In the text “Erzulie’s Skirt” by Ana-Maurine Lara, the themes of dreams and spirituality are prevalent. The way in which the author portrays the themes of dreams and spirituality, is through the use of the characters and their personal life experiences in the novel. One character who consistently exemplifies these themes throughout the text is Micaela.
At the beginning of the novel, Micaela learns how to reconnect with her African roots spiritually with the help of her father, Chichi. She learns about her ancestral background as her father tells her that she comes from a family of strength and resilience; he states, “ Your mother’s families were cimarrones. They resisted the Spanish slavers who ran bateyes where they grew sugar cane… Your mother’s people were healers. They know magic to become invisible” (Lara, 80) and this can be seen as a way to get Micaela to take pride in herself and her roots.
Additionally, as a way to fully connect Micaela to her roots and spirituality, Chichi teaches her the practices of voodoo, shows her how to use plants as medicine, and educates her on the benefits associated with each plant. However, Chichi ensures that the principles that come with practicing magic in Micaela are instilled. As he says, “We have magic to heal, never to kill. We have ways to see, but never do we make others blind. We honor the dead, but we do not ask favors of them. We are free but we do not yet understand that freedom,” helping Micaela stay grounded.
As Micaela gains more exposure to her family’s spiritual practices and wisdom through valuable lessons from her father, it can be said that it has allowed her to embrace her ancestral spirits, especially Erzulie, “the voodoo spirit of the ocean, goddess of love and feminine beauty.” As the story progresses, Micaela is seen to align more with Erzulie’s attributes as she exudes love and grace to those she comes into contact with. An example of these traits is seen in the way she treats her little brother, Fernandito, with compassion; even when her mother forced her to quit school to stay home and take care of him, she never built up any resentment toward him (Lara, 87).
Another instance where Micaela embodies Erzulie is seen on page 130 of the text, where in her dream, she dances on the current of the rivers wearing a silver and gold dress that looks like the river itself when kissed by the sun; her laughter keeps the river flowing, she plays with her brother, kisses him, and they laugh together. In this dream, Micaela is seen as a reflection of Erzulie as she presents and expresses herself in accordance with Erzulie’s attributes of divine femininity and love.
Moreover, when it comes to dreams in terms of what Micaela envisioned for herself and her future. Micaela dreamt of having stability in her life, a little business, and a home. When she and Miriam left home to go to Miami or New York in pursuit of finding a better life, things took a turn for the worse. They were scammed, trapped in Puerto Rico, forced into prostitution and brutally raped. Somehow, they managed to escape and find money, which ultimately led to Micaela’s dream of having a home and a colmado come true.
Consequently, the unfortunate circumstance of being trapped in Puerto Rico, in a state of uncertainty and turmoil, has not only molded Micaela into becoming stronger and wiser but also put her in a position to help others. Micaela turned into the person who she needed growing up. This is evident in the interactions with Yealidad. She was able to protect Yealidad (something she couldn’t do for Fernandito) from bad spirits and boys. She took in Yealidad as her student, passing down her knowledge, traditions, and culture. Micaela became a pillar in Yealidad’s life. When Micaela and Miriam passed, they left Yealidad with the key to the commando, securing Yealidad with a better future and a purpose in life.
Lara, Ana-Mauríne. Erzulíe’s Skirt. RedBone Press, 2006.