“Laura has begun to find reasons for avoiding her own house until the latest possible moment, for Braggioni is there almost every night. No matter how late she is, he will be sitting there with a surly, waiting expression, pulling at his kinky yellow hair, thumbing the strings of his guitar, snarling a tune under his breath.”
Psychoanalytically, Laura exercises premeditated Avoidance for Braggioni’s unsolicited company afflicts her. Deferred arrivals at the abode shrink the duration that she is obliged to weather Braggioni’s exasperating presence. Braggioni’s mundane songs are inconsequential for they do not assuage Laura’s agony.
“When he is in a very good humor, he tells her, 'I am tempted to forgive you for being a gringa. Gringita/' and Laura, burning, imagines herself leaning forward suddenly, and with a sound back-handed slap wiping the suety smile from his face. If he notices her eyes at these moments he gives no sign.”
Evidently, Laura is demoralized by the ‘gringita’ tag. Braggioni bequeaths himself the god-like eminence that ostensibly accords him the entitlement to absolve or not pardon individuals like Laura who are dissimilar from him. Undoubtedly, Braggioni’s narcissism incorporates ethnocentrism which regards ‘gringitas’ as mediocre souls who ought to be pardoned by the ‘non-gringas”.
“While she was rummaging around she found death in her mind and it felt clammy and unfamiliar. She had spent so much time preparing for death there was no need for bringing it up again”
This passage explicitly alludes to Granny Weatherall’s vigilant Death Instinct which is principally dynamic in the unconscious mind. Granny is acquainted that her denouement is imminent; nonetheless, she does not counter-offend the ordinary plot of actuality.
“Did you send for Haspy too?It was Hapsy she really wanted. She had to go to a long way back through a great may rooms to find Hapsy standing with a baby on her arm. She seemed to herself to be Hapsy also, and the baby on Hapsy’s arm was Hapsy and himself and herself, all at once, and there was no surprise in the meeting.”
Here, Granny Weatherall undergoes a Regressive chapter that matches her dying bid of glimpsing Haspy before she eventually passes on. The imagery of Hapsy’s childhood is a contributory regressive gear that assures Granny that Hapsy is with her on her culmination phase which is influential in according her a diplomatic demise. The retention of Haspy’s childhood are embedded in Granny’s undeletable unconscious.
