55 pages • 1 hour read
Kirstin Valdez QuadeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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A teenager named Crystal has a dream that Father Paul cut off her fingertips with a pair of scissors as she held a prayer card on which was printed not a saint (as was customary), but a sonogram of her unborn child. The next day, while she works at Our Lady of Seven Sorrows, Crystal finds her dream slightly ridiculous. Because she is unmarried and is in the third trimester of her pregnancy, she has been the target of unpleasantly judgmental comments at the church. As she works at her desk, a couple waits for Father Paul to meet them for their premarital counseling appointment. He is late, and this pattern has become increasingly common since Father Leon joined the parish. Crystal pictures the two of them staying up late together, chattering like girls at a slumber party. Crystal’s coworker Colette sends her to look for Father Paul.
Crystal prefers Father Paul to Father Leon, as most people in the parish do. Father Paul is kind and benevolent, and he cares deeply about his parishioners. By contrast, Father Leon is cold; his sermons are full of fire and brimstone, and he has offended several people with his anti-gay bias and his assertion that romantic relationships between people of the same sex reflect the inherently sinful nature of American culture. Father Paul has not judged Crystal for her pregnancy; instead, he gave her a small prayer card of Santo Niño de Atocha after she confessed her sin to him. Now, she reflects that she partially confessed; she told Father Paul that the father of her baby is no longer involved, but she did not admit to having a drunken one-night-stand with him.) Crystal was actually upset about the prayer card, feeling that Father Paul was either too forgiving, or that he meant to suggest that her unborn children would save her from her own sinful ways. She threw the card in the trash.
Now, when Crystal finds Father Paul, he appears slightly disheveled. He asks her to dispose of a suitcase that is full of vodka bottles. Although Father Paul claims to have been sober for decades, Crystal wonders if he has once again succumbed to his addiction. He tells her that Father Leon has been trying to force him out of his job, that the bottles are Father Leon’s evil mind at work. Crystal cannot tell if he means that Father Leon forced the vodka on him or hid the bottles in his room to frame him. Father Paul then tells Crystal that Father Leon does not approve of her and wants to fire her so that an unmarried pregnant woman will not be the first face that people see when they enter the church office. Crystal feels hurt by these words, but she does consider that Father Paul is having a crisis. That feeling intensifies when he asks Crystal to hold him. She wonders if he believes that he can save her and that by giving her the prayer card, he did not mean to imply that her babies would save her. Utterly confused, she hugs Father Paul and tells him that everything will be all right.
This story pointedly examines The Contrast between Genuine Morality and Performative Religiosity, especially since the protagonist, Crystal, offends the more performatively devout parishioners by serving as the secretary in her parish church despite her status as a young, unmarried, pregnant teenager. The story therefore mirrors the thematic approach of several other stories in the collection by contrasting an outwardly sinful but inwardly kind figure with a religious character whose actions do not match his beliefs. The narrative therefore suggests that faith alone is not enough to “save” an individual and that good works do more to redeem a person than faith alone can ever accomplish. Significantly, both priests in Crystal’s parish are depicted as deeply flawed figures. For example, Father Leon is intolerant and ultra-conservative to a degree that puts him at odds with his liberal parishioners. He spreads sentiments of anti-gay bias, denigrates Crystal, and condemns anyone whose behavior reflects his skewed perception of the inherent sinfulness of American culture. Thus, Father Leon is a prime example of a character who performs a sense of devotion to his religion without demonstrating the kindness that his religion espouses.
The dubious presence of the vodka bottles in Father Paul’s quarters strengthens the story’s depiction of deeply flawed religious leaders, introducing a sense of ambiguity over whether or not Father Leon has been trying to manipulate Father Paul out of a job. Pointedly, the story never clarifies this point, and the true nature of the priests’ indiscretion remains undefined; it is entirely possible that Father Leon has indeed been filling Father Paul’s room with incriminating vodka bottles, and it is also possible that Father Paul has fabricated this story in order to deflect blame away from himself and onto his dour colleague. Either way, Valdez Quade still depicts Father Leon as an antagonist. Although Father Paul is not a mean-spirited man like his colleague, he nonetheless reveals himself to be deeply troubled, and his physical gestures around Crystal imply that he is overly familiar; his final scene with her also demonstrates a marked lack of boundaries. ultimately, the kindest and most forgiving figure in the story is Crystal, the “fallen” woman who becomes the object of condemnation from those in her parish. Thus, the author suggests that works of compassion transcend performative shows of faith and are the best path toward redemption. In this way, Valdez Quade continues to emphasize that the outward performance of religiosity does not necessarily indicate inner virtue.
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