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Julia AlvarezA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The girls are playing outdoors when two men in khakis come to the property. Papi sees them and hides in the secret room made for such purposes. Yoyo knows that only guardias are allowed to carry guns, so these men are either criminals or police. Yoyo thinks back to a time when she told their neighbor that Papi had a gun, not knowing that he really did. Yoyo was beaten for that transgression because Papi could have been killed for owning a gun.
Laura comes, and she finds out that they are looking for Carlos. She sends Carmen to tell Victor that he needs to “pick up his tennis shoes” (201). Victor had been organizing a plot with the State Department when the State Department backed out. Laura considers offering the men sexual favors if they let her husband and daughters leave safely. Vic has been associating with young girls, and he leaves the one he is with to go help Carlos. Carla and Sandi are at Carmen’s house, and Carla has heard that Papito, her grandfather, no longer works for the United Nations. Vic tells the men that Carlos has been given a job in America and will be leaving soon. The girls are each allowed to bring one toy to America, and they have difficulty deciding what to bring.
Fifi, the youngest, remembers the least about their last day on the Island. She does remember one of the police officers bouncing her on his lap while he had an erection. She remembers when Chucha came to live with and serve the family. Chucha is Haitian, and on the night she went to Papito’s, Trujillo ordered all Haitians with dark complexions killed. Chucha never leaves the compound and prays for deceased de la Torre people in purgatory. She also works voodoo and spells. At night, she sleeps in a coffin in preparation for death. Chucha says goodbye to the girls, who cry. Chucha will be one of two servants who will stay on at the house until it is taken over by guardias. Chucha understands the difficulties the girls will face in America because she, too, is an immigrant in a land strange to her.
As younger children, the cousins are often paired off together. Yoyo is paired with Mundín, and they are the only “mixed-sex” pairing. Eventually, Mundín’s mother tries to stop this. The kids treat all the aunts’ and uncles’ houses, which are connected, as their own. Everyone gathers at their grandparents’ house for Sunday dinners, but their grandfather, Papito, is often sent out of the country on bogus missions because the men in charge were jealous of the educated and affluent.
The children’s grandmother always brings back gifts when she returns from the States. One year, Mundín receives a doll with all of the internal organs that he could play with and explore. Yoyo gets a story book. Their grandmother also gives Yoyo a paddle ball and Mundín a packet of clay, which Yoyo really wants. When Fifi is about to tattle on Mundín, he offers her some of the clay that Yoyo wants, which makes Yoyo jealous. Mundín tells her that if she pulls down her pants to prove she is a girl, he will give her some clay. Both Yoyo and Fifi do so in an old coal shed. Yoyo knows that, being older than Fifi, she should know better. The aunts have been telling the older girls that they must protect their bodies. Mundín is unimpressed with the girls, and he gives them some clay.
Charito and Jose met each other in Europe. They went back to the Dominican Republic, where they built a house that the children considered to be Hansel and Gretel’s house. They saw Charito as a witch. Sandi, in first-person narration, says, “I was born to die one of the innumerable, handsome de la Torre girls” (241). Sandi has artistic abilities, however. Milagros comes to Sandi and tells her that her child is ill and that she must come release him, believing that Sandi’s drawings of the baby caused the illness. Sandi burns the drawing, and the baby is healed. She starts drawing cats on the wall, and after she is punished for this, rats invade the home. The family decides to ask Charito to give Sandi art lessons.
While Charito initially refuses to teach the children—14 sisters and cousins in all—she eventually relents. Charito puts them through some exercises to prepare them, but Sandi cannot hold herself back and starts drawing a cat on the paper in front of her. Charito is upset, and Sandi is removed from the room and told to stay in a chair assigned to her. She rebels against this control and leaves, finding a shed outside. She peeks inside and sees a man, naked, carving a woman’s body into wood. The man sees her, and she breaks her arm running away. She has to wear a cast, and when she gets it off, they discover it has not healed properly, and her arm has to be broken again and reset. Even after her arm heals, she no longer draws. She has the temperament of an artist, but no way to express it. That Christmas at the cathedral, she sees the statues the man was carving and that the Virgin Mary he carved has Sandi’s face. Sandi is overcome with joy.
Everyone is excited because Papi has returned from America, and he has a gift. Gladys has many saint statues in her room, and she takes the time to explain them to Carla. Papi gives each of the girls a gift, and at first, they are underwhelmed at the statues. Then, Papi shows them that they are banks, and if they put in a coin, the statue moves. The girls now love them. The banks are meant to help children save to donate to the church. Carla tries to get the money out, but her father holds the keys. The kids at school love the banks, but eventually, the banks are relegated to an abandoned shelf in the toy room.
On Christmas, everyone, including the servants, open their presents. Later Gladys approaches Carla and asks her if she will trade the wallet, along with the money she received, for Carla’s bank. Carla tells Gladys that she will just give her the bank. One day Mami asks Carla where the bank is, and Carla feigns ignorance as they search it out and cannot find it. That Sunday, Mami finds the bank in the maids’ room, and when she confronts Gladys, the woman leaves in tears. Carla explains that she gave it to Gladys as a gift. Gladys still leaves, as Papi tells Carla that they cannot trust her and that she asked to leave. The bank is broken.
Mamita buys a drum for Yoyo at F.A.O. Schwartz, but she is only allowed to play it outside. Mamita tells her that she will someday bring Yoyo to America to see both the toy store and the snow. Eventually, Yoyo loses one drumstick and the other breaks. There is a coal shed on the property, and a Haitian laundry worker, Pila, is said to have caused it to be haunted; she frequently spoke of trances and spirits and similar things. Eventually, Pila left the compound, having stolen quite a few things from the family. Mami decides not to press charges because her American education tells her that the Pila could not have known better.
Yoyo goes into the coal shed one day and hears some kittens, and she chooses one that she wants to keep. She plans to name her kitten Schwartz. She does not know, however, when kittens can be taken from their mother, and she fears being attacked by the mother cat. Yoyo leaves the shed and sees a strange man in their compound with a dog and a gun, and she thinks he might be the devil because of his appearance. He explains to her that she should wait a week before taking the kitten from its mother so that it will not die. The man goes into the trees, and Yoyo goes back into the shed and notices that the kittens are afraid of the man’s guns. Yoyo is about to leave when she realizes the hypocrisy of the man who told her not to take the kittens from their mother too early, while he goes into the woods to shoot other animal mothers trying to provide for their own offspring. Yoyo grabs the kitten and puts it in her drum, banging loudly so the mother cat cannot hear the meows. She hears the mother crying for her baby, but the gun scares the mother cat away. Yoyo gets overwhelmed by the kitten’s meows and tosses it out the window. On numerous nights, Yoyo believes she sees the mother cat on the bed looking at her. It cannot be determined with certainty whether the cat was ever in her room. The cat eventually disappears when they leave for the United States.
In Part 3, the girls are young and still living in the Dominican Republic. These chapters reflect the girls’ ignorance regarding the political situation in the country. When Yolanda tells a neighbor that her father has a gun, she is unaware that he actually owns one and of the repercussions of him doing so. She is beaten by her parents because they understood that such a story could get her father killed. Yolanda’s youthful ignorance proves to be a threat to all of them. When the secret police come to the compound, the children are still confused. Yolanda understands that the men must either be police or criminals because it is illegal for anyone but the police to have weapons. The children are not old enough to know all their parents’ dealings, which breeds confusion.
The numerous taboos presented within this section cause further confusion for the girls and develop the theme of The Ways Sexuality Breaches Innocence. One of these is depicted through Vic, a state department employee who is instrumental in getting the Garcias out of the country and to safety. In this way, he is depicted as having some good values. Still, he is found with young sex workers whose ages are not disclosed. Incest has already been alluded to in the novel, as has the bodily exposure of an adult to a minor and the sexual harassment of a school-aged girl. Here, it is at least implied that Vic is having sex with girls who are under the legal age of consent. As such, while he behaves nobly in one context, his sexual behavior leads to a sense of moral ambiguity around him and the whole endeavor to get the Garcias out of the country.
This section also explores numerous spiritual beliefs through the character of Chucha. She is a Haitian woman, and later it will be explained that Dominicans have a negative view of Haitians as being involved in voodoo. While Chucha dabbles in the occult, she also prays for souls in purgatory. This is a decidedly Catholic practice, and the fact that she holds both views of spirituality together creates in her a mysterious character. This mysterious character is compounded through the revelation that she sleeps in a coffin to be prepared for her death. She is a unique character who is highly loyal to the Garcia family, who took her in on a night she could have been executed.
While the Garcias’s treatment of Chucha highlights their progressive values in some ways, this section also further explores The Oppression of Machismo and Patriarchal Culture. While Mundín’s sexual hypocrisies have been detailed in previous chapters, this section depicts him as displaying his dominance toward younger women in his family even at a young age, when he asks Yoyo to expose herself to him. This is an act of harassment on his part, and he coerces her by withholding something she wants, a lump of clay. This highlights her innocence and lack of understanding, as well as his early internalization of cultural norms regarding sexuality. The patriarchal code in the Dominican Republic is shown, through Mundín and other characters, to be based on double standards and personal desire rather than on a cohesive sexual ethic that is consistent for both males and females.
Sandi, like the others, laments how the Garcia sisters are nameless in a crowd of their other sisters and female cousins. She has the ability to differentiate herself, however, through her art. Her art is not trusted, however, and is treated as being supernatural in its power. In these ways, Sandi’s greatest power and distinction is seen as being possibly evil from a young age. This reflects the ways in which female autonomy and power are not trusted or respected. It also brings Sandi’s character arc full circle, highlighting a formative, and traumatic, time in her life.
By the end of the novel, two characters have found their ability to communicate thwarted: Sandi and Yoyo. These same two characters end up in psychiatric hospitals later in life, both obsessing over literature and words. This demonstrates that the need to express oneself is absolute, but also suggests that early childhood experiences have lasting impacts. Yoyo’s physical punishment as a child echoes the times her self-expression is halted later in life by her father and by lovers. At the end of the novel, Sandi’s ability to express herself through drawing, something she pursues compulsively, stops after she breaks her arm. While the author does not draw an explicit correlation between the characters’ hospitalizations and their inabilities to express themselves, communication is central to the immigrant experience. By losing their abilities to communicate in the ways that come most naturally to them, as a writer and an artist, respectively, Yoyo and Sandi are impacted psychologically throughout their lives.
The last story in the book—the first to happen chronologically—depicts another event with lasting impact for Yolanda. In this story, Yoyo is confronted with adult hypocrisy. One of the earliest steps children take in their differentiation from their parents happens when they notice hypocrisy or another fault in their parents and realize that their parents are not perfect. In Yoyo’s case, she does not confront her parents’ hypocrisy, but rather that of a stranger. In deciding to keep the kitten, Yolanda acts on her own accord and in line with her own wishes, believing the hunter to be a hypocrite. Through this act of agency, the kitten gets hurt, and the mother cat haunts Yolanda for years. Paralleling the kitten’s situation, Yolanda is innocent and too young to understand the consequences of her decision. Thus, trustworthy adult influences are crucial for the safeguarding of a child’s maturation process.
By Julia Alvarez