Dancing Home

author: Alma Flor Ada

author: Gabriel M. Zubizarreta

Atheneum / Simon & Schuster, 2011 

grades 3-5 

Mexican, Mexican American

Dancing Home utilizes elements of “A Margarita” (“To Margarita”), a lovely poem penned by the great Nicaraguan poet, Rubén Darío, and skillfully interpreted in English by Rosalma Zubizareta.

In alternating third-person narratives, readers learn the perspectives of fifth-graders Margie, born in Texas of Mexican parents; and Lupe, Margie’s Mexican cousin, newly arrived in the US. Margie, whose voice predominates, is proud to be “American,” does not speak Spanish, and is embarrassed by her cousin’s Mexican ways that seem to invite negative attention.  At the same time, Lupe, whose voice is clearly secondary, does not speak English, knows that her cousin is uncomfortable with her and is embarrassed at not knowing what is expected of her in this new place—“What she really wanted was to crawl under the desk, or better yet, to run all the way back to Mexico.” Meanwhile, Margie, who sees her life as becoming more difficult, is resentful of her parents’ positive relationship with their niece, with whom they communicate in “enthusiastic Spanish.”

In order to portray Lupe as sufficiently grateful that she is here with her “American” relatives, there is a long description of Mexican family life that contains just about every stereotype there is: Lupe’s school is regimented and uninteresting, her family is impoverished, her undocumented father abandons them, her depressed and emotionally distant mother neglects her, and her new stepfather is drunk and abusive.

Yet, as a secondary character, Lupe does not express any particular needs. Rather,

Lupe felt so grateful for this new home she had that she could not bear the thought of her own joy causing anyone else pain. She hoped that Margarita knew that in sharing her own parents, she was not losing anything. If need be, Lupe would find a way to help her see that.

Later, while Margie comes to enjoy speaking Spanish and learning about Mexican foods, dances and holidays, Lupe puts her own interests aside and selflessly adapts:

Having to be constantly moving forward, faster than she could take in all of the new experiences coming her way, was not a good feeling. Yet Lupe smiled. Even bad feelings got better when you understood where they were coming from. 

In case readers hadn’t realized that Margie’s voice is more important than Lupe’s, the final chapter practically shouts that the story is, indeed, all about her: “As the poem ended with the poet saying goodbye to the girl to whom he had dedicated the poem, it seemed to Margie as though the words were being addressed directly to her, as though she herself were the Margarita in the poem.”

Lupe’s father reappears towards the end of the story, describing the horrible life of an undocumented worker, “acknowledging his own errors, making a sincere effort to free her from carrying the burden of his own mistakes, and encouraging her to be fully in charge of her own life. Standing before her as a brave and fallible human being, he was doing his best to make amends.”

In one of their many digressions from the story, the authors describe the US Bracero Program in this distorted way:

The program had started when many of the old family farms were bought up by large agricultural enterprises. These new factory farms needed many seasonal workers. Since few people in the United States were willing to do this kind of low-wage work, laws were passed allowing growers to bring men from Mexico to do farmwork in the United States and then return to Mexico.

The reality was that there was no shortage of domestic seasonal workers. Rather, The Bracero Program brought in men from one poverty-stricken group (low-paid Mexican farm workers) to compete against another poverty-stricken group (low-paid domestic farm workers) for the benefit of the agricultural corporations, which greatly profited from the impoverishment and desperation of both groups.

The story lacks subtlety; its messages of acceptance and uniqueness are heavy-handed and didactic, telling young readers what to think rather than showing them how to develop critical thinking skills. Margarita’s acquisition of Spanish and respect for her cultural heritage, and Lupe’s linguistic and cultural adaptation to her new country come all too easily to engage young readers, especially young readers who may have similar issues. Dancing Home is not recommended.

—Beverly Slapin

 (published 9/20/15)

Love, Amalia

author: Alma Flor Ada

author: Gabriel M. Zubizarreta  

Atheneum / Simon & Schuster, 2012

grades 3-5 

Mexican American

When sixth-grader Amalia’s best friend, Martha, announces that she and her family are moving to California, the girl is so upset she doesn’t even want to say good-bye. But she receives solace and advice from her wise and gentle abuelita. As they cook together, she takes in Abuelita’s family stories about life, about change, about loss, about grieving. 

And then, suddenly, Abuelita is gone, too. There’s not even a chance to say good-bye; and, as Amalia’s large family comes together to celebrate Abuelita’s life, the pain seems unbearable.

Later, when Amalia’s mother gives her Abuelita’s treasured olive-wood box—full of cards, letters, and drawings from family members over the years—Amalia sees a way to hold on to her memories, deal with Abue’s passing and, finally, say good-bye to Martha. 

Unfortunately, the cultural content in Amalia’s story is clumsily presented. Although the authors attempt to weave in some Spanish words and phrases, their efforts appear contrived and stilted. Here, for instance, Amalia discusses one of her mother’s dichos:

She wouldn’t even finish listening to the latest possible disaster before simply repeating one of her favorite sayings: No hay que morirse la víspera, which means the same as “We’ll cross that bridge when we come to it,” but it sounded so much more graphic in Spanish: “Don’t die the day before your death.”

Actually, a more idiomatic interpretation might be, “Don’t die before your time.” The quote above implies that Amalia’s mother is using dichos—a tradition in many Latin American cultures—to instruct her daughter. It also implies that Amalia’s mother learned dichos at her own mother’s lap. Yet this is the only dicho in the story, and it’s called a “saying,” rather than a dicho. Apparently Amalia—whose attitude is dismissive and disrespectful—doesn’t recognize the value of traditional teaching, probably because her abuela, the one person whose wisdom guides her, doesn’t teach through dichos.

In addition, the authors use some code switching that is also contrived, and dialog in which English translations immediately follow the Spanish. This technique is not meaningful to English readers, it’s confusing to Spanish readers, and besides, nobody talks like this:

She heard over and over, people telling her, “¡Ay, querida! Oh, sweetheart.” Her aunt and uncles hugged her, and Tía Graciela insisted on kissing her. “Lo siento tanto. I’m so sorry.” “Lo sé. I know,” she would say to remove herself from almost any situation.

Love, Amalia also minimizes the real struggles of the most exploited, most impoverished workers both in the US and in Mexico:

… Abuelito’s father, our great-grandfather Nicolás, had arrived as a farmworker but then decided to open a store. Abuelito’s mother, María, had been working in a garment factory. But it was hard work in those sweatshops, and Abuelito felt that if they worked together in the store they could make it succeed. And they truly did.

And the story contains too much info-dumping, extraneous information that takes the reader out of the story. For instance, there’s a very long sentence that describes Martha’s “new understanding of the plight of recent immigrants, who like immigrants of the past, contributed with their hard labor to develop and support this country, but unlike them are not received by a Statue of Liberty with a flaming torch and the words she had memorized for her history class: “Give me your tired, your poor, / Your huddled masses yearning to breathe free…”

In another place, after a mention of Zapata’s mustache, there’s an unnecessary explanation: “Emiliano Zapata was the leader of the Mexican Revolution whose photo Amalia had seen in a book about the history of Mexico.” And there’s an almost two-page description of the history, geography and population of Mexico City that reads like it was plucked from a travelogue.

Finally, the authors rely on platitudes that “tell” rather than “show,” such as: “It all seemed very unjust, and it filled her with anger just to think about it,” “Her eyes were still moist with tears, but there was a new warm feeling in her heart,” and “Moments like this made their friendship so special.” Love, Amalia is not recommended.

—Beverly Slapin

(published 9/16/15, revised 9/22/15)