Throughout the book Esquivel uses many examples of magical realism, such as rivers of tears, a river of puke, and the chickens flying into the vortex. However, the use of flames and heat to represent passion and destruction, is her most dramatic and visible use of magical realism. Tita’s food often displays her own emotions, for example; as she was making the rose-petal sauce and quail, some of her passionate emotions ‘leaked’ into the dinner. Gertrudis tasted the exquisite dish and her body lit itself on fire due to the strong feelings that were baked into the meal. Shortly after her combustive scene, Gertrudis rides off with a soldier. Esquivel does this to show that when a person houses feelings of lust and passion, even if only for a brief period in time, they will ultimately choose lust rather than choose love. Tita experiences similar emotions at the end of the book when she eats the candles, and Tita and Pedro are consumed by their feelings. Eventually they burn to death due to these feelings. Once again this shows how Esquivel wants to prove that people would rather have something that’s just out of reach. It’s the thought of forbidden love; it’s alluring because it’s so rebellious.
But what leads to a fire? A match! Esquivel uses the reoccurrence of matches and candles represent Tita’s passion and her need for love, as well as her internal conflict. While candles are a symbol for Tita’s passion, the oxygen needed to light a match symbolizes the breath of a person she loves. John Brown wants to be the one to dry her damp box of matches, but Tita ultimately chooses Pedro. Consequently, the flames of Pedro’s lust engulf her box of matches, and they both burn to death. This further proves that people will choose lust over love. Why? It’s easier; no effort is needed.
In conclusion, to convey that people will continuously choose lust rather than feel love, Esquivel uses magical realism and motifs. This truth still applies today, people making the easy decision instead of looking further down the road of life.
