Coal-pot

 

Coal-pots are common in Caribbean cooking, remarked for their utility and versatility. While they are a staple of Caribbean culture, in this story they represent not only culture but also the arc of Mamitz’s empowerment.

In “Triumph,” the coal-pot represents the social role of women, and how Mamitz is able to use her attractiveness to raise herself above her station. In the barrack-yards, a coal-pot is one of the few possessions most of the women have regardless of wealth; throughout the story, Mamitz’ coal-pot sees a transformation alongside her own.

At the beginning of the story, Mamitz has been left by her lover and is at risk of being evicted. She cooks chicken alongside the other women on Sundays but struggles to eat enough during the week. However, when Popo takes a liking to her, “He paid the rent…and every Sunday morning Mamitz was stirring beef or pork or chicken in her pot…More than that, whenever Popo said he coming to see her, he gave her money to prepare a meal so that sometimes late in the week…Mamitz’ pot smelt as if it was Sunday morning.” (42).

Her coal-pot became richer and fuller after she accepted the butcher, receiving better cuts of beef from him and though he was envious and harsh, “She was prosperous and pretty happy...thicker than ever…” (43). After she began to see Popo as well, she got food from both, and her coal-pot was filled even more.

By the end of “Triumph,” Irene realizes that Mamitz had received a second coal-pot from the butcher—filled not with food, but with fifty dollars in notes. While the women had been used for their sexuality in exchange for just enough money to survive, Mamitz had taken power from the men by using her body in her own manner. Though Nicholas the butcher still abused her, Mamitz was able to thrive as she decided to pursue both Popo, the man she wanted, and Nicholas, the man who offered her prosperity.