion with its poisonous sting is a foreshadowing of the human evil which will attack the family later. There are several techniques of a basic nature used to suggest the fundamental quality of the family.
In the beginning, Kino awakens in darkness, and the light gradually appears. Thus, the novella will move in terms of various shades of light and dark.
Steinbeck intentionally chooses the most basic symbol because he is dealing with the most basic and primitive emotions. Note that now there are various mentions of light inside the house and the suggestions of the darkness outside which reemphasize the Song of the Family. Gradually, then, the darkness on the outside diminishes as Kino prepares to enter the world to undertake the support of his family. The mixture of the old and the new is seen by the fact that Juana prays for her stricken child by uttering an incantation of ancient magic and then she says a Hail Mary.
Consequently, the new has not completely eradicated the old. Steinbeck provides descriptions of the village and of the town, both inside and outside the dwellings. These descriptions reiterate the contrast between the old and the new worlds, and they suggest that these two worlds can never blend into one unified group.
Thus, later the natives are suspicious of the pearl downloaders because the downloaders represent the new world and are not to be trusted.
Physically, this contrast is illustrated by the dividing line between the city and the brush town. When Juana is taking her child to the doctor, they come to a distinct place which is a dividing line: the city becomes a massive block of cold stone and plaster, as opposed to the more flexible brush and dirt houses of the natives. As an example of the city's buildings, Kino's hut is compared to the doctor's house.
Thus, the physical structure blocks the natives from any direct communication with the town people; the town dwellers seem themselves like caged birds, in contrast to the natives who live so close to nature.
Steinbeck's social comment is seen in the confrontation between the two races. Immediately, Kino thinks of the doctor as an enemy. The doctor is a member of the race who "for nearly four hundred years had beaten and starved and robbed and despised Kino's race, and frightened it.
Whereas Kino and his race represent the natural, the descriptions of the doctor suggest that he represents everything that is not natural. All of the natural world has been bred out of him, and he is totally separated from all natural emotions.
Therefore, since Kino cannot pay for his child's treatment, the doctor feels no touch of humanity toward the poverty-stricken young family.
With his red silk dressing gown and his silver cups and his delicate eggshell china, he is completely opposite to the strong and masculine Kino.
Steinbeck uses the other members of the community in much the way that the Chorus is used in Greek drama. Classical Greek tragedies included a group of actors called the Chorus, whose functions, among others, included informing the audience of the climate of opinion that prevailed among the common people, making philosophic and general comments on the main action of the play as it unfolded and predicting doom or catastrophe for the protagonists.
Kino's neighbors serve a similar function throughout the novella. Along the shore, the graceful old canoes are silent, but the Gulf itself is teeming with sea life of various kinds: brown algae floats upward and supports little sea horses while poisonous fish lie "on the bottom in the eel-grass beds," and bright swimming crabs and many other varieties of sea life contend with each other in the battle of survival.
Into this alien world come Kino and Juana. This morning, they are far behind the others because of the attention required by Coyotito. Kino's canoe, which is "at once property and a source of food," has been in his family for two generations.
The irony here is, of course, that the canoe represents a continuation of the family tradition, since it belonged first to Kino's father and before that to his grandfather, and yet at the end of the story, Kino will have neither a child nor a canoe to pass on to another generation.
Juana gathers some brown seaweed and makes a "flat damp poultice," which she applies to Coyotito's swollen shoulder. Note that Steinbeck says that this primitive treatment was as good a remedy as any other, or probably better than any remedy that the doctor in town could give. This should be remembered, for in the next chapter the doctor does administer something to Coyotito and it makes him very ill--until the doctor returns and gives him something else to counteract the first dose.
The oyster bed where Kino dives is the same bed which once furnished enough pearls to make the king of Spain rich enough to become a great power in Europe. Steinbeck then explains how a pearl is formed. Ironically, out of the pain of the oyster, there emerges one of nature's beautiful objects--the pearl. As Kino begins to dive, he remembers that his people have sung a song for almost every occasion in the world.
As he collects oysters, he suddenly spots one that is larger than all the others, lying in a very isolated spot. Through a glimpse of light, he thinks that he spots a large pearl inside. He quickly pulls the oyster away and surfaces to the boat where Juana can sense an air of excitement as Kino climbs into the boat. Kino, however, does not want to open the big oyster yet--one must "be very tactful with God or the gods.
It is as large as a sea gull's egg, as perfect as the moon and as refined as if it were made of silver incandescence. After Juana approaches to look at the pearl, she instinctively goes to Coyotito and discovers that the swelling in the baby's shoulder has disappeared. Kino, out of joy over the pearl and because of his joy over Coyotito's recovery, lets out a howl so loud that the rest of the pearl divers race to his boat.
It is a cinematic technique--that is, the author eventually focuses in on the canoe on the beach. The canoes become representative of the continuance of the primitive family, since each family has a canoe that has been a part of the family for generations. The factual descriptions of the beach include the brown algae and the various flora and fauna. The hazy mirage over the beach provides the author with a starting point for a digression on the imagination, a new way of viewing the Gulf.
All these things seem unreal and have the vagueness of a dream, suggesting that these primitive people trust things of the imagination and of the spirit. This is, in some ways, a description of Kino's mind because before he opens the pearl, he has visions and dreams of what he is going to do with the money that he will receive.
Kino's primitive imagination allows him to respond to the wonders of the pearl before he actually opens the oyster. Steinbeck sometimes offers a digressive element from the actual story, and usually these are indicative of Steinbeck's attitude toward some aspect of the story.
They are often slanted against the church or society or, as in this chapter, they provide a bit of factual information about how the oyster forms a pearl. Immediately before finding the pearl, there is the introduction of another song, the Song of the Pearl That Might Be. All of Kino's hopes are centered on finding the pearl so that his son, Coyotito, can receive proper medical treatment now, and later Coyotito can receive a good education in the style of the conquerors.
When they find the pearl, both Juana and Kino exercise great tact in not angering the gods by showing their eagerness to open the big oyster. The reader is to understand this as primitive superstition. Since the pearl is to be the means whereby Coyotito will receive an education, it is ironic that the superstition is important here.
In addition to the concept of superstition, the delay may also be seen merely as a device for arousing suspense. Note the descriptions of the pearl. It is first described as "the great pearl, perfect as the moon. In the hands of Kino, the simple and primitive man, the pearl is a force for great good, but when the pearl becomes known to the more civilized world, it will then become a force for evil.
Both of the first two chapters end with the mention of Kino's wounded hand, a hand which will influence his actions throughout the rest of the novella. The goodness of the pearl is represented by the fact that young Coyotito's wound has disappeared.
In the "Introduction" section, it was noted that one interpretation for this novel is an ecological interpretation, one in which we observe that every part of a complex pattern is related to every other part. As noted elsewhere, Steinbeck had previously made a study of the ecological relations of the living organisms in the Gulf of lower California. In his work The Sea Of Cortez, Steinbeck writes about the activities of schools of fish as an organized group: The schools swam, marshalled and patrolled.
They turned and dived as a unit. In their millions they followed a pattern minute as to direction and depth and speed. There must be some fallacy in our thinking of these fish as individuals. Their functions in the school are in some as yet unknown way as controlled as though the school were one unit. At the beginning of Chapter III, Steinbeck also writes that the "town is a thing like a colonial animal. He then offers the response of the various members of the town: the priest remembers certain repairs on the church that are needed; the doctor announces that Coyotito is a patient of his; the beggars remember that a poor man suddenly invested with a fortune is a generous man; the pearl downloaders long to get their hands on this great pearl so they can escape from their positions and make a new start.
Steinbeck's sociological views are offered when he writes that the individual pearl downloaders are all subservient to one downloader, and that each downloader is another "arm" representing the key pearl downloader. As the news of the great pearl spreads, one man suddenly becomes every man's enemy, and that man is Kino, who owns the pearl. The pearl stirs up "something infinitely black and evil in the town. His first thoughts are to be married in the church, to download a new harpoon and a rifle, and then, the greatest of all visions-Kino's son, Coyotito, will be able to go to school and learn how to read and write; thus, Coyotito will be able to help free his people from the walls of ignorance and illiteracy which have kept them imprisoned for so long.
The priest pays Kino and Juana a visit, and he reminds Kino to give thanks for the pearl. But the music of the Song of Evil and the music of the Song of the Enemy almost drown out the priest's words because he quotes things from the books that Kino cannot know until Coyotito learns to read. Next, the doctor and his servant arrive. Even though Kino knows that Coyotito is now completely well, the doctor is able to use superstition to frighten Kino into letting him attend the child by suggesting many different evil ways that the poison of the scorpion can work against Coyotito.
Kino cannot take a chance. He cannot pit his "certain ignorance against this man's possible knowledge. It is obvious even to Kino that the doctor has given the baby something to make him sick, but again his ignorance is too great to combat the doctor's tricks. Soon Coyotito becomes flushed, spasms begin, and he becomes very sick. For his wife's sake, Kino says that the doctor was right, but in his heart, Kino is suspicious of the doctor, for he keeps remembering the white powder which the doctor gave his son.
After an hour, the doctor returns, gives the baby another kind of medicine, and the spasms subside. The doctor wonders when he will be paid, and it is then that Kino tells him that tomorrow he will sell a beautiful pearl.
The doctor is surprised and offers to keep the pearl in a safe place for Kino. When Kino refuses, the doctor taunts him, knowing that Kino will reveal the hiding place of the pearl by a quick secret glance toward the pearl, which is exactly what happens.
The doctor leaves, knowing where the pearl is buried. At bedtime, Kino hides the pearl under his mat on the earthen floor. His dreams of Coyotito's reading great books, however, are suddenly interrupted by the presence of someone else in the hut.
Pulling his knife, Kino strikes out at the figure, and in one blow he feels his knife draw blood, but at the same time he himself is struck a powerful blow on the head. Juana lights their only candle and swabs the blood from Kino's head.
A late moth blustered in to find the fire. The Song of the Family came now from behind Kino. And the rhythm of the family song was the grinding stone where Juana worked the corn for the morning cakes.
The dawn came quickly now, a wash, a glow, a lightness, and then an explosion of fire as the sun arose out of the Gulf. Kino looked down to cover his eyes from the glare. He could hear the pat of the corncakes in the house and the rich smell of them on the cooking plate. The ants were busy on the ground, big black ones with shiny bodies, and little dusty quick ants. Kino watched with the detachment of God while a dusty ant frantically tried to escape the sand trap an ant lion had dug for him.
A thin, timid dog came close and, at a soft word from Kino, curled up, arranged its tail neatly over its feet, and laid its chin delicately on the pile. It was a black dog with yellow-gold spots where its eyebrows should have been.
The Pearl Worksheets and Literature Unit
It was a morning like other mornings and yet perfect among mornings. Kino heard the creak of the rope when Juana took Coyotito out of his hanging box and cleaned him and hammocked him in her shawl in a loop that placed him close to her breast.
Kino could see these things without looking at them. Juana sang softly an ancient song that had only three notes and yet endless variety of interval.
And this was part of the family song too. It was all part. Sometimes it rose to an aching chord that caught the throat, saying this is safety, this is warmth, this is the Whole. Across the brush fence were other brush houses, and the smoke came from them too, and the sound of breakfast, but those were other songs, their pigs were other pigs, their wives were not Juana.
Kino was young and strong and his black hair hung over his brown forehead. His eyes were warm and fierce and bright and his mustache was thin and coarse. He lowered his blanket from his nose now, for the dark poisonous air was gone and the yellow sunlight fell on the house.
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Near the brush fence two roosters bowed and feinted at each other with squared wings and neck feathers ruffed out. It would be a clumsy fight. They were not game chickens. Kino watched them for a moment, and then his eyes went up to a flight of wild doves twinkling inland to the hills. The world was awake now, and Kino arose and went into his brush house.
As he came through the door Juana stood up from the glowing fire pit. She put Coyotito back in his hanging box and then she combed her black hair and braided it in two braids and tied the ends with thin green ribbon. Kino squatted by the fire pit and rolled a hot corncake and dipped it in sauce and ate it.
And he drank a little pulque and that was breakfast. That was the only breakfast he had ever known outside of feast days and one incredible fiesta on cookies that had nearly killed him. When Kino had finished, Juana came back to the fire and ate her breakfast. They had spoken once, but there is not need for speech if it is only a habit anyway. Kino sighed with satisfaction- and that was conversation.
The sun was warming the brush house, breaking through its crevices in long streaks. And one of the streaks fell on the hanging box where Coyotito lay, and on the ropes that held it. It was a tiny movement that drew their eyes to the hanging box.
Kino and Juana froze in their positions. Down the rope that hung the baby's box from the roof support a scorpion moved slowly. His stinging tail was straight out behind him, but he could whip it up in a flash of time.
Kino's breath whistled in his nostrils and he opened his mouth to stop it. And then the startled look was gone from him and the rigidity from his body. In his mind a new song had come, the Song of Evil, the music of the enemy, of any foe of the family, a savage, secret, dangerous melody, and underneath, the Song of the Family cried plaintively.
The scorpion moved delicately down the rope toward the box. Under her breath Juana repeated an ancient magic to guard against such evil, and on top of that she muttered a Hail Mary between clenched teeth.
But Kino was in motion. His body glided quietly across the room, noiselessly and smoothly. His hands were in front of him, palms down, and his eyes were on the scorpion. Beneath it in the hanging box Coyotito laughed and reached up his hand toward it. It sensed danger when Kino was almost within reach of it. It stopped, and its tail rose up over its back in little jerks and the curved thorn on the tail's end glistened. Kino stood perfectly still.
He could hear Juana whispering the old magic again, and he could hear the evil music of the enemy. He could not move until the scorpion moved, and it felt for the source of the death that was coming to it. Kino's hand went forward very slowly, very smoothly. The thorned tail jerked upright. And at that moment the laughing Coyotito shook the rope and the scorpion fell.
Kino's hand leaped to catch it, but it fell past his fingers, fell on the baby's shoulder, landed and struck. Then, snarling, Kino had it, had it in his fingers, rubbing it to a paste in his hands. He threw it down and beat it into the earth floor with his fist, and Coyotito screamed with pain in his box.
But Kino beat and stamped the enemy until it was only a fragment and a moist place in the dirt.She put her lips down over the puncture and sucked hard and spat and sucked again while Coyotito screamed. As noted previously, the priest joins with the existing powers to emphasize the manner in which the Indians must yield to the authority of the pearl downloaders because, according to him, it is "God's will" that they must stay in their divinely appointed station in life.
The doctor will not come, and so Juana suddenly decides to take the dying child into town to the doctor. And a man in the rear murmured: Kino knows how good these trackers are:
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