The narrative reaches its emotional peak in a final, quiet scene of mistaken identity. Her grandfather, whose health is deteriorating, mistakes Yolanda for his long-lost wife—her grandmother. Rather than correcting him, Yolanda willingly steps into this role. This act of "consenting" to the illusion serves as a form of consolation for both characters:
Others have compared “Amor Divino” to the work of the 16th-century Spanish mystic St. John of the Cross, who wrote The Spiritual Canticle using erotic imagery to describe the soul’s union with God. Álvarez acknowledges this tradition but updates it for a modern, feminist, post-colonial context. Where St. John wrote from a monastery, Álvarez writes from a woman’s bedroom. amor divino julia alvarez summary
The story reaches its peak on the night of a lavish parish celebration. Tía Flor, dressed beautifully and clearly hoping to finally declare her love or run away with Father Antonio, waits for him. But he never arrives. Instead, a note is delivered: Father Antonio has eloped—with from a wealthy family. The narrative reaches its emotional peak in a