Part of a series on
Chicanos and Mexican Americans
Terms Identity Chola/o La Raza Pachuca Pachuco Pinta/o Xicanx Concepts Anti-Mexican sentiment
History Early-American Period Josefa Segovia Las Gorras Blancas Mexican–American War Mutualista San Elizario Salt War Sonoratown Treaty of Guadalupe Hidalgo Pre-Chicano Movement 1917 Bath riots Bisbee Deportation Bloody Christmas Bracero program California agricultural strikes Cantaloupe strike of 1928 Citrus Strike of 1936 La Matanza Mexican Repatriation Operation Wetback Plan de San Diego Porvenir Massacre Sleepy Lagoon trial Zoot Suit Riots Chicano Movement Aztlán Black-brown unity Brown Berets Católicos por La Raza Centro Cultural Chicanismo Chicano Moratorium Colegio César Chávez CFMN Conferencia de Mujeres CRP East L.A. walkouts Hijas de Cuauhtémoc Huelga schools Land grant struggle Las Adelitas de Aztlán Los Siete de la Raza Los Seis de Boulder MANA MAYO MEChA Occupation of Catalina Island PCUN Plan Espiritual de Aztlán Plan de Santa Bárbara Quinto Sol Raza Unida Party United Farm Workers Post-Chicano Period 1985–1987 cannery strike 1992 Drywall Strike 2019 El Paso shooting Abolish ICE Arizona SB 1070 Castro 2020 Chicano Art Exhibit DACA Great American Boycott IRCA Farah strike Justice for Janitors Murder of Selena Proposition 187 South Central Farm
Culture Language Abrazos, no balazos Caló Chicano English Chicano names Órale Food New Mexican cuisine Tex-Mex cuisine Mexican-American cuisine Music Chicano rap Chicano rock Chicano soul Tejano music Symbols Cal-Style VW Homies Lowrider Lowrider bicycle Mexican-American folklore Pancho Claus Zoot suit
Literature Literature Chicana literature Chicano literature Chicano poetry Autobiographical Always Running Living Up the Street Who Would Have Thought It? Novels Bless Me, Ultima Caballero Desert Blood From This Wicked Patch of Dust Mexican WhiteBoy The Dirty Girls Social Club The House on Mango Street The Rain God The Revolt of the Cockroach People So Far from God Under the Feet of Jesus ...y no se lo tragó la tierra Poetry and Short Stories Emplumada I Am Joaquin Moment of Silence Pensamiento Serpentino The Moths
Chicana/o studies Fields Chicana feminism Chicanafuturism Organizations MAS Programs, Tucson NACCS UCLA Chicano Studies Research Center Texts Borderlands/La Frontera: The New Mestiza Brown, Not White The Church in the Barrio This Bridge Called My Back Theory Barrioization Coyolxauhqui imperative Gringo justice Nahui Ollin Nepantla New tribalism Rasquachismo Spiritual activism Vergüenza Youth control complex
Visual art Visual Art Chicana art Chicano art Chicano cinema Paño Tortilla art Art Collectives Asco Culture Clash East Los Streetscapers Los Four Mujeres Muralistas Teatro Campesino Royal Chicano Air Force Art organizations Centro de Arte Público Galería de la Raza Mission Cultural Center for Latino Arts Precita Eyes Self Help Graphics & Art Locations Balmy Alley Chicano Park Estrada Courts Great Wall of Los Angeles
Law Supreme Court cases Botiller v. Dominguez Hernandez v. Texas San Antonio I.S.D. v. Rodriguez Espinoza v. Farah Manufacturing Co. U.S. v. Brignoni-Ponce Plyler v. Doe Medellín v. Texas Flores-Figueroa v. U.S. Leal Garcia v. Texas Mendez v. Westminster Bernal v. Fainter Perez v. Brownell DHS v. Regents of the Univ. of Cal. Federal Court cases Madrigal v. Quilligan
Population Population by City Arizona (Tucson) California (Los Angeles) Illinois (Chicago) Michigan (Detroit) Nebraska (Omaha) Texas Dallas–Fort Worth Houston Multiethnic Blaxicans Californios Nuevomexicanos Tejanos Indigenous Mexican Americans Punjabi Mexican Americans
Lists Chicano films Chicano poets Chicano rappers Mexican Americans Writers Bibliography
United States portal Category Index

“The Moths” is a short story written by Helena Maria Viramontes. It was first published in 1985 in Viramontes’ first book, The Moths and Other Stories, by Arte Publico Press in Houston, Texas.^[1]

Plot summary

The story is a first-person narrative of a Latina granddaughter reminiscing about her relationship between her family, most especially her grandmother, when she was a teenage girl. The narrator speaks about the indifference she felt towards her sisters because she was not “pretty or nice” and could not “do the girl things they could do”. She was constantly in trouble, saying she was “used to the whippings” and spent her time watching over her grandmother since her grandmother always watched over her. Throughout the story, the grandmother becomes more and more ill, while the narrator becomes more and more responsible. When the cancer finally kills the grandmother, the granddaughter continues to take care of her, undressing her and cleansing her in the tub, as she holds her and rocks her back and forth saying “there, there Abuelita”. At this point the moths are released from the grandmother; the moths which the grandmother told the narrator “lay within the soul and slowly eat the spirit up.” The narrator cries and sobs in the tub with her grandmother until her sadness transformed into relief.^[2]

Themes

Rebirth – The narrator talks about the sun and how it cannot shine forever. It must disappear in order to reappear for the next day. As she notices the sun’s “final burst of burning red orange fury” she also notices that “endings are inevitable [and] they are necessary for rebirths”. At this point in the story, it becomes clear that Abuelita has died. The narrator, who felt distant from her mother, was now longing to be with her, in which a new relationship was born from the death of this old one. Coming out of oppression – Helena Maria Viramontes writes often about the oppression of women and how they must learn to overcome the dictates of tradition, family, and culture. The moths represent the traditions that destroy and degrade women, and how women are only freed from such power after death.^[3]

About the Author

Helena Maria Viramontes is a Chicana writer, who writes about women that face the troubles of religion, identity, sexuality, family, and tradition. She is the author of works such as The Moths and Other Short Stories, Under the Feet of Jesus, and Their Dogs Came With Them. She is also co-editor of the two collections: Chicana Writes: On Word and Film and Chicana Creativity and Criticism. She received her B.A. at Immaculate Heart College in 1975, and her M.F.A at the University of California Irvine in 1994. She has won many awards and honors, such as the John Dos Passos Award for Literature, and has had the pleasure of witnessing her work used in study for classrooms and universities.

References