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Objectification in Merlinda Bobis' Story

The story depicts a Filipina fruit vendor who experienced objectification and discrimination. She was sent by her parents to marry a foreign man and experienced abuse. She hides her Filipino heritage due to past discrimination. Various metaphors are used to represent the objectification of women.

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Ayries Malgapo
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0% found this document useful (0 votes)
6 views2 pages

Objectification in Merlinda Bobis' Story

The story depicts a Filipina fruit vendor who experienced objectification and discrimination. She was sent by her parents to marry a foreign man and experienced abuse. She hides her Filipino heritage due to past discrimination. Various metaphors are used to represent the objectification of women.

Uploaded by

Ayries Malgapo
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Analysis of Fruit Stall In Merlinda Bobis’

The metaphorical use of fruits depicts the objectification of a Filipina and her subsequent denial
of her heritage to avoid discrimination. The story’s point of view consists of the persona
narrating a normal day in her life while constantly trying to hide her identity as a Filipina as well
as her past experiences.

After she was sent off by her Filipino parents to marry a foreigner, she experienced sexual and
emotional abuse from other men and from her own husband whom she eventually divorced,
leaving her to fend for herself in a foreign country. This is where the story starts and introduces
the persona who is now a fruit stall vendor at Kings Cross, Australia.

The persona talks about the life she’s been leading throughout the years, starting off the story
by simply stating her current situation as a divorced Filipinain in her 40s with no children. She
immediately reveals that her Filipino heritage is her secret, which is evident by how she holds
back from bringing up a conversation about her homeland. This self-restraint is apparent in her
interaction with the customers, where she tells the readers that “I want to ask, did you go to my
country? But I keep my secret safe ” , and “You see, papayas are expensive here. Go to my
country. We sell them cheaply. I bite my tongue ”. Objectification reflects how women are valued
by their use to others, particularly as objects of sexual pleasure for men.

The persona’s early knowledge about such a problematic situation occurred during her
grandmother’s experience wherein she was “sent away when she grew a melon under her skirt”.
In this context, the melon is used to represent the pregnancy of the persona’s grandmother, and
that the mere fact that she was “sent away” or neglected after getting pregnant by a white man
shows how a woman’s worth becomes less after she has served her supposed purpose to
please a man.

In the persona’s own experience, her father advised her to use papayas to have her hands “soft
and smooth when Jake arrives”. Jake, the Australian friend of her father, soon became her
husband to which she believed that “It must have been the papayas” that drove him to make her
his wife. Her objectification was apparent as she was told to fix herself for a white man, making
her seem like an item about to be sold off.

After leaving the village to live with her husband, the persona experienced an abusive marriage
wherein she was mistreated. The persona’s relationship with Jake was not completely out of
mutual affection, and as she stated about her experience, her husband made “crazed
monkey-sounds” while “chattering away about his great big white banana getting bigger and
harder” — from this it was also implied that she learned to tolerate her husband’s rash behavior
towards her, saying that she had “learned to doze off dry-eyed” after a while.

Jake would call the persona’s family greedy for food, specifically saying that they were
“grape-starved” when the persona would always send grapes to her family since it was an
uncommon fruit in her homeland. Jake also labeled her as “mango-greedy” which actually
meant that she was craving mangoes because she was pregnant.

Unfortunately, she was forced into having an abortion due to her husband not wanting to “have
brown kids''; therefore, exposing her own husband’s racial discrimination against her. Aside from
her husband’s mistreatment of her, the persona also experienced objectification and
discrimination from other men in her life. Back in her homeland, an American soldier grabbed
her by the waist and went on talking about how one can give food or “a bowl of rice” to “little
brown girls” in exchange for sexual pleasure.

This embodies how white men look down upon foreign women, and that they are nothing but
objects of male sexual desire. The objectification was also evident through the persona’s
experience of being sexually violated by white men, who made racist comments such as “Oh
no, I didn’t get myself an Asian with small tits. This is no Asian”. The melon fruit was also used
in this situation wherein it was a sexual reference to a woman’s breasts, as the men stated
“Look at her melons. And they taste like plums – don’t they, luv?” , the persona stood helpless in
that situation, while the men were laughing and enjoying their disgusting actions towards her.

These experiences eventually led the persona to deny her own heritage, stating that she has
learned to say “si, I am Spanish. Or, Mexican by birth, Señorita. Or, Italian, Signore” whenever
she was asked about her nationality.

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The protagonist's narrative voice reveals her struggles with identity and cultural heritage by conveying her internal conflicts and self-perception. Her voice is introspective and candid, sharing her day-to-day life and the tension of concealing her Filipino roots. Her reluctance to discuss her homeland with customers, and the care in maintaining her 'secret,' illustrates the dissonance between her internal identity and external facade. This voice captures her resilience in managing life in a foreign environment while grappling with cultural dislocation and the associated emotional challenges .

In Merlinda Bobis' story, fruit is used metaphorically to represent the objectification of the Filipina protagonist. The persona's grandmother was sent away when she 'grew a melon under her skirt,' using 'melon' as a metaphor for pregnancy, indicating neglect after serving a man's purpose. Likewise, the protagonist was advised to use 'papayas' to make her hands appealing for Jake, her future husband, indicating preparation akin to selling an object. Furthermore, papayas symbolized softness and delicacy, qualities valued for objectification purposes. This reflects the theme of a woman being valued only for her utility to others, particularly men .

The interactions of the protagonist with her customers reveal underlying societal attitudes of curiosity tinged with condescension towards immigrants in Western countries. Her carefully maintained secrecy around her Filipino identity suggests a societal expectation to assimilate and conceal cultural differences. Comments about the cost of papayas and curiosity about her origins indicate a superficial interest that doesn't recognize the depth of her heritage. This mirrors broader societal trends where immigrants are often valued superficially for what they can assimilate rather than their true cultural identity .

Economic factors play a significant role in shaping the protagonist's decisions and experiences. Her marriage to Jake is initially motivated by economic necessity, as her parents send her away with hopes of financial stability. Her work as a fruit vendor highlights her continual struggle to survive independently in a foreign country. Economic constraints limit her options, contributing to her initial tolerance of abuse and her decision to prioritize financial security over personal well-being. This reflects the broader theme of economic vulnerability driving life choices for immigrants facing financial instability .

The narrative structure, with its reflective and fragmented style, deeply influences the reader's understanding of the protagonist's conflicts. By weaving between past and present, the story allows for a comprehensive view of her struggles, portraying how past traumas continue to affect her current identity. This juxtaposition between her current life as a vendor and flashbacks to her experiences with family and husband highlights the tension between her desire for self-preservation and the need to reconcile her cultural roots. This structure mirrors her fragmented identity, illustrating the complexity of her internal and external conflicts .

The story uses metaphorical references, such as the 'great big white banana getting bigger and harder,' to highlight issues of sexual abuse and consent, framing the protagonist's unwanted sexual encounters as both degrading and violent. This metaphor implies the objectification and non-consensual nature of her sexual relations, capturing the power dynamics and lack of respect for her autonomy. The metaphor emphasizes how her experiences were sexualized and trivialized by men who disregarded her consent and humanity, portraying a deeper commentary on the pervasiveness of sexual violence .

The protagonist's duality between her concealed Filipino identity and her adaptations to Western life results in significant psychological strain. Concealing her identity is a defense mechanism against discrimination, creating a constant tension between her true self and the persona she adopts to fit Western expectations. This concealment causes internal conflict and alienation, as reflected in her strategic silence during customer interactions, where she suppresses her cultural pride. Additionally, by denying her ethnicity and assuming fictitious identities, she experiences a dilution of her cultural heritage, leading to feelings of isolation and loss of identity .

The protagonist's experiences with Jake reflect racial discrimination as he expressed disdain for having 'brown kids,' leading to her forced abortion. This showcases his racial biases and desire to avoid integrating with her ethnicity. His derogatory remarks about her family being 'grape-starved' further emphasized racial stereotyping, assuming greed based on racial identity. These experiences deeply impacted the protagonist's self-perception, leading her to deny her Filipino heritage by claiming to be Spanish or Mexican to avoid such discrimination, reflecting a loss of ethnic identity due to external prejudice .

The protagonist's interactions with men highlight themes of colonialism and sexual exploitation through the objectification and dehumanization she faces. An American soldier's exchange of sexual pleasure for 'a bowl of rice' represents the exploitative colonial attitude, where native women are viewed as commodities for Western men. The racialized sexual comments made by white men further emphasize this dynamic, using racist stereotypes to demean her and reinforce the power imbalance reminiscent of colonial hierarchies. These interactions reflect how colonial history continues to affect personal identity and relationships through deeply ingrained prejudices .

Familial expectations are depicted as influential forces in the narrative, driving the protagonist to marry Jake based on her parents' hope for a better life. Her father's advice about using papayas to prepare for marriage reflects the traditional, utilitarian view of marriage. This decision negatively impacts her by placing her in an abusive marriage characterized by emotional and racial abuse. The societal and familial pressure to conform and the lack of support from family highlight the burdens such expectations place on individuals, altering the trajectory of her life and causing enduring hardship .

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