60 pages • 2-hour read
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Content Warning: This section includes discussion of child death, disordered eating, animal cruelty and death, and graphic violence.
Santiago, Magos and Joseph’s 11-year-old son, dies in his bed, next to his parents in a lonely estate in Upstate New York. Joseph sobs, but Magos feels that the moment is “dull,” devoid of the high emotion she had envisioned whenever she imagined her son’s death. She tries to imitate her husband, who “seems to know how to grieve” (2), but the attempt is half-hearted.
Magos walks her husband to bed and returns to Santiago’s body. She “is not done with her son” (3) and sets about deciding which part of him is “inextricably [himself].” She settles on Santiago’s single lung, both the source of his death and the reason for his short life. She cuts her son’s body open, allowing herself to taste his blood, and slices off a chunk of his lung. Magos places the lung in a jar. She is tidying the bed and Santiago’s body when Joseph walks in. He looks horrified and accuses Magos of “destroying” their son. She disagrees, but offers him no explanation.
Magos and Joseph moved from Mexico City to Joseph’s family’s estate of Firgesan in Upstate New York in the hope that the fresh air would be better for Santiago’s health. There was a dogwood tree in front of the house that fascinated Magos. All winter, she poured hot water over the tree, fearing it would die in the cold. Santigo died before the dogwood’s first spring flowers emerged. Magos believes the first bloom is her son reincarnated, but then considers the “cruel” and “ridiculous” trick of Santiago coming back “as something so ephemeral, frail, and beautiful” (12), and she kills the blossom.
Santiago’s body is cremated, and Magos and Joseph spread his ashes at the base of the dogwood tree, where Santiago would sometimes sit to draw monsters. In the aftermath of his death, the couple “haunts” one another. Magos follows her husband around the house, observing his grief. She can’t remember speaking, eating, sleeping, or showering.
Joseph calls Magos “a demon” and demands that she stop following him. He tries to talk about their shared grief and what they should do next, if they should stay in New York or move back to Mexico, but Magos does not engage. Sometimes Joseph becomes angry, and they fight, but his anger dies more quickly than Magos would like. Magos watches Joseph begin to “decay” and become “boring.” She wants to see him “break,” but instead he merely “withers.”
Magos leaves her husband and returns to Mexico City.
Magos doesn’t remember buying a plane ticket, packing, or arranging a ride, but her best friend, Lena, is there to pick her up at the airport and take her to her mother’s house.
Magos’s mother, Lucía, her housekeeper, Jackie, and her dog, Almendra, greet Magos at her childhood home. Lucía laments that she learned about Santiago’s death from Lena; Magos hadn’t told her. Magos is surprised. Santiago feels “so [hers]” that it didn’t occur to her that her mother was also experiencing a loss. She laughs, and her mother sends her up to her room for rest.
As Jackie helps Magos unpack, she finds the chunk of Santiago’s lung. She tells Magos an old story about a woman who fed a dead girl’s heart until it grew into a beautiful man who fell in love with her. They had a child together, but then the man and woman were both murdered, and their baby disappeared. Magos believes Jackie’s story, but she also doesn’t believe the same thing will happen to her. She knows that the “lump of flesh” in the jar is not her son (24), but Jackie still advises her not to feed the lung.
Unable to sleep that night, Magos pours some chicken broth over the lung. She feels “silly,” but also figures the experiment is harmless. Back in her room, she looks at a crack in the wall, remembering the powerful earthquake they survived when Santiago was young. She and Joseph lived in the neighborhood of la Roma, and in the aftermath of the quake, Magos carried Santiago all the way to her mother’s house while Joseph stayed to help the neighbors. On the way, Santiago had an attack, gasping for air on the sidewalk. Passersby gathered, but Magos would let no one help; “Santiago’s lung was [hers] to conquer” (29), and she was soon able to calm his breathing.
The next morning, Magos is shocked to see that the lung has consumed the chicken broth. She is eager to feed it more, but Jackie and Lucía are already awake. Downstairs, Lucía tells Magos that she wants to have a mass for Santiago. Magos is against the idea, but Lucía insists. She tells Magos it is important to “acknowledge” the loss and share their grief. She also insists that Joseph should be there, and Magos reluctantly agrees to call him.
Santiago was born with just one “underdeveloped” lung. The doctors told them that he wouldn’t make it home from the hospital. Only Lena, then a medical student, was sure that Santiago would live. As he grew up, Santiago vacillated between being a happy, active boy and being incapacitated by his weak lung. Afraid of coming home to his son dead, Joseph began working from home, and Magos dedicated herself to making their lives happy. She organized family plays, in which she was the protagonist, Joseph the villain or lover, and Santiago the secondary characters, often wearing monster costumes he created himself.
Magos calls Joseph to tell him about the scheduled mass. He asks Magos why she cut open Santiago’s body, and she tells him she took a piece of his lung. Joseph wants to know what the lung is like. He accuses Magos of having “no heart,” but agrees to think about coming to the mass.
Neither Joseph nor Magos is religious, but Santiago had been fascinated by God until he announced at dinner one night that God “hadn’t chosen [them]” to care for (40).
After mass, the bereaved gather at Lucía’s house. Magos hates the guests’ pitying eyes and gentle voices, so she hides upstairs and watches the gathering from above. Lena comes to sit with her, and together they watch one of Magos’s cousins sobbing dramatically, “performing the grieving mother” (42) until Lucía puts a stop to it.
Suddenly, Lena is surprised by a small, scuttling creature she takes to be a mouse. Magos realizes it is the lung. She fishes the hissing creature out from under a closet and rushes into her room. She shoves it into a shoe box and tells a confused Lena that she threw the mouse out the window. Lena notices that Magos’s finger is bleeding. She is concerned that the “mouse” gave Magos rabies, and Magos shows her the lung to ease her worry. Lena is not convinced. She insists that the creature, which has become rounder and grown a “protuberance” resembling an arm or a tail, is a “misshapen rodent” that should be put out of its misery.
The lung grows on its preferred diet of beef and pork. Dark fur grows over its body, and two eyes appear above its wide mouth of sharp fangs. Its awkwardly placed “arm-tail” sprouts a paw with three sharp claws, and the lung uses it to hang from Magos’s closet rod to sleep.
Jackie constantly pesters Magos about the state of her room, offering to clean it for her, but Magos is focused on keeping the lung secret. She urges Jackie, who has worked for Lucía for 20 years, to take a day off and go out.
Twice a week, Lena comes for dinner, and Magos tries to appear “chirpier,” showering and dressing nicely. Lena brings Magos gifts and avoids speaking of Santiago.
Magos suspects that her mother is struggling to make ends meet with her retirement pension, but Lucía refuses her offer to help. She also refuses to consider selling the family home and moving into a smaller apartment. She urges Magos to put her attention on repairing her relationship with Joseph instead of worrying about the house.
That night, Magos is awakened by a commotion downstairs. The dog, Almendra, is on the patio, wild with fear, with the lung’s teeth sunk into her flank. Jackie is shrieking and trying to beat the creature off with a broom. Magos wrestles the broom away from Jackie and attempts to separate the lung from the dog’s leg. She squeezes the creature until it is forced to let go. Magos feels compelled to apologize on behalf of the lung and express her “disgust” for it, but she knows the sentiment would be “insincere”: The lung just attacked the dog because it was hungry and didn’t know any better.
Magos cradles the lung while Jackie cleans Almendra’s wounds. Jackie insists that Magos cannot keep the “dangerous” lung. Magos, however, refuses, promising that she will “teach it to behave” (58). Jackie is skeptical, but agrees to keep the lung a secret from Lucía for one more week.
The next day, Jackie barely speaks to Magos. Lucía wonders what happened between them and quizzes Magos on what she plans to do next. She asks her daughter if she misses Joseph and tells her that Lena is in love with her. Magos knows about Lena’s love, but doesn’t like her mother exposing this “secret treasure.” Magos and Lena lived together during university, and once shared a “delicious kiss full of saliva and desire” (65), but Magos “didn’t lust” after Lena the same way she did.
The next day, Lucía leaves Magos a new notebook with a note telling her to “[w]rite [her]self a new role” (67). Magos calls Joseph. She asks him to return to Mexico City, telling him that she has something of Santiago’s to show him. Lured by this promise, Joseph agrees.
Joseph arrives later in the week, looking “gaunt” but also clean. He carries only a small bag and insists that he will stay in a hotel rather than in Lucía’s house. Lena arrives, and Lucía insists they “celebrate” with tequila. Joseph and Lena were also friends in university, before Magos and Joseph got together, and they spend the evening reminiscing happily. Magos feels “whole.”
Lena stays over in the guest room, and Joseph insists on sleeping on the family room’s sofa bed. That night, Magos sneaks downstairs and climbs into bed with Joseph. She tells her husband she missed him, but he tells her he “stopped missing [her] a while ago” (74). He tells her that he expected his body to “gnarl” with grief, as his Uncle’s had after his mother died. Instead, he became terrified of his loneliness and then angry with Magos for leaving. These two emotions helped him to continue living. He is still angry with Magos and doesn’t know if their relationship can continue.
Reluctantly, Magos takes Joseph upstairs to show him the lung. The creature is hanging upside down in Magos’s closet, and Joseph mistakes it for a possum. Joseph begins to cry as Magos explains what happened with the lung, then looks at her with “unbelievable pity.” She tells him they can move back into their house in la Roma and become a family of three again. He begins to laugh, then cries more. He tells her that he thought that she “didn’t care” when Santiago died, but now he sees her looking “terrible,” and he understands that she is more of a “mess” than he is. In the middle of their argument, Joseph realizes that the lung is no longer in the closet. He and Magos are searching for it when they hear Lucía scream.
Magos and Joseph rush into Lucía’s bedroom to find the lung latched onto her thigh. Magos hurries to her mother and attempts to detach the lung’s fangs without injuring it. Lena and Jackie arrive, and in the chaos, Lena calls for a hammer. Lucía thrashes on the bed, then faints. She comes to as Joseph returns with the hammer.
Lena finally drags the lung off of Lucía and holds it out to Joseph, commanding him to hit it with the hammer while Magos begs them not to hurt the creature. Joseph strikes the lung, and it falls limply to the bed. Magos rushes to the lifeless creature and begins to cry for the first time since Santiago’s death. Her family stares at her in silence, and Magos holds the lung to her chest and flees the house.
Magos takes “[her] monster” to a nearby park. She cannot summon the will to dig a grave, so she leaves the lung’s body there in a small garden. Lena finds Magos later that night. Magos doesn’t want to return to her mother’s house, so Lena drives them through the city.
Monstrilio is divided into four sections, each of which is narrated by one of the novel’s key protagonists, offering various insights into the tragedy of 11-year-old Santiago’s death and how the trauma affects those closest to him in the years following his death. The novel opens with a chapter describing Santiago’s death narrated in the third person, then moves on to a section narrated by Magos, Santiago’s mother, describing the weeks directly following the loss of her son. This structure creates a literary allusion to Mary Shelley’s Frankenstein, which is also notable for its nested narration in which several different characters offer different perspectives of the novel’s events.
The difference in how Joseph and Magos respond to Santiago’s death introduces the theme of Family Dynamics in the Face of Grief. While Magos feels numb, Joseph reacts with a grief that is more overt. He sobs inconsolably over his son’s body and spends the weeks after his death in a state of depression, unable to get out of bed, eat, or shower. Joseph’s ability to express his grief and even his other difficult feelings—such as his anger towards Magos when she leaves him—helps him process the fact that Santiago has died, as he himself explains to Magos when he says his strong emotions helped him to go on living. Since Joseph grieves openly, his emotions are also easier for others to recognize and respond to, as his grief is more closely aligned to common social assumptions about what grief looks like.
Magos, by contrast, is so numbed by her grief that she struggles with disassociation and memory loss, unable to recall anything clearly, from mundane daily habits like eating to more important and unusual decisions, like buying a plane ticket to go back to Mexico. It is important to note that Magos’s grief, while less overt than Joseph’s, is no less deep or sincere than his own: Rather, she is so stunned and overwhelmed by Santiago’s loss that it becomes surreal to her. Her inability to fully express her grief hinders her ability to fully process it or receive the support and emotional intimacy she needs from Joseph and others, exacerbating her loss by leaving her feeling detached and isolated.
Magos and Joseph’s loss changes their marital dynamics by making them unrecognizable to one another, driving them apart. Their reactions are completely incomprehensible to each other: Joseph cannot understand Magos’s desire to mutilate Santiago’s body, and Magos is frustrated by how Joseph “withers” in his grief. Later, as the lung begins to grow, Magos believes that she, Joseph, and the creature will be a family again. It is only when she shows the lung to Joseph that he realizes she has been intensely grieving in her own way all along: His look of “unbelievable pity” and comment that she is even more of a “mess” than he is creates a brief moment of understanding and connection between them. While this is not enough to fully heal the rift between them, the moment nevertheless reflects how families are heavily impacted by how loss affects different family members in different ways, which can lead to misunderstandings and even rifts.
Magos’s inability to process her grief also introduces the theme of Humanity Versus Monstrosity. The opening chapters foreshadow the creation of Monstrilio through the repeated association of Santiago with monsters, such as when he draws monsters under the dogwood tree or performs in homemade monster costumes in family plays. This association introduces the tension between what is human or monstrous into the narrative, as Santiago is both a very human boy and someone with a playful interest in monsters, while Monstrilio—created from Santiago’s lung—will reverse this dynamic by being a “monster” who attempts to fit into human life.
The narrative also plays with the notion of birth and creation in exploring Magos’s deepening attachment to the growing lung. When thinking of Santiago, Magos repeatedly asserts that she “made him,” alluding to the physical processes of pregnancy and childbirth that created her human son. She uses the insistence that Santiago is “hers” as justification for cutting open his body and taking a piece of his lung, behaving as though preserving a piece of his physical body might be enough to preserve Santiago himself in some way, thereby becoming a means of evading her grief. In creating Monstrilio through her careful feeding of the lung, Magos attempts to recreate the process of gestation and birth in a new way. The “monstrous” appearance and behavior of the lung reflects how Magos is experiencing a distorted and disorienting sense of motherhood in her grief: She is so desperate to go on being a mother that she would rather recreate her son in an unnatural form than face the reality of losing him.
Using the motif of Monstrilio’s appetite, the novel explores the monstrous nature of grief, how it consumes the lives of individuals and families, and how love and monstrosity coexist and intertwine. Significantly, her grief causes her to behave in ways that Joseph perceives as inhuman: He calls her a “demon,” a “monster,” or someone with “no heart” during their early days of bereavement, once more complicating the lines between humanity and monstrosity by reflecting how people are sometimes judged by others for not reacting to grief or trauma the way they are “supposed” to according to social conventions. As the lung begins to grow, its insatiable carnivorous tendencies reflect the all-consuming nature of Magos’s loss and how Santiago’s death has consumed her life and the lives of those around her.



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