In The Time Of The Butterflies Part 1

In the time of the b.u.t.terflies.

by Julia Alvarez.

For Dede

In Memoriam PATRIA MERCEDES MIRABAL.

February 27, 1924-November 25, 1960

MINERVA MIRABAL.

March 12, 1926-November 25,1960

MARIA TERESA MIRABAL.

October 15, 1935-November 25, 1960

RUFINO DE LA CRUZ.

November 10, 1923-November 25, 1960

I.

1938 to 1946

CHAPTER ONE.

Dede 1994.

and circa 1943

She is plucking her bird of paradise of its dead branches, leaning around the plant every time she hears a car. The woman will never find the old house behind the hedge of towering hibiscus at the bend of the dirt road. Not a gringa dominicana gringa dominicana in a rented car with a road map asking for street names! Dede had taken the call over at the little museum this morning. in a rented car with a road map asking for street names! Dede had taken the call over at the little museum this morning.

Could the woman please come over and talk to Dede about the Mirabal sisters? She is originally from here but has lived many years in the States, for which she is sorry since her Spanish is not so good. The Mirabal sisters are not known there, for which she is also sorry for it is a crime that they should be forgotten, these unsung heroines of the underground, et cetera.

Oh dear, another one. Now after thirty-four years, the commemora tions and interviews and presentations of posthumous honors have almost stopped, so that for months at a time Dede is able to take up her own life again. But she's long since resigned herself to Novembers. Every year as the 25th rolls around, the television crews drive up. There's the obligatory interview. Then, the big celebration over at the museum, the delegations from as far away as Peru and Paraguay, an ordeal really, making that many little party sandwiches and the nephews and nieces not always showing up in time to help. But this is March, Maria santisima! Maria santisima! Doesn't she have seven more months of anonymity? Doesn't she have seven more months of anonymity?

"How about this afternoon? I do have a later commitment," Dede lies to the voice. She has to. Otherwise, they go on and on, asking the most impertinent questions.

There is a veritable racket of grat.i.tude on the other end, and Dede has to smile at some of the imported nonsense of this woman's Spanish. "I am so compromised," she is saying, "by the openness of your warm manner."

"So if I'm coming from Santiago, I drive on past Salcedo?" the woman asks.

"Exactamente. And then where you see a great big anacahuita tree, you turn left." And then where you see a great big anacahuita tree, you turn left."

"A ... great... big ... tree ...," the woman repeats. She is writing all this down! "I turn left. What's the name of the street?"

"It's just the road by the anacahuita tree. We don't name them," Dede says, driven to doodling to contain her impatience. On the back of an envelope left beside the museum phone, she has sketched an enormous tree, laden with flowers, the branches squirreling over the flap. "You see, most of the campesinos campesinos around here can't read, so it wouldn't do us any good to put names on the roads." around here can't read, so it wouldn't do us any good to put names on the roads."

The voice laughs, embarra.s.sed. "Of course. You must think I'm so outside of things." Tan afuera de la cosa. Tan afuera de la cosa.

Dede bites her lip. "Not at all," she lies. "I'll see you this afternoon then."

"About what time?" the voice wants to know.

Oh yes. The gringos need a time. But there isn't a clock time for this kind of just-right moment. "Any time after three or three-thirty, four-ish."

"Dominican time, eh?" The woman laughs.

"iExactamente!" Finally, the woman is getting the hang of how things are done here. Even after she has laid the receiver in its cradle, Dede goes on elaborating the root system of her anacahuita tree, shading the branches, and then for the fun of it, opening and closing the flap of the envelope to watch the tree come apart and then back together again. Finally, the woman is getting the hang of how things are done here. Even after she has laid the receiver in its cradle, Dede goes on elaborating the root system of her anacahuita tree, shading the branches, and then for the fun of it, opening and closing the flap of the envelope to watch the tree come apart and then back together again.

In the garden, Dede is surprised to hear the radio in the outdoor kitchen announce that it is only three o'clock. She has been waiting expectantly since after lunch, tidying up the patch of garden this American woman will be able to see from the galeria. galeria. This is certainly one reason why Dede shies from these interviews. Before she knows it, she is setting up her life as if it were an exhibit labeled neatly for those who can read: THE SISTER WHO SURVIVED. This is certainly one reason why Dede shies from these interviews. Before she knows it, she is setting up her life as if it were an exhibit labeled neatly for those who can read: THE SISTER WHO SURVIVED.

Usually if she works it right-a lemonade with lemons from the tree Patria planted, a quick tour of the house the girls grew up in-usually they leave, satisfied, without asking the p.r.i.c.kly questions that have left Dede lost in her memories for weeks at a time, searching for the answer. Why, they inevitably ask in one form or another, why are you the one who survived?

She bends to her special beauty, the b.u.t.terfly orchid she smuggled back from Hawaii two years ago. For three years in a row Dede has won a trip, the prize for making the most sales of anyone in her company. Her niece Minou has noted more than once the irony of Dede's "new" profession, actually embarked upon a decade ago, after her divorce. She is the company's top life insurance salesperson. Everyone wants to buy a policy from the woman who just missed being killed along with her three sisters. Can she help it?

The slamming of a car door startles Dede. When she calms herself she finds she has snipped her prize b.u.t.terfly orchid. She picks up the fallen blossom and trims the stem, wincing. Perhaps this is the only way to grieve the big things-in snippets, pinches, little sips of sadness.

But really, this woman should shut car doors with less violence. Spare an aging woman's nerves. And I'm not the only one, Dede thinks. Any Dominican of a certain generation would have jumped at that gunshot sound.

She walks the woman quickly through the house, Mama's bedroom, mine and Patria's, but mostly mine since Patria married so young, Minerva and Maria Teresa's. Mama's bedroom, mine and Patria's, but mostly mine since Patria married so young, Minerva and Maria Teresa's. The other bedroom she does not say was her father's after he and Mama stopped sleeping together. There are the three pictures of the girls, old favorites that are now emblazoned on the posters every November, making these once intimate snapshots seem too famous to be the sisters she knew. The other bedroom she does not say was her father's after he and Mama stopped sleeping together. There are the three pictures of the girls, old favorites that are now emblazoned on the posters every November, making these once intimate snapshots seem too famous to be the sisters she knew.

Dede has placed a silk orchid in a vase on the little table below them. She still feels guilty about not continuing Mama's tribute of a fresh blossom for the girls every day. But the truth is, she doesn't have the time anymore, with a job, the museum, a household to run. You can't be a modem woman and insist on the old sentimentalities. And who was the fresh orchid for, anyway? Dede looks up at those young faces, and she knows it is herself at that age she misses the most.

The interview woman stops before the portraits, and Dede waits for her to ask which one was which or how old they were when these were taken, facts Dede has at the ready, having delivered them so many times. But instead the thin waif of a woman asks, "And where are you?"

Dede laughs uneasily. It's as if the woman has read her mind. "I have this hallway just for the girls," she says. Over the woman's shoulder, she sees she has left the door to her room ajar, her nightgown flung with distressing abandon on her bed. She wishes she had gone through the house and shut the doors to the bedrooms.

"No, I mean, where are you in the sequence, the youngest, the oldest?"

So the woman has not read any of the articles or biographies around. Dede is relieved. This means that they can spend the time talking about the simple facts that give Dede the illusion that hers was just an ordinary family, too-birthdays and weddings and new babies, the peaks in that graph of normalcy.

Dede goes through the sequence.

"So fast in age," the woman notes, using an awkward phrase.

Dede nods. "The first three of us were born close, but in other ways, you see, we were so different."

"Oh?" the woman asks.

"Yes, so different. Minerva was always into her wrongs and rights." Dede realizes she is speaking to the picture of Minerva, as if she were a.s.signing her a part, pinning her down with a handful of adjectives, the beautiful, intelligent, high-minded Minerva. "And Maria Teresa, ay, Dios," ay, Dios," Dede sighs, emotion in her voice in spite of herself. "Still a girl when she died, Dede sighs, emotion in her voice in spite of herself. "Still a girl when she died, pobrecita, pobrecita, just turned twenty-five." Dede moves on to the last picture and rights the frame. "Sweet Patria, always her religion was so important." just turned twenty-five." Dede moves on to the last picture and rights the frame. "Sweet Patria, always her religion was so important."

"Always?" the woman says, just the slightest challenge in her voice.

"Always," Dede affirms, used to this fixed, monolithic language around interviewers and mythologizers of her sisters. "Well, almost always."

She walks the woman out of the house into the galeria galeria where the rocking chairs wait. A kitten lies recklessly under the runners, and she shoos it away. "What is it you want to know?" Dede asks bluntly. And then because the question does seem to rudely call the woman to account for herself, she adds, "Because there is so much to tell." where the rocking chairs wait. A kitten lies recklessly under the runners, and she shoos it away. "What is it you want to know?" Dede asks bluntly. And then because the question does seem to rudely call the woman to account for herself, she adds, "Because there is so much to tell."

The woman laughs as she says, "Tell me all of it."

Dede looks at her watch as a polite reminder to the woman that the visit is circ.u.mscribed. "There are books and articles. I could have Tono at the museum show you the letters and diaries."

"That would be great," the woman says, staring at the orchid Dede is still holding in her hand. Obviously, she wants more. She looks up, shyly. "I just have to say, it's really so easy to talk to you. I mean, you're so open and cheerful. How do you keep such a tragedy from taking you under? I'm not sure I am explaining myself?"

Dede sighs. Yes, the woman is making perfect sense. She thinks of an article she read at the beauty salon, by a Jewish lady who survived a concentration camp. "There were many many happy years. I remember those. I try anyhow. I tell myself, Dede, concentrate on the positive! My niece Minou tells me I am doing some transcending meditation, something like that. She took the course in the capital.

"I'll tell myself, Dede, in your memory it is such and such a day, and I start over, playing the happy moment in my head. This is my movies-I have no television here."

"It works?"

"Of course," Dede says, almost fiercely. And when it doesn't work, she thinks, I get stuck playing the same bad moment. But why speak of that.

"Tell me about one of those moments," the woman asks, her face naked with curiosity. She looks down quickly as if to hide it.

Dede hesitates, but her mind is already racing backwards, year by year by year, to the moment she has fixed in her memory as zero.

She remembers a clear moonlit night before the future began. They are sitting in the cool darkness under the anacahuita tree in the front yard, in the rockers, telling stories, drinking guanabana juice. Good for the nerves, Mama always says.

They're all there, Mama, Papa, Patria-Minerva-Dede. Bang-bang-bang, their father likes to joke, aiming a finger pistol at each one, as if he were shooting them, not boasting about having sired them. Three girls, each born within a year of the other! And then, nine years later, Maria Teresa, his final desperate attempt at a boy misfiring.

Their father has his slippers on, one foot hooked behind the other. Every once in a while Dede hears the clink of the rum bottle against the rim of his gla.s.s.

Many a night, and this night is no different, a shy voice calls out of the darkness, begging their pardon. Could they spare a calmante for a sick child out of their stock of kindness? Would they have some tobacco for a tired old man who spent the day grating yucca?

Their father gets up, swaying a little with drink and tiredness, and opens up the store. The campesino goes off with his medicine, a couple of cigars, a few mints for the G.o.dchildren. Dede tells her father that she doesn't know how they do as well as they do, the way he gives everything away. But her father just puts his arm around her, and says, "Ay, Dede, that's why I have you. Every soft foot needs a hard shoe.

"She'll bury us all," her father adds, laughing, "in silk and pearls." Dede hears again the clink of the rum bottle. "Yes, for sure, our Dede here is going to be the millionaire in the family."

"And me, Papa, and me?" Maria Teresa pipes up in her little girl's voice, not wanting to be left out of the future.

"You, mi napita, mi napita, you'll be our little coquette. You'll make a lot of men's-" you'll be our little coquette. You'll make a lot of men's-"

Their mother coughs her correcting-your-manners cough.

"-a lot of men's mouths water," their father concludes.

Maria Teresa groans. At eight years old, in her long braids and checkered blouse, the only future the baby wants is one that will make her own mouth water, sweets and gifts in big boxes that clatter with something fun inside when she shakes them.

"What of me, Papa?" Patria asks more quietly. It is difficult to imagine Patria unmarried without a baby on her lap, but Dede's memory is playing dolls with the past. She has sat them down that clear, cool night before the future begins, Mama and Papa and their four pretty girls, no one added, no one taken away. Papa calls on Mama to help him out with his fortune-telling. Especially-though he doesn't say this-if she's going to censor the clairvoyance of his several gla.s.ses of rum. "What would you say, Mama, about our Patria?"

"You know, Enrique, that I don't believe in fortunes," Mama says evenly. "Padre Ignacio says fortunes are for those without faith." In her mother's tone, Dede can already hear the distance that will come between her parents. Looking back, she thinks, Ay Mama, ease up a little on those commandments. Work out the Christian math of how you give a little and you get it back a hundredfold. But thinking about her own divorce, Dede admits the math doesn't always work out. If you multiply by zero, you still get zero, and a thousand heartaches.

"I don't believe in fortunes either," Patria says quickly. She's as religious as Mama, that one. "But Papa isn't really telling fortunes."

Minerva agrees. "Papa's just confessing confessing what he thinks are our strengths." She stresses the verb what he thinks are our strengths." She stresses the verb confessing confessing as if their father were actually being pious in looking ahead for his daughters. "Isn't that so, Papa?" as if their father were actually being pious in looking ahead for his daughters. "Isn't that so, Papa?"

"Si, senorita," Papa burps, slurring his words. It's almost time to go in. Papa burps, slurring his words. It's almost time to go in.

"Also," Minerva adds, "Padre Ignacio condemns fortunes only if you believe a human being knows what only G.o.d can know." That one can't leave well enough alone.

"Some of us know it all," Mama says curtly.

Maria Teresa defends her adored older sister. "It isn't a sin, Mama, it isn't. Berto and Raul have this game from New York. Padre Ignacio played it with us. It's a board with a little gla.s.s you move around, and it tells the future!" Everybody laughs, even their mother, for Maria Teresa's voice is bursting with gullible excitement. The baby stops, suddenly, in a pout. Her feelings get hurt so easily. On Minerva's urging, she goes on in a little voice. "I asked the talking board what I would be when I grew up, and it said a lawyer."

They all hold back their laughter this time, for of course, Maria Teresa is parroting her big sister's plans. For years Minerva has been agitating to go to law school.

"Ay, Dios mio, spare me." Mama sighs, but playfulness has come back into her voice. "Just what we need, skirts in the law!" spare me." Mama sighs, but playfulness has come back into her voice. "Just what we need, skirts in the law!"

"It is just what this country needs." Minerva's voice has the steely sureness it gets whenever she talks politics. She has begun talking politics a lot. Mama says she's running around with the Perozo girl too much. "It's about time we women had a voice in running our country."

"You and Trujillo," Papa says a little loudly, and in this clear peaceful night they all fall silent. Suddenly, the dark fills with spies who are paid to hear things and report them down at Security. Don Enrique claims Trujillo needs help in running this country. Don Enrique's daughter says it's about Don Enrique claims Trujillo needs help in running this country. Don Enrique's daughter says it's about time women took over the government. Words repeated, distorted, words recreated by those who might bear them a grudge, words st.i.tched to words until they are the winding sheet the family will be buried in when their bodies are found dumped in a ditch, their tongues cut off for speaking too much. Words repeated, distorted, words recreated by those who might bear them a grudge, words st.i.tched to words until they are the winding sheet the family will be buried in when their bodies are found dumped in a ditch, their tongues cut off for speaking too much.

Now, as if drops of rain had started falling-though the night is as clear as the sound of a bell-they hurry in, gathering their shawls and drinks, leaving the rockers for the yardboy to bring in. Maria Teresa squeals when she steps on a stone. "I thought it was el cuco," el cuco," she moans. she moans.

As Dede is helping her father step safely up the stairs of the galeria, galeria, she realizes that hers is the only future he really told. Maria Teresa's was a tease, and Papa never got to Minerva's or Patria's on account of Mama's disapproval. A chill goes through her, for she feels it in her bones, the future is now beginning. By the time it is over, it will be the past, and she doesn't want to be the only one left to tell their story. she realizes that hers is the only future he really told. Maria Teresa's was a tease, and Papa never got to Minerva's or Patria's on account of Mama's disapproval. A chill goes through her, for she feels it in her bones, the future is now beginning. By the time it is over, it will be the past, and she doesn't want to be the only one left to tell their story.

CHAPTER TWO.

Minerva 1938, 1941, 1944.