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53 pages 1 hour read

Patricia Beatty

Lupita Manana

Fiction | Novel | YA | Published in 1981

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Symbols & Motifs

Symbolic Names

To a greater extent than English, Spanish lends itself to using names to make a statement about a character, a location, or anything that might be named. Beatty avails herself of this trait by granting a number of individuals—particularly the main characters—with symbolic names.

Readers who are acquainted with Spanish or who take the time to investigate the root meaning of certain words can discover a great many symbolic uses of names. It is worth noting here that Beatty uses names to make comments—sometimes ironically—about her major characters. At the top of the list is Lupita, which translates as “little wolf,” an apt description of the underlying fierceness of the story’s protagonist. Her brother’s name, Salvador, in English is “savior,” a characteristic Lupita wishes upon him throughout the story but ultimately becomes ironic. Another major character with a symbolic name is Consuelo, whose name in English can be translated as “comforter” or “consoler;” indeed, as Lupita determines Salvador is not her savior, Consuela is the one who consoles her. Fidencio, Consuelo’s brother-in-law, seems appropriately named in that, in English, his name means “faith,” an accurate title for this man who never fails to daily steer the Indio migrant community to where they must go to find work. Finally, Lucio is a play on words. In English, the name translates as “light.” Lucio does not like that name but rather chooses to be called Lucky. He could have been light to everyone, but he chose instead to be Lucky. The symbolism of the names helps readers to gain a deeper understanding of what Beatty wishes to express about her characters.

Music

One of the ways the author comments on the very different lifestyle on the American side of the border is her descriptions of sounds, particularly music. The descriptions of music reveal the communal atmosphere her characters are encountering.

When Lupita and Salvador are in Tijuana, they hear blaring music in the marketplace. It helps to establish an atmosphere of openness, hospitality, and readiness for business. When the Torres children end up in Colton, Lupita lumps her observations about the gringo society in with the absence of music. The people are very serious, she notes, and the music is played very softly as if the gringos’ ears are too tender to listen to a higher volume. Her dislike of Lucio begins when he only wants to play gringo music with his guitar. In the most ironic reference to the differentiation between Mexican and American culture, Lupita realizes instantly that something is wrong when the orchestra music at the dance is interrupted by the arrival of la migra. Symbolically, Beatty is saying that the US. immigration police are interrupting the migrants’ social life and ruining the party.

Anticlimactic Endings

Many readers and reviewers of Lupita Mañana have been critical of the novel’s ending scene. Specifically, readers want to know what ultimately happens to Lupita. Astute readers will recognize that this motif of incompleteness appears repeatedly throughout the narrative. The fate of Lupita is not the only unfinished business of the story. Readers may ask if Salvador crosses the border again and comes back to Indio. Does Lupita send Carmela enough money to save her house? Does Lupita learn English, become a waitress, and return to Mexico, or does she decide to stay in the US, get a fuller education and become a profesora? What about Irela: Did she become a teacher? As the Ruiz and Torres children, all 12 of them—half Mexicans and half pochos—grew, what became of them?

Beatty intentionally leaves all this business unfinished as an accurate reflection of the life of immigrant workers. Just as Lupita and Salvador never knew if they would complete a day in the US or be sent back to Mexico, so migrant workers today labor with the same uncertainty. The incompletion of the immigrant’s life is conveyed with incomplete endings.

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