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Note: These pages contain the poems “Second Chances,” “Who Can You Trust?” “Back It Up,” “Cause Listen,” “ISBI,” “Not My Job,” “Dad Thinks He’s Funny,” and “Still. I Can’t Complain.”
Iveliz (pronounced “EE-VEH-LEASE”) Margarita Snow Medina is 12, and she’s starting seventh grade. Her mother, Mami, gives her a journal to spur her “creativity,” but Iveliz believes the real reason for the journal is the arrival of Mimi. Mimi lives in Puerto Rico, and she has Alzheimer’s disease. Due to her illness and the aftereffects of Hurricane Maria in 2017, Mimi comes to Baltimore, Maryland, to stay with Iveliz and Mami in their apartment. Mimi’s Alzheimer’s disease triggers Iveliz, and Mami hopes the journal will bolster Iveliz’s mental health. Iveliz has a history of “panic attacks,” but her teachers think she’s simply a liar, and Mami believes she’s acting dramatic—“una dramatica.”
Iveliz’s school does a canned food drive for Puerto Rico, and Iveliz gives a presentation about Puerto Rico. It’s a United States territory, so Mami and Mimi, both being from Puerto Rico, are United States citizens. When Jessica and Justin G. hear Iveliz telling Amir—her best friend from Afghanistan—about Mimi’s arrival, Jessica presents Mimi as an immigrant. Jessica is “all about immigration” but doesn’t want Mimi to enter the United States “illegally” (7). Upset by Jessica’s ignorance, Iveliz shoves her and winds up in the principal’s office and receives ISBI (In School Behavior Intervention).
Iveliz looks up to slam poets like Elizabeth Acevedo. Her father, who’s from Louisiana, sees her and claims he was a poet—that’s how he captivated Mami in college. Mami claims her husband never composed a poem in his life, but Dad argues poetry isn’t only about words. At school, kids complain about their fathers, but Iveliz loves her gregarious father. She adores visiting Costco with him and loves their fights over popcorn.
Note: These pages contain the poems “Mami, Though?” “Maria,” “It Honestly Wasn’t That Scary,” “ISBI (cont.),” “Seventh-Grade Goals: An Official List,” “She Got the Call,” “Speak Up, Not Out,” “Video Chats,” and “First Name Unknown.”
Iveliz presents Mami as a disciplinarian and not as fun as Dad. When the school calls Mami and tells her that Iveliz pushed Jessica, Mami grounds Iveliz and takes away her phone, yet Iveliz can still use her Chromebook to interact with Amir. They video chat, and Amir organizes her books while Iveliz folds her laundry. She sees Amir’s little brother in the background, and Amir and Iveliz pick out songs to hum to. Sometimes, Amir and Iveliz don’t talk: They just want company.
When Amir came to the United States from Afghanistan, officials erroneously recorded his last name as Fnu—First Name Unknown. Teachers call him Mr. Fnu, though they know his real last name is Nishat. Amir doesn’t take it seriously, but it bothers Iveliz, who dislikes it when people mispronounce her name.
Iveliz remembers Hurricane Maria, a Category Five hurricane that killed approximately 3,000 people. Iveliz’s aunts didn’t have electricity for five months, and Iveliz’s father sent a generator so Mimi could have air conditioning. Mami insisted they visit her family, and Iveliz packed copious granola bars, upsetting Mami. In Puerto Rico, Iveliz noticed the blue tarp coverings distributed by FEMA (Federal Emergency Management Agency) to prevent further damage to property. She also saw people waiting for hours to get gasoline and water.
Back in the present, Iveliz lists goals for seventh grade: Obey Mami, help Mimi, socialize more, and no more ISBI. The point of ISBI is to punish kids without suspending them, so the school confines Iveliz to a room, and a teacher sends a “good kid” to bring them a worksheet. However, the teacher often forgets to dispatch the “good kid,” so Iveliz mostly doesn’t do anything in ISBI.
Note: These pages contain the poems “Dad Thinks He’s Funny, Part II,” “Mimi ls Here!” “Fun Things I Want to Do with Mimi,” “Tania,” “Mimi’s Room,” “Meti la pata,” “Samosas,” and “Irfan Is Not Who I Wanted to Hear About, Journal.”
Iveliz shows her father the poems in her journal, and her father dismisses them as the product of a “Gen Z” person. He points out the lack of rhyme and describes the poems as “random thoughts.” Iveliz doesn’t care if her poems have rhymes or quatrains (four-line stanzas). Like contemporary poets Sarah Kay and Safia Elhillo, Iveliz doesn’t believe poems must follow rules. Iveliz’s father counters her response with a poem about how much he loves her.
Mimi arrives, and Iveliz wants to cook, cuddle, garden, and talk with her, but Mimi is “kinda off.” Mimi had a big house and a large yard in Puerto Rico. Now, she’s in a tiny apartment. After dinner, she calls Iveliz “Tania,” which is Mami’s name. Iveliz’s father stares at Iveliz, so Iveliz shrugs it off as a mistake.
Iveliz compares herself to popcorn: She’s either “unpopped” or burnt—never exactly right. Amir, however, is always “chill,” so she tells him about the Tania mix-up, and he tells her about his grandfather, Irfan, who had dementia. When Amir’s family left Afghanistan for Turkey, the Turkish soldiers became violently frustrated with Ifran’s condition, so Ifran went back to Afghanistan, where he died. Iveliz’s listen to Amir, but she’d rather discuss Mimi.
Note: These pages contain the poems “Hands at Work,” “Gandules,” “Dinner Is Weird Tonight,” “Current Seventh-Grade Goals,” “Nuh-uh, ni se te ocurra,” and “Dr. Turnip: An Explanation.”
Iveliz takes gardening for one of her “exploratory,” nontraditional, classes, and she loves it. It reminds her of gardening with Mimi. Iveliz mentions starting a garden on their balcony, and Mimi wants to grow gandules, or pigeon peas. Without consulting Iveliz, Mami orders seeds online, and Iveliz worries that they won’t grow. Iveliz updates her seventh-grade goals to include growing gandules.
Iveliz has Spanish rice with tofu and hot sauce, and, forgetting Iveliz is a vegetarian, Mimi asks her why she doesn’t eat meat. Iveliz changes the topic and talks to Mimi about the garden, but Mimi forgets about the garden, so Iveliz reminds her. Iveliz is used to explaining: She regularly reminds people how to say her name.
Justin G. trips Iveliz, and the blonde-haired Jessica laughs at her. Anticipating a fight, students pull out their phones, but Iveliz hears her mom’s voice “ni se te ocurra”—"don’t even think about it” (39)—so Iveliz doesn’t hit anyone, but she ends up in the counselor’s office. The counselor mispronounces Iveliz’s name and asks her why she’s “reverting.”
Dr. Alex is Iveliz’s psychiatrist, but his head reminds Iveliz of a turnip, so Iveliz changes his name to Dr. Turnip. Iveliz hates speaking to Dr. Turnip, but Mami makes Iveliz speak to him when Iveliz’s behavior dismays Mami.
Note: These pages contain the poems “Everyone Is Against Me, I Swear,” “Estas bien?” “Mimi ls Working on a Puzzle,” “Statuesque,” “I Can Hear Them,” “Amir Nishat, an Acrostic,” “Dos y dos son cuatro,” and “My Ex-Friend Amir, Unforgiven.”
Iveliz feels like the world—from Justin and Jessica to Mami and Dr. Turnip—is her enemy. She experiences extreme isolation. She calls herself “Daddy’s daughter / with no Daddy in sight” (43). At dinner, Mami asks Iveliz if she’s fine, which means: Do they need to go to the Child and Psychology wing of Hopkins Hospital?
After dinner, Mimi works on a rainforest puzzle, which makes Iveliz think of the animals in Puerto Rico. It also prompts her memory of sunburned tourists. Mimi wants to find Iveliz’s father, which makes Iveliz feel like stone. Mami sees Iveliz in the kitchen and hugs her. Iveliz hears Mami reminding Mimi about Iveliz’s therapy and triggers.
Iveliz tries to contact Amir, but he’s not around. Iveliz is upset that Amir is unavailable, but Iveliz’s father reminds her that no one should expect a friend to be constantly at their service.
Andrea Beatriz Arango tells Iveliz’s story through journal entries in the form of poems. Thus, she subverts the typical novel structure, where the author uses prose, or paragraphs of words. The journal poems reflect Iveliz’s view of the world. She describes herself as “scribbling angry poems” (10), and Dad calls them “all random thoughts and no rhyme” (23). The poems are a product of Iveliz’s consciousness. She writes what she thinks, stating, “They’re my true inner thoughts” (2). She also details what happens to her in the external world. Iveliz is the narrator, so her journal poems tell a story, and Pages 1-53 introduce the key characters in her story, including her family, friends, and antagonists, like Jessica and Justin G.
The two central literary devices are voice and point of view, and they work together because Iveliz’s voice creates her point her view. As Iveliz documents her unfiltered feelings, her voice is often sweeping, like when she titles one of her poems, “Everyone Is Against Me, I Swear” (43). Her impassioned reactions create a subjective point of view. Iveliz asks, “[I]f you can’t trust a girl and her poems, / well, / who CAN you trust?” (2). The irony is that Iveliz isn’t a trustworthy narrator. She’s not producing intentionally deceiving thoughts because she is writing in her journal, but she’s not an objective third-person narrator, so she doesn’t provide a balanced representation of events. Iveliz portrays Mami and Dr. Turnip as antagonists when they’re trying to help her. This unreliable narration offers a glimpse into the gap between Iveliz’s perception and the reality of her situation, highlighting The Complexities of Mental Health Conditions and Misunderstandings Between Adults and Young People through her difficulty trusting others, particularly adults. However, a lack of objectivity, in both children and adults, can exist independently of any mental health condition, especially in a private piece of writing such as a journal.
The status of Iveliz’s father is unclear. Iveliz writes, “That’s what Dad says / when he comes over to lecture me. / Speak up, not out” (20). The diction—the phrase “come over”—makes it seem like her father is alive and stops by for visits. The partial perspective gives the story suspense and mystery, as Iveliz’s relationship with her father remains a question until the poem “I Tell Mami” (105). The ambiguity surrounding her father’s presence reflects Iveliz’s struggle to process her grief. The way she speaks about him in the present tense suggests that she hasn’t fully accepted his death, highlighting her unresolved trauma.
Iveliz, Mami, and Mimi are Puerto Rican characters, and they continually reinforce their heritage by alternating between Spanish and English. Iveliz declares, “I got me, myself, and I. / Soy la dura” (52). “Soy la dura” translates to “I am tough.” For non-Spanish speakers, Iveliz provides clues to Spanish parts. In a subsequent stanza, Iveliz says, “[T]he truth is this dura / wasn’t quite hard enough / last night” (52). The lines link “hard” to “dura” or “tough.” Iveliz never italicizes the Spanish words because they’re not foreign to her: She’s as familiar with Spanish as she is with English. More so, the book design—with its ruled pages and handwriting font—aims to mimic an authentic journal, and Iveliz can’t italicize words with a pen. The code-switching between languages also reflects Iveliz’s bicultural identity, highlighting her connection to both Puerto Rican and American cultures. This duality emphasizes the disconnect she feels when others mispronounce her name or fail to understand her background.
The three key themes—The Complexities of Mental Health Conditions, Misunderstandings Between Adults and Young People, and The Importance of Maintaining Balanced Relationships—entwine. Iveliz depicts adults as antagonistic. She turns Dr. Alex into Dr. Turnip, and she makes her mother look like an oppressive disciplinarian. About the latter, Iveliz writes, “Just ‘cause she’s an adult / doesn’t mean she’s right” (35). Iveliz has a contentious relationship with adults because she believes they don’t recognize the nuances of her mental health condition. She thinks they treat her like a malfunctioning object that they need to “fix.” At the same time, Iveliz’s PTSD and depression adversely impact her relationships. When she can’t contact Amir after Mimi calls her Tania, she gets upset with him. She thinks Amir should be there for her whenever she wants. This imbalance reveals Iveliz’s struggle with boundaries and her need for constant validation, which may stem from her feelings of abandonment and isolation. It also underscores the difficulty she faces in maintaining friendships when her mental health needs are so acute, highlighted by the fact that her mother mentions the hospital when Iveliz isn’t feeling well. Iveliz must learn moderation and balance in her relationships.
Gardening symbolizes a tangible reality for Iveliz, and it juxtaposes her abstract feelings. The latter comprises the main conflict, as Iveliz tries to manage her PTSD and depression and the powerful emotions they produce. The former is immediately positive, with Iveliz declaring, “I really like it. / Like… like it, like it” (34). She notes the dirt on her fingernails and the food she plants. Gardening is quantifiable, providing Iveliz with a palpable experience and a respite from her intangible emotions. The act of gardening, with its nurturing and growth, contrasts with Iveliz’s inner turmoil and her perception that she is stuck or “unpopped.” As she nurtures the plants, she is symbolically nurturing herself, suggesting a path toward healing and growth that parallels her emotional journey throughout the book.
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