I. Overview
        Abel gives Kua-ko the match box even though he skips out of his end of the bargain.  Kua-ko teaches Abel to use the Zabatana with un-poisoned darts, with which he slowly makes progress.  Abel makes a joke about being able to hit a "bird not smaller than a man" (39), which amuses Kua-ko greatly, but also puts another thought in his head.  Abel goes into the woods several more times, observes a spider, and finally glimpses the ethereal Rima who quickly disappears.  After failing to find her, he quits the woods and spends his time with Kua-ko.  They talk upon the subject of marriage and self torture; Kua-ko states he would sit in a bag of fire ants to prove himself.  Then Kua-ko says that Abel will be able to hit a small woman soon, which makes Abel angry.
      Abel returns to the woods and retreats from killing a poisonous coral-snake at Rima's beckoning.  The snake winds around her leg, and bites Abel when he touches Rima.  A powerful storms comes, lightning crashes and he jumps onto a tree, falling down to the ground and blacking out.  He awakes in Nuflo and Rima's shelter, where Rima looks more plain and speaks Spanish, not her cryptic bird language.  They feed him and Nuflo criticizes the Catholic church and Saints.  Oddly, Nuflo has two dogs named Sucio and Goloso (Dirty and Greedy).  Abel and Rima go back into the woods and start what seems to be a mating ritual.  We also learn her thin dress is made of spider-web.

II. Analysis
        Hudson fixates on the theme of nature and birds in Green Mansions, incorporating sights and sounds of birds and spiders.  It is written in a first person/limited point of view, which helps to create suspense, as we never step away from what Abel knows to be true.  Hudson delays the reader's exposure to Rima with an abundance of sounds: Abel is forever following Rima's bird language.  This delay creates a mind's eye view and expectation of what she looks like before we are introduced.  Rising action fills these chapters--the meeting of Rima and her grandfather, and falling out of the tree, the courtship in the woods.   Hudson describes Rima as translucent, chameleon-like, and ethereal, which takes the novel to higher-state, a state of fantasy.  Very interestingly, Rima's dialogue mimics the sound of birds with repeated words like "trees, trees" (71) and "sleep, sleep" (72).
       When the snake wraps around Rima's ankle, one cannot deny the Eve/serpent biblical imagery.  Also, some of the dialogue has biblical diction: "Shed no blood and eat no flesh" (68).  Hudson also makes the statement that you need powerful, serpent slaying saints in the Amazon, not the slothful, incompetent ones.
       Forests and storms are archetypal of bad and evil. In Hudson's forest, we are faced with beautiful imagery and sounds, breaking away from the normal archetype.  Bad things happen such as the snake-bit, getting lost, and the fall, but so do good things, such as the eroticism between Rima and Abel.  As
readers, we want Abel to go into the forest to find love.

Question 1: How does Hudson create mood?
Question 2: How do trust and mistrust operate in the narrative?