The Guardians

Religion continues to be an important motif, and in this set of chapters, Castillo again explores multiple attitudes toward Catholicism. The priest disappears and returns, which Regina characterizes as flightiness and cites as a further example of how ill-suited he is to being a spiritual leader and role model. Gabo is sure that Father Juan Bosco’s disappearance reflects poorly on him as a parishioner and would-be acolyte, and Regina further blames the priest for upsetting her nephew. At the same time, Regina finds comfort in religious rituals at the end of the novel. Her baptizing baby Gabriel symbolizes new beginnings and a change that can break the cycle of violence. Gabo begins to try to convert his classmates, wearing humble, anachronistic clothing. His huaraches sandals are a dual symbol that represents both his faith—he is literally walking in Jesus’ footsteps—and his connection to Mexican culture. Although his proselytizing troubles the adults in his life, it is further evidence of his moral development. Through self-reflection and his discussions with El Abuelo Milton, Gabo has realized the dangers that gangs and organized crime pose to individuals and their communities, and his response is to try to “save” Los Palominos’ eternal souls. He is particularly drawn to Tiny Tears, whose interest in Gabo he does not correctly identify as romantic and whom he thinks wants to be saved.

Miguel’s interest in social justice continues to be a defining aspect of his characterization, and in these chapters, he is more explicit about his desire to help shape a new generation of activists and revolutionary leaders. He looks to the legacies of Mexicans like Emiliano Zapata for inspiration, and this historical allusion connects the narrative to the context of the Mexican Revolution. Miguel tries to imbue Gabo with an appreciation for grassroots organization and socially conscious action. That Gabo is more moved by religion than history bothers Miguel, but he remains committed to being a role model for Gabo and continues to embody the novel’s interest in Family and Community.

Crucita goes missing in these chapters, and The Guardians’s interest in depicting the violence of the Juárez femicides becomes more overt. Regina and Miguel reflect on how many women like Crucita have disappeared and the lack of an organized police response on either side of the border. They realize that many of the women who have gone missing or been murdered were either workers in the region’s garment industry or migrants. These women were especially vulnerable to attack because they were disempowered by their gender, class position, and their status as undocumented migrants. The novel’s engagement with the Juárez femicides locates it squarely within a tradition of texts written to draw attention to specific issues within the Borderlands. Ana Castillo is a feminist author, and she is invested in showcasing the way that social and economic issues impact women in particular. Crucita’s storyline is an important opportunity for Castillo to shed light on an issue that is often ignored by both communities and the law enforcement officers tasked with protecting them.

At the end of the novel, Rafa’s fate is finally revealed. His death is tied to both human- and drug-trafficking rings, and like his wife, he ultimately falls victim to the border’s systemic violence. Here, too, Castillo engages with the lived experience of many migrants and draws attention to the way that systemic violence disproportionately impacts the disempowered. Regina notes her helplessness to prevent her family members from becoming victims of violence, and that attitude is also meant to speak to the history of violence in the region in a broader sense. This is emphasized in the tragedy of Gabo’s death—the most innocent, Christ-like character is killed in the violent scuffle, showcasing how difficult it is to live outside of systemic violence.

Tiny Tears’s characterization is a key focal point within these chapters. She is revealed to have been kidnapped, drugged, and forced into sexual slavery alongside Crucita, and Regina learns that she has also given birth to a baby girl whom neither she nor her family has any interest in caring for. Tiny Tears, although an active member of Los Palominos, is also the victim of complex trauma, and she lacks both emotional and material support from her parents. For this reason, Regina is able to forgive her for killing Gabo: She understands that Tiny Tears was never given a chance to thrive and is victimized by the same systemic issues as Gabo. Regina’s choice to adopt and care for Tiny Tears’s daughter speaks to her own generosity of spirit and her commitment to her community. By raising young Gabriela, whom she names after Gabo, she can put a stop to the cycle of violence that claimed Ximena, Rafa, and her nephew. She was unable to save her family members, but by adopting Tiny Tears’s baby, she can make a difference in another life that is connected to her by community ties, if not by blood.