The Glass of Milk

The protagonist in “The Glass of Milk” struggles with his values in the face of unalterable circumstances. The central conflict—that the young man has not eaten in three days—is established in the first paragraphs. Exposition about the young man’s history working on boats adds context and relates this story to the picaresque genre, in which a lower-class protagonist in a corrupt society has adventures and gets by on his wits. Picaresque stories are often satirical, and the allusions to the genre reflect on this young man’s society, highlighting the corruption necessary for people to be simultaneously laboring and starving. Additionally, the protagonist differs from a typical picaro. He is not cunning or mischievous; he is timid and honest, which casts him less as a hero than an everyman. This status is reinforced by his lack of a name, similar to the story’s other characters. The voice of the detached narrator adds veracity to this account, and the story itself can be seen as a work of realism.

The protagonist is a dynamic character, beginning the story adhering to a personal code and believing one should work for money and food. He feels too ashamed to accept the meal from the sailor, and his work experience demonstrates his willingness to work. Even in extreme poverty, he maintains this code, though Rojas immediately undermines this idea. Rather than being rewarded for his restraint, another “vagabond” accepts the sailor’s offer, filling his stomach while the young man remains hungry. Later, the young man tries to earn a meal the right way—performing heavy labor—and has nothing to show for it; he ends his shift unpaid, exhausted, and hungry. This shows that his circumstances are unalterable, and it is naïve of him to think that he can solve these issues simply through hard work. The author suggests this moral code is imposed by an oppressive society to control him, even making him ashamed simply for needing to eat. In reality, the system itself is shameful for allowing the young man—and with him, the working class—to starve.

The side characters provide insight into the work’s themes. Others in the story notice the young man’s poverty, and he is “ashamed that his appearance was prompting feelings of pity” (Paragraph 11). This contrasts with the vagabond, who does not show the same restraint the young man does. He is older than the young man, suggesting that he has more experience living in poverty, and his behavior is molded by economic oppression. While their actions are different, neither character has a name; these circumstances, perpetuated by capitalism, erase individuality and speak to The Dehumanizing Nature of Poverty. As such, Rojas suggests that moral codes surrounding poverty and dignity are simply ways to subjugate the lower classes and force them to self-police. The young man only escapes starvation when he acts outside this code, intending to steal a meal. His act of deceit—ordering food he cannot afford—is met with compassion. The blonde woman comforts him and offers him a second helping. Her role demonstrates an ideal system in opposition to capitalist exploitation: Those who are hungry should be fed. The use of milk and cookies—generally thought of as treats—as the young man’s life-saving meal highlights the idea that people in poverty should be treated with kindness in dignity.

The juxtaposed settings of sea and land reinforce the story’s anti-capitalist critique. The young man admires the sea: “He was possessed by his obsession for the sea, which bends even the smoothest and most defined lives as a strong arm would a thin rod” (Paragraph 22). This suggests the young man also admires the communal aspect of life at sea; rather than each person pursuing a radical individualism, sailing relies on the cooperation of the crew. The young man also remarks on his experience doing “chores and jobs that on land were almost pointless” (Paragraph 22), highlighting situations in which every worker is valued. This communality can be seen in the work scene, where the young man helps load a ship with wheat. He describes the workers as “a line of men […] marching” (Paragraph 26)—they work as a unit, not individuals, represented in the plural noun (men) and their coordinated activity.

The sea provides a sense of direction for the young man, and this direction is not found in the city. Fate is not mentioned in relation to the sea, but its absence is felt on land: “He wandered around, waiting for fate to give him something that would let him live somehow as he returned to his familiar fields, but he didn’t find anything” (Paragraph 23). He feels the city is overcrowded and bleak, “a place of slavery, airless, dark, lacking the expanse of the sea, and where in between high walls and straight streets people lived and died dazed by an anguished toil” (Paragraph 21). The city’s alienation is embodied in the old man at the dairy, in part by the contrast in his and the young man’s circumstances; he has time for leisure and money for milk, while the young man has toiled and is starving. The man interacts with no one, only reading his newspaper, highlighting individuality as juxtaposed with the sea and ship’s unity.

The blonde woman is the exception to the city’s cruelty as she nurtures the young man, comforting him and feeding him even when it’s clear he can’t pay her. Acting as a maternal figure, the woman’s kindness and compassion allow the young man to experience catharsis. As he eats and weeps, he feels rejuvenated and more like himself, once again speaking to the dehumanizing nature of poverty. Being nurtured—physically and spiritually—is integral to humanity, and the young man’s cries represent his catharsis and restoration to his former self. Once nourished, the young man can keep on, though the fatigue in his muscles hints that his struggle will continue. Rojas suggests that to help the lower classes, the oppressive system that subjugates them must be changed. This will ensure they are not simply unnamed characters but equal and active members of the world.