What happens in Chapter 1 of Bless Me, Ultima?
Chapter One begins with six-year-old Antonio Márez y Luna awake in the pre-dawn darkness of his family's home in Guadalupe, New Mexico, during the closing years of World War II. His parents are arguing quietly about the upcoming arrival of Ultima, an elderly curandera who had cared for Antonio's mother when he was born. Gabriel Márez, Antonio's father and a restless vaquero eager to move the family to California, yields to his wife María's desire to welcome the old healer. As dawn breaks and Ultima arrives, Antonio watches from his bedroom window, captivated by the sight of her owl—her spiritual guide—perching in the juniper tree outside. Ultima acknowledges Antonio with an unsettling familiarity, telling him she has been waiting for him. She is given the small room at the back of the house. That night, Antonio dreams of his own birth: the Márez uncles, wild and weathered, clash with the Luna brothers, quiet and grounded, over the destiny of the newborn child. Ultima stands apart from both families, collecting the afterbirth and burying it beneath the juniper, binding Antonio's fate to the land and to her guidance.
Analysis
Anaya opens Bless Me, Ultima with a chapter that feels more like an incantation than an exposition. The choice of a pre-dawn hour is intentional: this liminal space—the boundary between night and day, childhood and knowledge, the sacred and the secular—shapes the novel from the start. Antonio's position at the window captures this perfectly; he observes but hasn't yet joined in, a stance he will maintain throughout the story.
The dream sequence represents the chapter's most daring move. Anaya seamlessly transitions from realist domestic drama into mythic territory, allowing the two family clans to act as allegorical forces: the Márez symbolize the restless, wind-swept Llano, while the Lunas represent the patient, cyclical earth. Antonio stands as the contested child between these two families, and the dream brings his internal struggle to the surface before he can articulate it. Ultima's act of burying the afterbirth doesn't resolve anything; instead, it sanctifies the tension without eliminating it.
The owl warrants special attention. Its arrival aligns perfectly with Ultima's, and Anaya describes it with the same weight as he does the old woman herself, subtly presenting the animal as an extension of her spirit. This connection will have dire implications later on; for now, it creates an atmosphere, a low hum of the uncanny beneath an otherwise ordinary scene.
Tonal control is sharp: the prose is warm and sensory on the surface—woodsmoke, the scent of the river—while the dream sequence takes on a ceremonial, almost choral quality. Anaya skillfully balances the mystical with the specific, and this restraint makes the chapter's closing image, Ultima's hands in the earth, feel earned rather than merely decorative.
Key quotes from Chapter 1
“I have waited a long time for you, Antonio. I knew this day would come.”
Ultima speaks directly to Antonio upon their first meeting at the doorway, immediately marking him as singular and foreshadowing her role as his spiritual guide.
“The owl was her soul.”
Anaya's spare, declarative statement introducing the bond between Ultima and her familiar, establishing the novel's central symbol of protective, otherworldly power.
“Take the baby's afterbirth and bury it in the earth of the llano… so that he may always have the strength of his father's people.”
Spoken during Antonio's birth-dream by the Márez uncles, the line crystallises the competing claims on Antonio's identity that will drive the novel's entire moral and spiritual arc.