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In Venezuela, Mamá and the girls endure a succession of hearings and interviews. During these interviews, Mamá plays the tape of the guerrillas admitting that they have captured Papá and threatened the family. Mamá calls Abuela to tell her that Papá has been kidnapped and they have fled. They receive the package containing the cremated ashes of Papá’s fingers. La Soltera had smelled the package, which had been left on the Santiagos’ old porch by the guerrillas, and called the police. Papá’s company obtained the fingers from the police, had them cremated, and sent them to Mamá in Venezuela.
The Santiagos’ application for asylum in the U.S. is accepted, and they fly first to Miami and then to Los Angeles. An African woman named Dayo greets them at the airport in L.A. and takes them to an apartment building which houses other refugee families from around the globe. Chula marvels at the plentiful running water. Dayo invites them to a potluck with the other families. The others explain “the rules of the tribe: every person share[s] their story one time, then [it is] forbidden to talk about it again” (267). Mamá’s version of their story does not mention Petrona. Mamá and the girls bury the ashes of Papá’s fingers in a cemetery, and Mamá gets a job as a manicurist. Chula feels she can no longer speak; for her, silence is “a way to survive” (269). Mamá has kept Papá’s coat and brushes it regularly. Chula prays for Papá and Petrona but cannot picture their faces.
Petrona awakens in an empty lot. She cannot remember her name or what has happened to her. Two men have left her in the grass, and she is unnoticed for days. An abuela finds her, barely alive, and drags Petrona to her hut. Petrona drinks a soup that makes her vomit. She is pregnant.
Chula and Cassandra enroll in public school in L.A. Mamá wants them to honor Papá by getting good grades, but Chula struggles in school because she suffers from post-traumatic muteness. Periodically, Chula and Mamá go to the public library to read a list of recently released kidnapped persons published online in a Colombian newspaper. Chula feels that her whole life consists of waiting. To cope, she counts to 11 again and again or observes other people and counts their movements or the number of words they speak. Cassandra excels in school as Chula begins having panic attacks. Going to the library soothes her anxiety, so she spends much of her time there, reading Colombian newspapers.
The family goes to the consulate every weekend. The consulate’s secretary, Ana, tells them about a radio program called The Voices of the Kidnapped. Its signal can be picked up in the Colombian jungle, and families can submit tapes with messages in hopes their captive loved ones might hear the broadcast. Mamá and the girls start making recordings for the broadcast once a month. Chula gets a job washing hair at the salon where Mamá paints nails. Cassandra grows frustrated with Mamá and Chula for their continued hope that Papá will return. Chula’s muteness helps her understand Petrona’s silence when they first met. When Mamá talks on the phone with a friend in Bogotá named Luz, she learns that Petrona was found raped. Chula is stricken with guilt and curiosity over Petrona’s fate, and she decides to write her a letter.
After more than six years of checking the lists of recently released captives, Mamá and Chula finally see the name of Antonio Santiago. In disbelief, they go with Cassandra to the consulate to confirm that Papá has been released. Mamá and her daughters speak briefly over the phone with Papá, who is at the American embassy in Bogotá. He is coming to join them in L.A. When they meet him at the airport, Chula is gripped with uncertainty; her memory cannot verify that the man’s voice is Papá’s voice. His demeanor is subdued, and Chula becomes convinced that the man is an imposter, perhaps a fellow captive who had studied and then stolen Papá’s identity.
Papá had been kidnapped by guerrillas who had infiltrated his workplace. Chula goes to Papá’s psychologist, Ms. Morales, who tries to reassure Chula, telling her Papá knows she stole the Luck bottle from Abuela’s shop. Chula demands a DNA test, which inspires Ms. Morales to write her a prescription for her anxiety. When Mamá picks up Chula, they drive to the hospital to order a paternity test. Weeks later, the test comes back positive. Chula realizes that no amount of proof will ever make her life “return to normal” (292).
Petrona’s reply to Chula’s letter arrives, including a photograph of her with her child and Gorrión. When Mamá sees the photograph, she demands that Chula destroy it. Chula burns the letter and the photograph, wondering if she could have done something differently that might have spared Petrona from harm. She realizes that the most helpful thing she can do for Petrona is never to reveal what she knows.
Petrona lives in the Hills in her rebuilt hut with Gorrión—now her husband—and her son, Francisco, named after her father. Francisco was fathered by one of Petrona’s rapists, not Gorrión. Petrona recalls the reconstruction of her life after the near-fatal attack that had left her with complete amnesia. The woman who rescued her, Doña Fausta, named her Alicia, because Petrona could not remember her own name; after four months, she remembered the Hills and returned there with Doña Fausta to discover more about her past.
They encountered Gorrión, who rushed to her, calling her Petrona; he told her that the baby was his and that they were already married and proposed they have “another ceremony” (298). Aurora and Uriel had to reintroduce themselves to Petrona because Petrona did not remember her own siblings. Aurora gave Petrona her former Communion dress, telling her it was her wedding dress. In the years since her return to the Hills, memories continue to return to Petrona in flashbacks; eventually, she pieces together her true story. Silently, she promises Francisco they will escape together one day, leaving behind Gorrión, the Hills, and her tragic past.
The final chapters consolidate a number of the novel’s deepest conflicts without offering any tidy resolutions. Paramount are the questions of memory and identity—how the two interact and form each other and how trauma can destroy and remake both. These concepts play out in each of the main characters; Chula, Petrona, Cassandra, Mamá, and Papá all struggle to reconcile their memories and their past experiences with their present-day traumas.
Several scenes in this section of the novel explore the connection between verbal expression and trauma, an important theme of the novel as a whole. When the Santiago women arrive in L.A., they are welcomed into a community of international refugees whose tradition requires community members to tell their escape stories only once. When Mamá shares the Santiagos’ story without any mention of Petrona, the omission disturbs Chula, whose own post-traumatic shock renders her unable to express herself verbally. Chula’s muteness echoes Petrona’s muteness at the beginning of the novel, underscoring the connection between their characters. Chula seems to find some comfort in the recognition of her own similarity to Petrona, and she feels that her silence serves a noble purpose in both protecting and paying homage to Petrona.
The issue of identity and its loss, recovery, and reestablishment in the wake of trauma plays out dually in Chula’s reunion with Papá and Petrona’s recovery after her assault. Chula doubts Papá when he appears in Los Angeles, and she attempts to verify his identity by various measures: his appearance and bodily measurements, the literary allusions he makes, the sound of his voice, and his knowledge of shared memories. None of this evidence can satisfy her doubt or soothe her sense of estrangement. When even incontrovertible DNA evidence cannot assure her, she wonders whether the sense of recognition and restoration that she longs for might be impossible after trauma has reshaped her life.
Petrona also grapples with similar issues of identity. The brutality of her trauma and the severity of her amnesia leave her “without a name” and “without a body” (270). The restoration of her identity is complicated by the fact that her family lies to her. When flashbacks eventually restore her memory, she rejects the identity she has recovered, and dissociates from reality, retreating into fantasies of escape to a new life. By different means, both Chula and Petrona arrive at the same crossroads after trauma: trauma has permanently altered their experiences of reality, and the innocence of their previous lives is irretrievable.
In contrast to Mamá and Chula, Cassandra is able to launch herself fully into her new life in America, focusing on assimilation and advancement. Cassandra refuses to look back at her old identity, focusing instead on her new version of self. She grows frustrated with Mamá and Chula for clinging to the life they left behind in Colombia. Cassandra’s aggressively anti-sentimental approach is practical, as it helps her avoid the kind of anguish that Chula suffers and allows her to excel academically and professionally. Yet Mamá and Chula’s approach to maintaining their identities—preserving hope, memories, and rituals—yields the ultimate reward in their recovery of Papá after years of captivity.