71 pages • 2 hours read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
An unclothed, unprotected baby survived a night beneath a bridge in severe cold in the wilderness near Linares, Nuevo León, Mexico. Several people might have heard him but didn’t, yet Nana Reja, sleeping miles away, heard him. Following his cries, she found him shielded by a blanket of bees.
Nana Reja miraculously came to Linares and served generations as the wet nurse for the village. When no longer able to provide milk, she remained with the Morales family until the morning she disappeared to find the baby.
This chapter comprises the memories of an unnamed first-person narrator, apparently the son of Beatriz and Francisco Morales. He confesses that he’s now extremely old, a great-grandfather for whom others make decisions. He’s comforted by the memories of all that happened at his home, La Hacienda Amistad, when he was a child.
Beatriz, matron of the hacienda, sits in Reja’s rocking chair, while other’s search for Reja. Francisco Senior, Beatriz’s husband, leads the search: “While she awaited the news, Beatriz, a practical-minded woman, concluded they were unlikely to find the nana alive” (19). She’s relieved to learn they found Reja alive.
Workers find Reja sitting on a rock. She shows Francisco two bundles and tells him that she heard a baby crying. One bundle contains a swarm of bees. The second reveals a baby boy, Simonopio, who has a cleft palate.
The first-person narrator describes his childhood as the only boy with two older sisters, Carmen and Consuelo. Because he loves outdoor play, he confounds his mother’s attempts to clothe him in finery. His father wants him to know the toughness of the land. The one person he wants to be with is Simonopio.
The first-person narrator describes the reaction of those first seeing the baby Simonopio. Some suggest leaving the child in the wilderness. Reja says he’s her baby. She insists that they allow the bees to come home with him.
The village doctor remarks, “The boy is surprisingly healthy” (33). The physician recognizes the cleft palate and warns that the baby can’t suck milk and will likely die. Reja soaks the edge of her shawl in goat’s milk and honey, dripping it slowly onto the baby’s tongue.
Soldiers steal the hacienda’s maize harvest. Francisco knows they’ll shoot him if he resists. The Mexican Revolution took the life of his father-in-law. He keeps his daughters in a Monterrey nunnery for safety. Francisco knows he can’t guarantee anything for those he loves. He decides to take Simonopio as his son.
Simonopio learns to focus his eyes by following the bees. He differentiates among the individual bees and understands them. Humans grow irritated with his speech problems and conclude he’s unintelligent, so he remains silent. He can close his eyes and see the past and the future, and he wonders if others can.
Beatriz assembles the upper-class women of Linares to plan a gala, the first in eight years. She reflects on the assassination of her father by soldiers who erroneously assumed him a traitor. She thinks, “War was waged by men. What could God do against their free will” (53).
At the meeting, Simonopio surprises her. When he grasps her hand, she notices he is hot to the touch. Without allowing anyone else to touch him, she guides him from the gathering.
Mercedes Garza, a woman who attended the gathering, contracts the Spanish flu and becomes the first person to die. Her funeral is a super-spreader event. The deadly flu ravages the community, shutting down all meeting places.
Burial rites become truncated. People wrap their dead in sheets, leaving them in the street. The gravedigger transports bodies daily to a mass grave. He calls out to the bodies, but anyone who answers is left to die. One person doesn’t die and begins to improve. After three days, he asks for water. The gravedigger transports him to his home. Hearing this, the assistant priest declares a miracle: “Lazarus has risen” (66).
The survivor is Lázaro, short for Lazarus (after the man who was raised from the dead in the Bible). The priest telegrams the archbishop in Monterrey. The state governor stumbles upon the telegram, and Lázaro becomes a celebrity. The rumor spreads that he went to heaven before his return. People ask him if he saw their loved ones in heaven and if he has any messages.
Dr. Cantu, the community physician, goes to Lázaro’s home, arriving when the priest does. Eventually, the doctor discovers that Lázaro never died. When he realizes this, the priest is despondent. He tells the crowd outside that Lázaro never died. Afterward, he returns to the chapel, locks himself in, and goes to sleep. Soon after, he dies of the flu.
The Morales’s son returns to narrate this chapter. By his account, Simonopio saves the family by developing a fever at the moment the Spanish flu ravages Linares. Simonopio’s illness causes the family to miss the funeral, preventing their exposure. Francisco decides to relocate his entire family to his more secluded Hacienda La Florida. He gathers his daughters from Monterrey along with everyone who works for him. Simonopio suddenly wakes up with no fever.
Anselmo, the troublemaker who believes that Simonopio has been kissed by the devil, is the only campesino left behind. Defying Francisco’s command to avoid exposure, Anselmo sends his wife into Linares to buy his tobacco. When he is confronted, Anselmo responds angrily: “Then maybe I shoulda shot you, Señor, when you came with your daughters” (97).
This chapter describes Simonopio’s psychic abilities and how he uses his foresight to prevent accidents and injuries. During the planning for the gala, Simonopio realizes something bad will happen to Beatriz. He rushes to the planning meeting to take Beatriz’s hand and lead her away from the sick woman. He sees a vision of people lying dead on the streets.
Simonopio feels grateful he kept his family from gatherings where the disease spreads. He doesn’t resist the pointless mustard poultice around his belly. Simonopio knows the way to their new destination because the bees have told him of a shortcut.
The Morales family suffers during the quarantine. They have no idea when they’ll return home to Linares.
While going to check on Hacienda la Amistad, Francisco encounters Simonopio, who sits beside him on the wagon. Francisco understands nothing happens by coincidence with Simonopio. At Amistad, they discover that the house is covered with dust. Once a week, they go inside to clean it.
The first-person narrator explains that the real reason Simonopio took Francisco to the hacienda was to collect Beatriz’s massive sewing machine. With the help of campesinos, they take it to La Florida. Beatriz quickly acclimates to the presence of the machine. She begins to sew many different garments. She makes ball dresses for her daughters, clothes for the campesinos, dolls out of scraps, and blouses for little girls to wear to schools when the pandemic ends. She never thinks that many of those for whom she’s making clothes are dead.
Bitter and vengeful, Anselmo watches the Morales family caravan return to Amistad. An Indigenous refugee from southern Mexico, Anselmo experienced brutality and promised his family he’d take them north for a better future. They got as far as Nuevo León, where he camped out on Francisco’s property and ran out of food and water. Anselmo told his family to attack the next passerby. That person was Francisco, who saw that they desperately needed help. He hired Anselmo, giving his family a two-room house.
As a tenant farmer, eventually Anselmo will own a plot of land. Despite this, Anselmo feels used. When Beatriz says she’ll pay for Anselmo’s children to go to the mission school, he refuses. Anselmo’s wife and most of his children died during the pandemic, and he concludes that Simonopio is the cause of their suffering.
Beatriz is depressed until Francisco brings her sewing machine. Her daughters show no interest in sewing and avoid Beatriz, whispering behind her back. Simonopio relieves her frustration by bringing her honey daily. She worries because Simonopio goes into the hills by himself. Simonopio knows Beatriz’s heart, though Francisco doesn’t. If he did, “he would have realized his wife was not the pillar of strength she pretended to be” (132).
Carmen tells Beatriz about a youth she met at a debutante ball in Monterrey. Antonio has asked her to marry him. Carmen fears that Antonio is dead since she hasn’t received mail from him. Beatriz points out that mail service has stopped and it’s unlikely that any letter he wrote would arrive. Beatriz and Carmen become co-conspirators, keeping the information about Antonio from Francisco.
When the family returns to Amistad, Beatriz immediately orders everyone to start cleaning. Beatriz doesn’t understand the disappointment on Francisco’s face when he points out that the place really wasn’t all that dusty given how long they were gone. She points out that some places were extremely dirty and needed cleaning.
Beatriz has sewn clothes for Anselmo’s surviving family and decides to deliver them. She’s surprised when Simonopio accompanies her. As they near the house, Simonopio hides in the brush while Beatriz knocks on the door.
The bees, who are dormant, don’t accompany Simonopio and Beatriz to Anselmo’s cabin. Although he knows the paths well, this is the one trip he never made.
Simonopio understands that life is made up of stories, and he knows he has a special ability to change stories. Often, in doing so, he can positively impact the lives of others. Francisco once told him the story of the coyote and the lion, explaining that Simonopio was the lion. Simonopio has long known that Anselmo is the coyote and that one day a life-changing confrontation will occur between them. As Simonopio considers this, Anselmo appears, yells at him, and raises a stick to strike him.
One way to approach the narrative is to consider that each of the four sections set apart in this summary is akin to a season of the year. This first section, which is like spring, brings unexpected, fragile new life to the Morales family. Like the biblical Sarah giving birth to Isaac even though she’s beyond childbearing age or the Pharoah’s daughter finding the abandoned Moses in the Nile, Nana Reja (who can no longer bear or nurse children), hears a baby crying and discovers the discarded infant beneath a bridge. The presence of this miraculous infant sparks a new beginning for every character.
In addition, the opening section introduces the novel’s major characters. The one significant person who will dominate the narrative but isn’t born until the second section is Francisco Junior Segovia introduces him in this section, however, by making him the first-person narrator—who, beginning in Chapter 2, reflects on the whole story in the last days of his life—and by commenting on things that happened years before his birth.
This inclusion of a first-person narrator after the story has begun displays Segovia’s technique of shifting from third-person, omniscient narration to first-person narration. The effect is much like listening to someone interrupting a story being told by someone else. This technique creates a layer of mystery about this unnamed person and how they fit into the narrative. The progression of first-person narrated chapters hints that the mysterious individual is the late-life son of Francisco and Beatriz, Francisco Morales Junior. The story is playing out in his mind as he tells it to a taxi driver who’s taking him from Monterrey back to Linares. Throughout the remaining sections, Francisco’s first-person narrative becomes more common until the final chapters, which are all in the first-person voice. In addition, as discussed in Literary Devices, Segovia varies chapter length to direct attention and maintain dramatic tension.
In addition to planting the characters in the narrative, Segovia uses this first section to ground the story in the contextual backdrop of the Mexican Revolution and the class disparity at its core, introducing the theme Privileged Versus Unprivileged. The author presents the upper-class landowners’ traditional view of life as would-be nobles, biding their time through the last days of the Mexican Revolution and working to restore the historical rituals and customs disrupted by war. Uncertainty about the eventual outcome of the war, about roving armed groups, and about the new legal strictures resulting from the nascent constitution dominate the thoughts of the upper-class citizens. Beneath these upper-class concerns, most citizens are peons—lower-class workers and servants who are moved about like pawns, subject to the orders of their patrons. Ironically, Segovia portrays the upper-class women in a similar light, largely passive and at the mercy of the decisions made by the men around them, touching on the theme The Lives of Early 20th-Century Mexican Women.
Segovia’s narrative descends fully into humor situations several times. In the first section, the author mocks a young, foolhardy priest who believes that God has delivered a miracle as a sign of providence for Linares. As the priest’s assumptions are debunked, his premature actions turn to folly. Father Emigdio’s actions and their consequences contrast with those of Simonopio. Emigdio’s efforts to summon the attention of religious and governmental officials are premature in two ways. First, he doesn’t verify the story of the purported resurrection, which destroys his credibility as well as the theological interpretation he placed on Lázaro’s life. Second, by gathering with others during the height of the pandemic, he exposes himself and others to the flu, which quickly takes his life. Against this, Segovia portrays the subtle, intuitive manner in which Simonopio leads the Morales family away from illness and never calls attention to himself. This quiet contrast between church leaders and Simonopio persists throughout the story, introducing the theme Faith in the Church or in the Bees.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
Books on Justice & Injustice
View Collection
Class
View Collection
Class
View Collection
Family
View Collection
Fate
View Collection
Fear
View Collection
Good & Evil
View Collection
Hate & Anger
View Collection
Hispanic & Latinx American Literature
View Collection
Magical Realism
View Collection
Mortality & Death
View Collection
Popular Book Club Picks
View Collection
Spanish Literature
View Collection
The Future
View Collection
The Past
View Collection