“Scent of Apples” by Bienvinido N.

Santos
Historical Biographical Criticism

Bienvenido Santos, a distinguished Filipino-American author and diplomat, crafts a

poignant narrative in “Scent of Apples,” a short story that serves as a reflection of his own
experiences as an immigrant navigating the complexities of cultural displacement. Born in 1911,
Santos embarked on a literary journey that not only showcased his literary prowess but also
became a testament to the challenges faced by Filipino immigrants in the United States. This
critique delves into the biographical elements of Santos’ life, exploring how his background as an
immigrant and diplomat influenced the narrative structure, character development, and
overarching themes in “Scent of Apples.” By examining Santos’ personal journey, we gain
valuable insights into the layers of cultural identity, nostalgia, and the nuanced depiction of the
Filipino experience in a foreign land.

“In ‘Scent of Apples,’ Bienvenido Santos masterfully intertwines his personal experiences
as a Filipino-American immigrant and diplomat with literary artistry, illuminating the narrative
with a profound exploration of cultural displacement, nostalgia, and the complexities of identity.
Through a biographical lens, this critique analyzes how Santos’ unique background shapes the
story, enriching it with nuanced characters and intricate themes, ultimately showcasing the
profound impact of the author’s life on the evocative tapestry of ‘Scent of Apples.’’

Bienvenido Nuqui Santos was born in March 22, 1911. He was a Filipino-American
fiction, poetry and nonfiction writer. He was born and raised in Tondo, Manila. His family roots
are originally from Lubao, Pampanga, Philippines. He lived in the United States for many years
where he is widely credited as a pioneering Asian-American writer.

Santos received his Bachelor of Arts degree from the University of the Philippines where
he first studied creative writing under Paz Marquez Benitez. In 1941, Santos was a government
pensionado (scholar) to the United States at the University of Illinois, Columbia University, and
Harvard University. He had arrived in San Francisco on October 12, 1941, aboard the Ruth
Alexander leaving his wife and three daughters in the Philippines. When war in the Pacific came
to the Philippines on December 8 (December 7 Hawaii time) he feared he would never see his
family again—a reality that “not only interrupted his study of realism; it was overwhelming it”
leading to a transformation in his sense of national consciousness and identity. That crisis
changed the nature of his writing into a less carefree style to one mixing Laughter and pain;
described by Florentino Valeros as “a man hiding tears in his laughter.”

During World War II, he served with the Philippine government in exile under President
Manuel L. Quezon in Washington, D.C., together with the playwright Severino Montano and
Philippine National Artist Jose Garcia Villa. Santos left for home on January 17, 1946, aboard
the Uruguay arriving in early February.

In 1967, he returned to the United States to become a teacher and university

administrator. He received a Rockefeller fellowship at the Writers Workshop of the University of
Iowa where he later taught as a Fulbright exchange professor. Santos has also received a
Guggenheim Foundation fellowship, a Republic Cultural Heritage Award in Literature as well as
several Palanca Awards for his short stories. Scent of Apples won a 1980 American Book Award
from the Before Columbus Foundation.

“Scent of Apples” by Bienvenido Santos is part of a short story collection of the same
name published in 1978 by University of Washington Press. “Scent of Apples” tells the story of
ne man and his family’s unique experience as Filipino immigrants to the United States. It’s a
unique story, as Santos himself is a character in it. Since the story is told from Santos’s point of
view. Santos wrote “Scent of Apples” during the Rebirth of Freedom—a period of activism
following WWII and the restoration of independence to the Philippines.

The fact that Santos is a character in the story suggests a potential intertwining of the
author’s experiences with fiction. His role in the narrative invites exploration into how his
personal journey as a Filipino immigrant may have influenced the portrayal of the protagonist’s
immigrant experience. The mention of Santos writing during the Rebirth of Freedom, a period of
post-WWII activism and the Philippines’ restoration of independence, adds layers to the analysis.
Biographically, Santos’s engagement with this historical context may have shaped the narrative’s
tone and themes. It becomes a canvas where his own observations and sentiments about the era,
activism, and the Filipino diaspora find expression.

The title “Scent of Apples” itself holds biographical significance. Apples are not native to
the Philippines but are associated with the United States. This choice of imagery could reflect
Santos’s own encounters with cultural dissonance, exploring themes of identity, belonging, and
the clash of two worlds. His role as a character in the story, and the historical backdrop o of the
Rebirth of Freedom collectively shape the unique narrative of “Scent of Apples.” The work
becomes a literary reflection of both individual experience and broader historical currents.

Santos’s dilemma in responding to the question about Filipino women reflects the
author’s own uncertainties about cultural comparisons. Bienvenido Santos, the author, was an
immigrant to the United States. The hesitation and concern Santos exhibits in responding to the
question about Filipino women may parallel the author’s own challenges in navigating cultural
differences and stereotypes as an immigrant.

The encounter with Celestino Fabia serves as a reflection of Santos's real-life connections
with the Filipino diaspora in the U.S. Santos’s willingness to engage with Celestino Fabia, a
fellow Filipino living on farmland in Kalamazoo, mirrors the author’s potential interactions with
members of the Filipino community. The detailed description of Fabia’s life and his journey to
hear Santos speaks to the shared cultural bonds and the desire for connection among Filipino
immigrants.

The nostalgia triggered by apple trees underscores Santos’s internal struggle with
assimilation and the longing for home. Santos’s emotional reaction to apple trees, reminiscent of
his homeland, aligns with the author’s personal experience as an immigrant. This suggests that
Santos’s struggle to balance memories of home with the challenges of building a new life in the
U.S. may echo the author’s own sentiments.
 Santos’s conflicted feelings about Ruth reflect societal expectations and biases, possibly
influenced by the author’s own cultural background. Santos’s embarrassment and internal
conflict when meeting Ruth may reflect the societal expectations and biases ingrained in the
author’s cultural upbringing. The emphasis on Ruth’s physical appearance and Santos’s
discomfort alignswith potential cultural norms that could influence perceptions of beauty and
social expectations.

Fabia’s reluctance for Santos to visit his hometown may reflect the author’s own concerns
about the changing landscape and memories of his homeland. Fabia’s reluctance to have Santos
visit his hometown, expressing concerns about being forgotten, might reflect the author’s own
worries about how time and change impact one’s connection to their roots. This hesitation could
be an exploration of the author’s feelings toward revisiting his past in the Philippines.

Santos’s empathy towards Fabia’s financial struggles and lack of concern for superficial
details align with the author’s values and perhaps personal experiences as an immigrant. Santos’s
understanding of Fabia’s financial challenges and lack of superficial judgment resonates with the
author’s potential experiences as an immigrant facing similar hardships. This empathy suggests
that the character’s values may reflect the author’s own beliefs and attitudes towards materialism
and genuine human connections.

The decision to include Santos’s future plans, expressing a desire to return home, reflects
the author’s ongoing connection to his roots and the impact of the immigrant experience on
identity. Santos’s intention to visit Fabia’s town and his reluctance to have Fabia remember it as
it is now may mirror the author’s own yearning for a connection to his homeland and a desire to
preserve certain memories. This illustrates the enduring impact of the immigrant experience on
one’s sense of identity and belonging.

In conclusion, a biographical analysis of the passage from “Scent of Apples” by

Bienvenido Santos provides a rich understanding of the intricate interplay between the author’s
life, experiences, and the narrative elements. The author’s immigrant journey becomes a lens
through which we perceive the complexities of cultural adaptation, identity, and the evolving
Filipino diaspora in the United States. Santos’s portrayal of himself as a character in the story
and his response to questions about Filipino women reflect the author’s own uncertainties and
challenges as an immigrant navigating cultural differences. The encounter with Celestino Fabia,
a fellow Filipino, serves as a poignant reflection of the author’s real-life connections within the
Filipino diaspora, capturing the shared cultural bonds and desire for connection.

Overall, analyzing the biographical background of the author enhances our appreciation
of “Scent of Apples,” transforming it into a layered exploration of the author’s personal journey,
cultural identity, and the multifaceted experiences of Filipino immigrants. Bienvenido Santos
skillfully weaves elements of his own life into the narrative, offering readers a poignant and
authentic glimpse into the challenges and joys of cultural adaptation and the enduring ties to
one’s homeland.
 “Scent of Apples”

by Bienvinido N. Santos

The story “Scent of Apples” written by Mr. Santos is about a man who is longing for his
native land. This story focuses on the real score of Filipinos who cannot come back to the
Philippines because of poverty. It reflects the immigrant-character yearning to come back to his
land. And when he sees a fellow Filipino, he was very delighted to introduce himself as well as
his family to him. It is meant to show that not all Filipinos are lucky to go abroad and it is indeed
possible the lives of Filipinos to be miserable and suffer from poverty even in abroad.

One night Mr. Santos net Celestino Fabia, a farmer. He was surprised to see a who
travelled really long just to make conversation to him. The man asked in a little incorrect
English, how the Filipino women of today were different from the stereotype he was familiar
with. Then, Mr. Santos replied that although they differ in the exterior, both women of different
generation bear the heart and soul of a modest Filipina, God-fearing, faithful and nice. Mr. Fabia
talked about his farm to Mr. Santos. His family invited him to his house where his wife, Ruth,
will be pleased to meet a first class Filipino. He also told him about his son, named Roger with
pride. On the next day, Mr. Fabia picked him up. When they arrived in the farm, the fragrance of
apples was spread in the area. He noticed how Ruth’s hospitality and gracious was almost
Filipino have and how delightful Roger really was.

Each time Fabio smell the scent of the apples, he always remember his country, our
country that has no apples. He has the feeling of loneliness every day because he smells the scent
of the apple every time. He bade farewell to the family and Mr. Fabia took him back to the hotel.
He offered to drop news to his family when he got back to the Philippines but Mr. Fabia refused,
saying that they might have already forgotten him. Thus, the feeling of loneliness, exile and
isolation are the common feelings of immigrant Filipinos, it comes with the fear of no longer
belonging to a culture which itself seems at times to be wasting away, and finds expression in the
rhythm of arrangement provided by the selections in Scent of Apples
 “Heart of Darkness” by Joseph Conrad

Marxist Criticism

In Joseph Conrad's "Heart of Darkness," a literary work from the 1800s, readers go on a
complex adventure into colonial Congo. This journey involves both real and symbolic aspects.
The story carefully reveals the details of European control over Africa, highlighting its deep
effects on Africa and the difficulties the poor classes face. Essentially, this critique uses a Marxist
viewpoint to examine how Conrad shows the economic differences, misuse, and loss of human
dignity suffered by the local people during the colonial period.

Through the lens of Marxist criticism, the novel becomes a powerful exploration of social
economic structures and class struggle. The indigenous people, vividly depicted within the dense
jangles and impenetrable darkness, become a focal point for analysis. Their lives serve poignant
narrative thread, revealing the stark realities of economic exploitation and the dehumanizing
effects of imperialism. By delving into the economic disparities faced by the lower classes in this
colonial setting, readers can discern underlying critiques of capitalism and the inherent
exploitation woven into these systems.

The narrative structure and contrasting character perspectives in “Heart of Darkness play
a crucial role in exposing the paradoxes of 19th-century imperialism. The transformation of the
protagonist, Marlow, from initial fascination horrified realization, becomes a poignant
commentary on the dark realities concealed beneath the veneer of imperialistic endeavors. The
novel, therefore, not only provides a vivid portrayal of exploitation and inhumane treatment in
Africa but also serves as a scathing critique of the broader socio-economic systems of the time.

This novel employs a framed narration, where Marlow recounts his journey to Central
Africa to find Kurtz, an ivory collector, to his colleagues. The narrative extensively explores
Marlow’s travels along a tropical river, revealing horrifying details of indigenous life and
depicting colonial oppression. The author critically contrasts the darkness within both British and
African societies, referring to Africa as the Dark Continent. The work sheds light on the
contradictions of late 19-century imperialism by exposing the exploitation of foreign lands,
particularly Africa and its people. Through character names and dialogue, Heart of Darkness
vividly contrasts the paradoxes of imperialism, highlighting the stark differences between black
and white individuals

Heart of Darkness condemns the 19-century imperialism marked by the unjust treatment
of subordinate populations. Conrad conveys his stance on imperialism through Marlow’s
evolving perspective, contrasting his initial fascination with its possibilities to the horror he feels
at the story’s end. Marlow’s haunting reflection, “The horror! The horror!” illustrates his
profound distress upon witnessing the inhumane treatment of Africans during his journey. The
novel exposes the true nature of imperialists, challenging the façade of benevolence they sought
to project. Heart of Darkness critiques imperialism by depicting the suffering it inflicted on
certain nations.
 In “Heart of Darkness, the economic gaps are starkly evident through the depiction of the
ivory trade in the Congo. The Company, representing European imperialism, ruthlessly exploits
the vast resources of the African continent, primarily ivory, for economic gain. The ivory is
treated as a commodity, a symbol of wealth and power for the European colonialists.

“The word ivory would ring in the air for a while-and on went again into the silence,
along empty reaches, round the still bends, between the high walls of our winding way.” The
repetitive reference to ivory highlights its economic significance. The trade in ivory becomes a
driving force, with the Company’s relentless pursuit of profit overshadowing ethical
considerations.

“They were dying slowly it was very clear. They were not enemies, they were not
criminals, they were nothing earthly now nothing but black shadows of disease and starvation
lying confusedly in the greenish gloom.”

The description of the workers as “black shadows of disease and starvation” underscore
their dehumanized state. The use of “black shadows” suggests not only the physical toll of labor
bot also the erasure of their individual identities. This dehumanization is a direct result of their
exploitation within the capitalist system, reducing them to mere remnants of their former selves
The phrase “dying slowly emphasizes the gradual decay of the laborers, mirroring the slow
deterioration of their physical and mental well-being under the harsh conditions imposed by the
Company. The workers are portrayed victims “they were enemies, they were not criminals. This
challenges the prevailing narrative that justifies exploitation by dehumanizing certain groups. By
highlighting their innocence, Conrad suggests that their suffering is a consequence of systemic
economic exploitation rather than a deserved punishment. By presenting the laborers as “nothing
earthly now, “Conrad prompts readers to recognize the profound alienation and dehumanization
inflicted by capitalism. This can be seen as a call to action, urging society to confront the human
cost of unchecked economic pursuits and to perpetuate such suffering reevaluate the le systems
stems that

The treatment of African natives by European colonizers reflects social class struggles.
The Africans are dehumanized and exploited for their labor. Conrad describes scenes of brutality
and oppression, emphasizing the hierarchical power dynamic between the colonizers and the
colonized. Kurtz, a central character, embodies the consequences of unchecked power. Initially,
he is sent to hiring civilization but ends up becoming the embodiment of savagery. His decent
into madness illustrates the corrupting influence of power, reflecting the darker aspects of social
hierarchy. The social class structure is evident on the steamboat journey up the Congo River The
manager and the chief accountant represent the upper echelons of the company, while the lower-
class workers have harsh conditions. This illustrates the stratification within European colonial
society. The novel suggests a disconnection between the European upper class and the harsh
realities faced by those in the colonies. The society back in Europe remains indifferent to the
suffering caused by imperialism, highlighting a lack of empathy and understanding across social
classes.
 “I [Marlow) could see every rib, the joints of their limbs were like knots in a rope, each
had an iron collar on his neck, and all were connected together with a chain whose bights swung
between them, rhythmically clinking”. This passage from the novel vividly illustrates the power
dynamics inherent in colonial exploitation. The natives, portrayed as an inferior class, are
subjected to severe physical and symbolic subjugation. The “iron collar” on their necks signifies
a form of bondage and control imposed by the capitalist class, embodied by the directors of the
companies. This control is not merely economic but extends to the very bodies and lives of the
native people

The stark imagery of emaciated bodies and visible ribs emphasizes the harsh conditions
to which the natives are subjected, highlighting their vulnerability and helplessness. The chains
that connect them reinforce their collective subordination, and the rhythmic clinking suggests a
dehumanizing routine that reduces them to mere commodities in the service of profits.

In essence, the description underscores how the capitalist class, represented by the
directors, exercises unchecked authority over the natives, exploiting their labor and humanity for
economic gain. The natives plight serves a poignant commentary the dehumanizing
consequences of imperialist and capitalist systems, emphasizing the stark inequalities and moral
ramifications of such power dynamics.

The indigenous people face brutal treatment from the white figures, including Company
employees and pilgrims, who compel them into harsh labor for meager wages. This mistreatment
extends to chaining, torturing, and even killing them, exemplified by the pilgrims firing upon
natives us the steamboat departs. The portrayal of the natives as a collective background rather
than distinct individuals underscores their marginalization in the narrative.

In conclusion, “Heart of Darkness” by Joseph Conrad reveals the conflicts and struggles
related to social classes, especially in the context of European imperialism. The novel brings
attention to the exploitation, economic differences, and ethical dilemmas inherent in colonial
activities. By doing so, it encourages readers to contemplate the societal inequalities and
challenges faced by those in lower social classes.

Joseph Conrad, a Polish-born British author, drew from his experiences as a sailor and
his exposure to various cultures to provide a nuanced portrayal of social classes in his novel. His
observations of the effects of imperialism on both the colonizers and the colonized are evident in
the narrative. As an outsider to the British upper class, Conrad critically examines the social and
moral implications of European imperialism.

The novel highlights the social class struggles of the European colonizers themselves.
Characters like Kurtz, an ivory trader, are placed at the top of societal influence, but their high
status comes with moral compromise. The interactions between the colonizers and the
indigenous African populations highlight the social class struggles inherent in imperialism.
Charles Marlow, a character positioned between these social classes, serves as a lens for the
reader to observe these conflicts and struggles. Initially attracted to the idea of imperial
adventure, Marlow becomes increasingly disillusioned as he witnesses the moral compromises
and exploitation that define the colonial endeavor. His journey symbolizes the internal conflict
faced by individuals caught between societal expectations and the harsh realities of imperialism.
 “Heart of Darkness”

by Joseph Conrad

Heart of Darkness tells a story within a story. The novella begins with a group of
passengers aboard a boat floating on the River Thames. One of them, Charlie Marlow, relates to
his fellow seafarers an experience of his that took place on another river altogether—the Congo
River in Africa. Marlow’s story begins in what he calls the “sepulchral city,” somewhere in
Europe. There “the Company”—an unnamed organization running a colonial enterprise in the
Belgian Congo—appoints him captain of a river steamer. He sets out for Africa optimistic of
what he will find.

But his expectations are quickly soured. From the moment he arrives, he is exposed to the
evil of imperialism, witnessing the violence it inflicts upon the African people it exploits. As he
proceeds, he begins to hear tell of a man named Kurtz—a colonial agent who is supposedly
unmatched in his ability to procure ivory from the continent’s interior. According to rumour
Kurtz has fallen ill (and perhaps mad as well), thereby jeopardizing the Company’s entire
venture in the Congo.

Marlow is given command of his steamer and a crew of Europeans and Africans to man
it, the latter of whom Conrad shamelessly stereotypes as “cannibals.” As he penetrates deeper
into the jungle, it becomes clear that his surroundings are impacting him psychologically: his
journey is not only into a geographical “heart of darkness” but into his own psychic interior—
and perhaps into the darkened psychic interior of Western civilization as well.

After encountering many obstacles along the way, Marlow’s steamer finally makes it to
Kurtz. Kurtz has taken command over a tribe of natives who he now employs to conduct raids on
the surrounding regions. The man is clearly ill, physically and psychologically. Marlow has to
threaten him to go along with them, so intent is Kurtz on executing his “immense plans.” As the
steamer turns back the way it came, Marlow’s crew fires upon the group of indigenous people
previously under Kurtz’s sway, which includes a queen-figure described by Conrad with much
eroticism and as exoticism.

Kurtz dies on the journey back up the river but not before revealing to Marlow the
terrifying glimpse of human evil he’d been exposed to. “The horror! The horror!” he tells
Marlow before dying. Marlow almost dies as well, but he makes it back to the sepulchral city to
recuperate. He is disdainful of the petty tribulations of Western civilization that seem to occupy
everyone around him. As he heals, he is visited by various characters from Kurtz’s former life—
the life he led before finding the dark interior of himself in Africa.

A year after his return to Europe, Marlow pays Kurtz’s partner a visit. She Is represented
—as several of Heart of Darkness’s female characters are—as naively sheltered from the
awfulness of the world, a state that Marlow hopes to preserve. When she asks about Kurtz’s final
words, Marlow lies: “your name,” he tells her. Marlow’s story ends there. Heart of Darkness
itself ends as the narrator, one of Marlow’s audience, sees a mass of brooding clouds gathering
on the horizon—what seems to him to be “heart of an immense darkness.”