Analyzing the passage - Essay Example

Her chief concern for delicate subjects on woman issue for which conventional history offers limited regard Pilar opts to explore in wider context, given the opportunity of being able to decide with keeping other things on record. By asking ‘Who chooses what we should know or what’s important? (Garcia, 28)’ enables Pilar to reiterate her significant understanding of a responsible initiative on knowing or learning by an individual’s will and sense of accountability. These lines which Cristina Garcia thought of constituting Pilar’s objective with a more sensible basis, is dealt with in several respects of taking action in ‘Dreaming in Cuban’ as the author directs the protagonist to adopt mobility and nostalgic means of arriving at the resolution for the fulfillment of her purpose (Goliath).

On stressing ‘If it were up to me, I’d record other things (28)’ alludes that it is not Pilar’s sole discretion to carry out an extra-special undertaking that requires meeting and reconnecting with the early times of her original homeland through the tools of the present. With such tone as may be imagined to align with the theme of the radical statement, Pilar is likely found to have assessed equivalent worth at discerning matters beyond the realms of her Cuban foundation. Even while Celia, Pilar’s grandmother, creates the main influence behind her endeavor, the control does not entirely restrain Pilar from choosing how to act in convenience for herself.

As she exemplifies options of discussing the Bombay prostitutes or the natural disaster in Congo, similarly she speaks out of an empowerment radiating between herself and the subject of interest under a common gender. In the process, Pilar figures she could only obtain too much of learning and appears to admit certain level of ignorance saying ‘Why don’t I know anything about them? (28)’ which signals how intricate her journey could get on accomplishing the task. Shifting physical as well as psychological settings by varying depths of imagination, Pilar attempts to gain access to real points of unknown origins in Cuba to fill in the gaps of ignorance as she allows pertinent experience of commodities that are Cuban in nature.

Globalization, thus, imposes upon her ‘recapture progress’ the role of demonstrating the outcomes of ‘commodification’ or of modern mass production of pop culture in many forms of Cuban goods such as those in music, art, and fashion (Goliath). Without the knowledge of information and concerns not within her typical reach as indicated with ‘Why don’t I know anything bout them? (28)’ it would perhaps amount to improbability of leading the key of recollections to justify her momentary attachment to ‘commodified’ encounters though the latter barely imparts the much-needed aid to facilitate recovery of the crucial past for Pilar.

As a main female character in the novel who makes profoundly sentimental exclamation of the famous passage, Pilar naturally draws in the capability of distinguishing the priceless authenticity of the classic old world from the current truth of evolved styles and movement that all come with a market value. With ‘Like the time there was a freak hailstorm in the Congo and the women took it as a sign that they should rule; or life stories of prostitutes in Bombay (28)’