47 pages • 1 hour read
Cristina HenríquezA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Imperialism is defined as the use of military force, foreign policy, and diplomacy to extend the power of a particular country beyond its borders. While imperialism can, in the case of the British empire, take the form of one nation state amassing a collection of colonies, it can also take the form of one nation, like the United States, exerting control over foreign governments without directly invading their countries. The impact of imperialism on Panama and various other nations in the Caribbean and Central America is one of this novel’s most overt themes. Cristina Henríquez’s roots are in Panama, and she depicts the way that both European and North American imperialism have shaped her country’s history. This novel engages with imperialism directly through the context that it provides for the canal project and through the way that it depicts exploitive labor practices and the displacement of Panamanian citizens to make way for the canal.
The novel begins with an introduction to Francisco, a Panamanian fisherman who staunchly opposes the canal project. This grounds the novel not only within the story of a working-class Panamanian character but also within an anti-imperialist ideological framework. As the narrative progresses, more of the backstory of outside involvement in Panamanian politics and government is revealed, and much of this information comes from Francisco. It is explained that the United States government supported Panamanian independence from Colombia primarily to safeguard its own interests in the region and to ensure the construction of the canal. The United States government understood that, having “saved” Panama from Colombia, it would surely allow the construction of a US-funded canal through its territory. Francisco understands the foothold that this gives the United States in his country and the power that its government now wields over his own. When he heads to the capital to find Omar, he is struck by “all of the united states flags that were suddenly flying everywhere” (141). It is not just the canal itself that the US controls, but many of Panama’s other affairs as well. The flags represent imperialism, suggesting that the US is taking land ideologically instead of literally colonizing Panama.
Although the French and Spanish also had imperialist projects in the region, the novel focuses primarily on the United States. This is in part because of the role that the US played in the canal construction, but also in part because of the outsized role that imperialism has historically played in US foreign policy in the region. There was an attitude that “[i]t was the destiny of the United States to build the canal” (42). The novel then casts doubt on US assertions that its interest in Panama was altruistic in part by showing that the US was willing to displace countless Panamanians for the construction of the canal. The novel suggests that a government with the goal of growth and development would not so easily disenfranchise entire communities of people. Henríquez’s depiction of the proposal to move the town of Gatún, although fictionalized for the novel, is rooted in history. The village of Gatún was indeed moved to make way for one of the necessary dams of the canal project, and all of its citizens were forced to relocate. She suggests that the United States approached Panama with an eye toward enrichment rather than human rights.
The negative impacts of US imperialism are also evident in the labor relations depicted in The Great Divide. The outsiders who moved in to oversee various aspects of the canal’s construction as well as other infrastructural projects were largely white and in many cases affluent. Multiple instances of racism are depicted in the novel, including the foreman Miller and the chatter that is observed amongst various white foreigners in Panama who treat Black workers with great prejudice. White foreigners are in the country in order to extract as much value from it as possible and they have little regard for the locals. That Miller works one of his construction workers to death over a cruel bet is further evidence that when outside interests get involved in Panamanian affairs, Panamanians lose. At one point, a worker observes: “We part of the scenery, like so much else” (45).
Henríquez explores the racial politics of Central America and the Caribbean, and she highlights the impact of racism in both Panama and Barbados in The Great Divide. She does this in part through the way that she writes about race relations between Black workers and their white employers in Panama and in part through the backstory she provides for Lucille, Ada, and Millicent.
Ada makes her way from Barbados to Panama to find work. Jobs are plentiful, but for biracial girls like Ada they are not without difficulty. Although Ada is intelligent and hardworking, she is viewed through lens of stereotype by a class of (mostly) wealthy, white foreigners who bring their own prejudices and racism to the country. One of the white characters notes that “[t]he negroes here are not like the negroes back home. They will not do as you say, and it seems no amount of scolding can make them work faster than they do” (28). His comment recalls a legacy of enslavement, as he is nostalgic for a time when enslaved Black people were forced into submission. This attitude prevails amongst the kinds of people who employ domestic workers and laborers, and it contributes to a tense atmosphere amongst Black individuals. These prejudices are rooted in social hierarchies established during the years of enslavement.
Ada arrives in a Panama divided by race, but she is no stranger to prejudice. Her origin story is emblematic of many real histories of biracial men and women in the Caribbean (and the United States), and in crafting a character who is the product of a clandestine and taboo relationship between a white plantation owner and one of his Black workers, Henríquez grounds her novel within the racial and sociopolitical histories of the region as a whole. Ada’s mother Lucille, although not born into enslavement, spends the first part of her life on the sugar estate where her ancestors were enslaved. Although the Black men and women of Barbados are now free, they observe that they are “officially unchained […] but tethered just the same” (52). Part of the reason that men and women like Lucille remain on estates like Camby are that there are few economic opportunities available to them elsewhere. This is certainly a legacy of enslavement.
Lucille’s relationship with Henry also speaks to the lack of options for the formerly enslaved and their children. Lucille engages in the affair knowing that it has no future, and so there is a sense in which she does have agency in the relationship. She is not coerced and she does have some degree of feeling for Henry. And yet, she is still disempowered by virtue of the power imbalance between the two, and Henry’s white skin and status as an upper-class man allow him not to take responsibility as a father to his children. He is not part of their life, and the only economic support that comes from his estate happens during a time of great duress. There is a sense in which Lucille’s options, limited first by her skin color, are further limited by the relationship that she has with a white man. The white characters come out on top, and Henríquez hence highlights the pervasiveness of racism in a region dealing with the legacies of enslavement.
Although the people of Gatún are ultimately unsuccessful in their quest to save the town, their organizational skills and the group cohesion that they gain from their protest are important thematic focal points in the novel. The local characters in the narrative are exploited and treated with prejudice, but they are also intelligent, resourceful, and oriented toward social justice. Henríquez hence suggests the power of grassroots resistance, even if the goal is not met and the results are a stronger community and understanding of oppressive structures.
Gatún is a real town, and it was moved to make way for one of the canal’s dams. Although Joaquín and Valentina are fictional, they represent the agency and organizational capacity of an actual community. Valentina in particular spearheads the town’s protest and does her best to communicate to the government that “[w]e are not a people to whom things can be done” (178). Her plan is multi-stage and highlights both her dedication and her ingenuity. She begins by crafting a letter of protest that implores the government to leave their town intact. When the letter goes unanswered, she hatches a plan for the townspeople to sit in front of their houses in protest. This non-violent form of resistance highlights togetherness and cohesion. A group of people sitting with their arms linked together sends a powerful message: They might only be villagers in a small settlement, but they are united.
This spirit of unity continues to grow as word spreads about Gatún’s protest. People, including Omar, come from all over the country to support the town. They are all similarly fed up with the US-led project’s lack of respect for Panamanian land and society, and they are moved by Valentina’s leadership to join the fight against imperialism in their country. The lone police officer who ends up, almost by accident, at the protest runs humiliated from the event after nearly drowning, but not before being saved by the townspeople themselves. This suggests the humanity of grassroots organizations, which Henríquez juxtaposes with the cold, imperialistic actions of the United States government, which never seems to have human interests at heart.
That the townspeople do not succeed in their quest is less significant than the fact that their protest itself unites the people involved. They emerge from the fight with a stronger sense of community and group cohesion, and they learn that they were willing and able to stand up to tyranny. Again, this spirit of togetherness is juxtaposed with the society of white United States citizens in the country, who show themselves to be a divided, prejudicial, and unhappy bunch.