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One day several months later, Tejo wakes up and watches a rebroadcast of an old news story about people vandalizing art and statues involving animals after the outbreak of the virus. He greets Jasmine. Over the past few months, he taught her to wear clothes and live in the house. She is eight months pregnant.
After kissing Jasmine goodbye, Tejo locks her in her room, where she can draw, eat, sleep, watch TV, and more. On his way to work, Tejo receives a call from Cecilia, who now calls often. Tejo is afraid to tell her about Jasmine.
Arriving at the plant late, Tejo skips his usual cigarette and goes to the lobby to welcome a delegation from the Church of the Immolation, whose members have a legal option to offer themselves as food, which Krieg facilitates in exchange for tax breaks. Secretly, however, volunteers from the church are fed to the Scavengers. A few months ago, Mari, a secretary at Krieg, loudly interrupted a delegation from the church and tried to stop a young woman from offering herself as food. Later, as Tejo escorted the young woman through the plant on her way to be stunned, she tried to escape, but Sergio managed to stop her.
Today, Gastón Schafe, a 70-year-old man, leads the delegation in reciting the church’s creed, which includes the tenet that humanity “is our own virus” (128), before offering himself up to be converted into food. After the delegation leaves, Schafe is stunned and thrown to the Scavengers.
At home, Tejo showers and then greets Jasmine. Since she started living inside, Tejo finds his house feels more like a home again. The house is carefully set up to keep Jasmine safe, with dangerous items locked away since she accidentally cut herself with a knife while trying to carve designs into the floor. A new cot, which Tejo built by hand, waits in Leo’s room for the baby to be born. A camera in Jasmine’s room allows Tejo to keep an eye on her throughout the day.
Tejo visits a game reserve that purchases head from Krieg and meets with the owner, Urlet, whose long nails Tejo finds repulsive. Drinking wine at a desk behind which several human heads are displayed as trophies, Urlet describes the pleasure he derives from eating living flesh. Tejo senses that there is some kind of presence in Urlet’s body trying to escape.
After giving Tejo his latest order for more head, Urlet tells him about a new program at the game reserve, whereby celebrities who are in debt allow themselves to be hunted for a fixed period of time. If they survive, Urlet pays their debts. Through the window, Urlet shows Tejo that Ulises Vox, a famous musician, has just been captured by hunters.
About to leave, Tejo runs into Guerrero Iraola, who runs a breeding center. Krieg stopped ordering from Iraola after the quality of his product decreased. Iraola invites him to join him, Urlet, and the other hunters for a meal as they sample Vox. Reluctantly, Tejo accepts, reasoning that it is best to maintain relationships with other industry leaders. As they eat an appetizer made of fingers, Iraola talks about his experience at a cabaret where clients can, at great expense, sleep with a sex worker and then eat her afterward. Tejo overhears a man whispering that the person Iraola raped and ate was a 14-year-old virgin.
At Urlet’s insistence, Tejo samples the fingers and finds them delicious. Various other parts of Vox’s body are served as the hunters brag about their exploits.
Driving home, Tejo passes the zoo and remembers his last visit several months ago. At that time, he saw a group of teenagers torturing and killing the puppies. When a puppy bit one of the teens, the others suggested he would catch the virus, but the bitten teen replied that the virus was made up to allow the government to control people. To support his point, he referenced the film Soylent Green, in which people ate food made from human flesh without realizing it. Powerless to stop them, Tejo left.
Occasionally, government inspectors visit Tejo’s home to make sure that he is obeying all regulations related to keeping domestic head. Before accepting a higher-paying job at Krieg, Tejo was an inspector himself and helped devise the regulations. Alfonso Pineda, the head of the department overseeing domestic head, is Tejo’s friend and former partner. After the first inspection of the female FGP, Pineda assured Tejo that future inspectors would only ask for his signature.
Tejo recalls a case where he and Pineda discovered that a man was raping the domestic head he owned, to his wife’s jealousy. The man was sent to the slaughterhouse.
The day after returning from the game reserve, an inspector shows up at Tejo’s home and asks to see Tejo’s female FGP. Trying to hide his panic, Tejo learns that Pineda was promoted to a different position. Tejo calls Pineda, who instructs the inspector to accept Tejo’s signature and leave. The inspector, who reminds Tejo of his younger self, does as he’s told, but Tejo can tell he suspects that something is amiss.
As soon as the inspector leaves, Tejo hugs Jasmine and cries.
Tejo spends a day off work with Jasmine. With jazz music playing, he shows her how to dance.
Tejo wakes to a call from Nélida, who urges him to come to the nursing home. After calling off work, he sets off in his car. On the way, he begins to smoke but discards the cigarette after he begins to cough. He feels a sensation in his chest, “like there’s a stone in there” (165). He pulls over at the abandoned zoo, where he kicks the sign with the zoo’s name to the ground.
Arriving at the nursing home, Tejo learns that Armando died early that morning. At first, Tejo feels that his father is finally free, even as the stony feeling inside him intensifies. Then something shifts, and he cries.
As Tejo signs papers authorizing Armando’s cremation, Nélida tells him that Marisa also consented to the cremation but will not attend. She does, however, decide to hold a farewell service despite Tejo’s objections. Feeling the stone in his chest expanding, Tejo agrees bitterly.
As Tejo works with Nélida to hold the cremation right away, he is unusually direct and aggressive.
Whereas Part 1 focuses on events leading up to Tejo’s decision to sleep with Jasmine, Part 2 skips forward to examine the repercussions of that choice, including Jasmine’s pregnancy. The action of the plot rises as the strain of keeping his life with Jasmine a secret affects Tejo’s work, his relationship with Cecilia, and even his legal status as an inspector nearly uncovers the truth.
In terms of character development, Tejo continues to vacillate between horror at his role in the system of corporate cannibalism and his willingness to repress his emotions and carry on. Although he handles the visit from the Church of the Immolation with something resembling professional detachment, Tejo struggles to overcome his repulsion while visiting Urlet’s game reserve. He finds Urlet himself particularly troubling, as if some presence inside Urlet were trying to escape. He speculates that this presence could be the spirit of someone or something Urlet ate, but his description of Urlet’s “hypnotic and primitive” fingernails also opens the possibility that what lurks inside Urlet is not an outside entity but rather the harsh, greedy nature of humanity in its purest form. Whatever the case, Tejo masters his impulse to leave and again places his responsibility as an employee ahead of his personal wishes by staying for a meal with Urlet, reinforcing the theme of The Commodification of Humanity Under Capitalism. At the same time, characters like Urlet demonstrate that the profit motive itself is insufficient to explain the extent of the cruelty on display. Indeed, the thrill of the hunt and the pleasure of consumption are key motivators for Urlet and those who hunt at his game reserve. They carry the dehumanization inherent to cannibalism to its logical and extreme conclusion.
Balancing these instances of Tejo’s compliance with social customs are several moments of increasing deviation from the system. Tejo’s relationship with Jasmine deepens as he teaches her to live inside, and he comes to appreciate her strength and personality. Referring to her by name signals his perception of her autonomy and individuality, perhaps even her humanity. The various amusements Tejo provides for Jasmine, including drawing, indicate that she enjoys expressing herself. He even takes the time to dance with her. Thus, Tejo comes to see her as increasingly human and finds himself looking forward to seeing her when he returns home each day. In this way, Jasmine is a catalyst for Tejo’s internal conflict, highlighting the falsehoods and disregard for human life that uphold industrial cannibalism.
Tejo’s experience at the zoo in this section also highlights the social degradation he abhors. The violent behavior of the teens who assault and kill the puppies mirrors broader violence toward animals, and Tejo’s powerlessness to stop them reflects his impotence generally. The possibility, voiced by one of the teens, that the virus that turned humanity against animals was only a hoax, further underlines the teens’ disturbing behavior: At least one of them chooses to hurt the animals for pleasure rather than out of any virus-induced fears. Within the context of Bazterrica’s discussion of The Ethics of Meat Consumption, the question remains whether those who raise, kill, and eat meat—whether from human or animal sources—are morally superior to the teens who torture puppies for their own amusement.
These chapters also return to the theme of Language Versus Reality. When Tejo kicks down the sign to the zoo shortly after receiving news of his father’s death, his actions represent his bitter realization that the word “zoo,” a place where animals are sheltered (if kept in captivity), no longer represents that space. As he thinks to himself, “Now this place has no name” (166). The implication is that, as the gulf between narrative and reality grows, sometimes it is easiest to simply abandon language.
These chapters also see the return of the figurative stone in Tejo’s chest, which first appeared in his dream in Part 1, Chapter 18, as a symbol of his increasing attempts to seal off his emotions. Notably, as the stone expands, Tejo becomes less empathetic toward others, such as Nélida. That the stone should expand following the death of Tejo’s father comes as no surprise; without the need to support his father, Tejo’s purpose and motivation decrease significantly. With his last tether to the pre-Transition world gone, Tejo must choose whether to keep working at the slaughterhouse or find a new path.
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