73 pages • 2 hours read
Celia C. PerezA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
It’s Malú’s first day of school. Malú asks her mom if she can walk to school alone; her mom says no. Malú’s first-day wardrobe consists of “green jeans” accompanied by a “Blondie T-shirt and [her] silver-sequined Chuck Taylors”; the shoes are a gift from Malú’s dad, which he gave to her after she finished reading The Wonderful Wizard of Oz. They function as Malú’s personal version of Dorothy’s ruby slippers. Malú offers that in the book version of the Oz narrative, the shoes aren’t red, but rather, silver. Malú adds that she’s been wearing the sneakers “for a week now, but they seem to have lost their magic, because no matter how many times [she] closed [her] eyes and clicked [her] heels, [she] was still in Chicago. Never back home” (42). Malú repairs a hole in the sole of one of the shoes with duct tape.
Malú goes on to describe herself: “brown skin and thick brown hair that was lighter than Mom’s but darker than Dad’s and that [she] usually wore in two braids” (42). She adds that she has her “Mom’s dark eyes” (42). However, Malú believes the punk side of her aesthetic to be “terribly lacking,” so she applies copious amounts of black eyeliner in the bathroom (43). When Malú’s mom sees the eyeliner, she offers, “Ohhh no […] I don’t think so” (44), adding that Malú looks like the vampire Nosferatu, and then that Malú looks like an orphan, or huerfanita.
Although Malú’s mom lets her keep the makeup and outfit on, she remarks that it’s likely that Malú will learn about her aesthetic choices the hard way.
At school, in homeroom, a classmate tells Malú that it’s “a little early for Halloween,” which elicits laughter from others (47). Ms. Hernandez, Malú’s homeroom teacher, is concerned. Selena Ramirez, who serves as Malú’s chief antagonist for much of the novel, chews on a candy necklace and asks Malú what’s up with her makeup. Selena then asks Malú, “What are you? You’re not Mexican, right?” (49). Malú, in response, thinks:
What are you? I was used to getting some version of that question, especially when people heard my name. I wasn’t always sure how to answer. Sometimes it just seemed easier to blurt out what Mom calls my pie chart: half Mexican, half fill-in-the-blank with names of a bunch of different European countries (49).
Ms. Hernandez says that Malú is in violation of the school’s dress code and needs to go to the school auditorium. The chapter concludes with an eight-page zine titled “The Story of a Name,” which deals with Malú’s racial/cultural background and notions of how her parents’ respective races and cultures inform her identity.
Malú reaches the school auditorium, where she encounters other students who are also in violation of the school’s dress code: “[W]e were a herd of dress-code violators, and the man on the stage was corralling us” (59). Among the violators is a “boy with blue hair” (59). Malú offers that while “his hair looked punk […] nothing else about him did” (59).
Mr. Jackson, the school’s guidance counselor, passes out pieces of paper that denote the dress-code violation; these need to be signed by a parent and returned. The boy with blue hair—who will turn out to be Joe Hidalgo, the son of the woman who owns the Calaca coffee shop—says that he likes Malú’s makeup, after telling Mr. Jackson how hard it was to dye his hair. Mr. Jackson sends Malú to the nurse’s office to obtain assistance in removing the eyeliner.
Malú eats alone during lunch, removing her copy of The Outsiders from her bookbag while gazing around the lunchroom and asking, “Where [a]re my people?” (64). Malú studies Selena and her friends: “The boys wore baggy jeans, puffy basketball sneakers, and huge shirts. The girls all wore similar outfits of tight jeans and T-shirts with stuff like CUTIE and SRSLY printed on them. Like Selena, they all wore candy necklaces” (64).
Selena comes over to where Malú is sitting and inquires about where she’s moved from, adding that it’s in Malú’s best interests not to be a “weirdo,” and that “only a coconut” would wear the amount and type of makeup that Malú had on (66). Selena uses Joe, the “blue-haired boy,” as an example of a “weirdo,” saying Malú doesn’t want to be like them. Malú counters, saying she’d “rather be at [Joe’s] table than [Selena’s]” (66). Selena makes a disparaging remark about the duct tape holding Malú’s shoe together then returns to her friends.
When Malú gets home from school, her mom is painting a wall in the kitchen. Malú offers the dress-code violation sheet she needs to get signed. Malú’s mom signs the piece of paper and tells Malú to dress less punk in the future. She offers that she was reading about the school’s namesake, José Posada, adding that Malú might be interested in learning more about him. The conversation gives Malú an idea for a zine.
After dinner, Malú calls her dad and places the worry dolls under her pillow. Following the call, Malú listens to the mix tape her dad made her, and then eschews her algebra homework and starts in on her zine.
The chapter closes with the eight-page zine Malú has made; it’s titled “SuperMexican,” her nickname for her mother, and includes her mom’s superpowers, one of which is that “she absorbs everything she can about Mexico and Mexicans in the United States” (76). The reader also learns through this zine that Malú is second-generation Mexican American, her mom having been born in California.
Malú tests into the fluent Spanish class at school, a fact that surprises her. The class’s first assignment is to “create a family tree and write a short essay to go with it” (82). Selena is also in the class and says to the teacher that Malú can’t speak Spanish. (A good percentage of this short chapter is in Spanish.) Toward the end of class, Selena steals the zine Malú is working on, ultimately giving it back but not before teasing Malú extensively. Malú is confused as to what she’s done to get on Selena’s bad side.
Malú has library orientation with her language arts class. She meets Ellie, a fellow seventh-grader who’s starting a petition to get better-quality food in the cafeteria. Ellie’s described by Malú as having “a face full of freckles and the reddest hair [Malú had] ever seen, pulled up into a sloppy, lopsided bun on top of her head” (84). Ellie’s already concerned about college applications, which is part of her motivation for the petition. Malú offers that Ellie should start a petition for a less-strict dress code. Mr. Baca, the language arts teacher, reminds the students about the upcoming Fall Fiesta, a component of which is the student talent show.
In this group of chapters, Malú begins to navigate the social landscape at Posada Middle School. The narrative subtly introduces Benny and Joe, who will comprise the male half of the band Malú will form, as well as Ellie, who will play drums, in a more direct way. Making a larger impression on Malú’s social horizon is Selena Ramirez, Malú’s chief antagonist for the surplus of the novel. Selena is a complex, multi-faceted character, and Pérez presents her as being at odds with Malú in two important ways. Firstly, Selena is part of the Candy Crew—a clique of students who would seem to be both popular and embracing of mainstream and white pop culture. The group is identified through their wearing of candy necklaces; these necklaces will be a symbol that returns over the course of the novel. This mainstream pop aesthetic is at odds with Malú’s punk aesthetic, and Pérez is quick to draw the superficial differences between the two. Selena also represents someone who is more in touch with their Mexican heritage: She speaks better Spanish than Malú, she can dance traditional Mexican folk dances, and both of her parents are Mexican, whereas Malú’s mother is Mexican and her father is white. While at this stage in the novel Malú continues to refute her own Mexican heritage, Pérez creates a below-the-surface tension in this manner, too, as Malú matures and continues to foster and develop her identity.
Several recurring symbols begin to crop up in these chapters. These include cilantro, the seminal children’s book The Outsiders, and The Wizard of Oz, in addition to the candy necklaces that Selena and her clique wear. Pérez employs cilantro as a symbol of what Malú perceives as her lack of being legitimately Mexican: For Malú, cilantro—as it does for many people—tastes soapy, and she despises the herb. This dislike, paired with her avoidance of spicy foods, makes Malú feel as though she is somehow not Mexican enough, and moves her farther away from this component of her cultural background. Pérez pays homage to The Outsiders while employing it a figurative echo for Malú and her bandmates, all of whom seem to exist on the social fringes on the school. None seem bullied, per se, and Joe, at various points, even positively interacts with members of Selena’s Candy Crew; nonetheless, they are collectively painted as “other,” in part because of their aesthetic and in part because they seem to not be focused on fitting in. Finally, The Wizard of Oz, Malú’s favorite movie, works as another media echo for Malú and her bandmates; indeed, Malú, later in the novel, will construct a zine that features her bandmates as Dorothy’s companions in Oz, with Malú herself as Dorothy.
The inclusion of the zines themselves in the novel—they always arrive at the end of a chapter—offer a counterpoint to the novel’s purely textual aspects. Often, their content expands upon plot and/or thematic matter brought up in the respective chapters they accompany, while at the same time functioning as a way for Pérez to deepen Malú’s character. These zines—comprised of drawings and clipped art, and thereby collagist in nature—expand upon Malú’s anxieties and overall worldview, and might be viewed as being punk in nature in that they disrupt the textual and thereby overturn expectations for what can and can’t be included in a novel.
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