58 pages • 1 hour read
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These pages contain the poems “Que llueva, que llueva, la bruja esta en la cueva,” “Pastillas,” “Monday Morning Is Quiet,” “Gandules, II,” “Mimi’s Hand Are Smart, Journal,” and “Amir Forgiven.”
Saturday is rainy, and Iveliz wants to eat Maizena and laugh, but the storm reminds Mimi of another hurricane—Hurricane Georges—in Puerto Rico, which Mimi experienced as a teen. Mimi is upset, and Mami must calm her. Iveliz makes toast and thinks of rooves ripping in hurricanes.
Mimi lectures Iveliz about drugs. Iveliz explains that they’re medicine for her PTSD and depression. Mimi remains dismissive. She claims the pills are for “crazy” people, and Iveliz isn’t “crazy.”
The gandules arrive, and Iveliz, Mami, and Mimi go to Home Depot and buy a big bag of potting soil. Iveliz has to carry the bag, and it makes her favorite hoodie dirty. She angrily throws the bag on the floor, but she remembers Dr. Turnip’s advice about counting to 10. Calmer, Iveliz picks up the bag, and Mimi embraces her. While planting the seeds, Iveliz and Mimi discuss ghosts and guardian angels. Mimi believes in the latter because she’s Catholic.
During lunch, Iveliz leans against a tree and meets a girl, Akiko. She looks upset, so Iveliz pats the ground next to her, and Akiko sits down. Akiko makes Iveliz’s heart feel bigger.
When Amir returns from a wedding in Washington, D.C., he goes on Google Meet and apologizes to Iveliz for not being there for her the night Mimi asked Iveliz to find her father.
These pages contain the poems “Things I Now Know About Akiko: A List,” “Current Seventh-Grade Goals” “I Promise Amir I Won’t Hit Anyone,” “Payback,” “Te conozco, bacalao,” “I’m Not Crazy,” “Amir Doesn’t Ride the Bus Today,” and “Mami Is Quiet in the Car.”
Iveliz wishes Mami would listen more and talk less. When Iveliz gets in trouble at school, it’s not only because of her, and it doesn’t mean her medicine is ineffective. Iveliz claims her mental health condition is healthy. She only takes medicine because of Mami.
Iveliz makes a list about Akiko. Akiko is 13, so she’s in the eighth grade. Her mother is Japanese, and her father is German. When Akiko met Iveliz by the tree, she was crying because boys called her lunch gross and threw it out. Iveliz wants revenge, but she promised Amir that she wouldn’t hit anyone anymore, so her plan isn’t violent. Her “prank” involves putting codfish in the boys’ lockers, as codfish are “stinky.”
Iveliz watches the boys scrub their lockers with vinegar and lime. Amir realizes Iveliz is the culprit, and he’s disappointed in her. Akiko, too, dislikes Iveliz’s retaliation. On the bus, she tells Iveliz to sit somewhere else, causing Iveliz to lose control. The bus driver pulls the bus over and calls Mami.
In the car, Iveliz takes a pencil from her hair and stabs dots into her knuckles and nails. Her mother knocks away the pencil and, in Spanish, asks Iveliz what’s wrong with her. Iveliz spits on the floor, and her mother yanks her shirt and calls her “crazy.” Iveliz feels like she’s in her father’s Ford, and she can feel the glass.
These pages contain the poems “Powerless,” “Apologies,” “I Video Call Amir from My Room,” “What’s Going On, lve?” “Malentendida, an Acrostic,” “I Sit with Mimi After Dinner,” “I Used to Be Good at School, You Know,” “ISBI, II,” “Current Seventh-Grade Goals,” and “Shouldn’t *I* Get to Decide?”
Sometimes, Iveliz feels like she’s somewhere else. Dr. Turnip believes Iveliz’s feelings are “flashbacks,” and the cause is PTSD. Iveliz attributes the flashbacks to her mother—she makes them occur, and she can make them stop. Mami apologizes, but Iveliz is already “too far under.”
At home, Iveliz video chats with Amir, who recounts Iveliz’s behavior on the bus. She screamed and threw her backpack, but she didn’t physically harm Akiko or anyone else. Iveliz is so glad she could “pee” herself. Amir wants to know what’s going on, but Iveliz shrugs. She doesn’t know how to tell him about Mimi or Dad’s visits.
While Mami angrily washes the dishes, Mimi and Iveliz cuddle. Iveliz wonders if Mimi knows who she is right now, but Iveliz doesn’t truly care. What counts is the comforting “soft grandma smell” and Puerto Rican lullaby.
Iveliz used to get good grades and stickers. Teachers called her a “bright light.” Iveliz wonders what happened to her “light.” She knows people gossip about her. She thinks about whether it’s worse to be invisible or to have people watch her “fade out.”
Mami takes Iveliz back to Dr. Turnip. Iveliz doesn’t want to go and bemoans her lack of rights. Therapy made sense when Iveliz wasn’t eating or sleeping. Now, Iveliz feels “fine.”
These pages contain the poems “He Smiles When We Walk In,” “Not Now,” “Un poquito,” “Rules for Surviving Therapy,” “Three’s a Crowd?” “Gardening Class,” “Mimi’s Garden Is Magic,” and “Hide-and-Seek.”
At Dr. Turnip’s office, Iveliz notices Mami’s fake smile. Dr. Turnip asks Iveliz what’s happening in her brain. He asks if she knows why her mom called him. Iveliz believes Dr. Turnip doesn’t want to hear the truth: She thinks he just wants to hear that she’s doing fine. Dad appears, but Iveliz doesn’t want him there. She tries to send him a “mind message,” but he laughs and leans back in the chair.
Iveliz ignores her father and tells Dr. Turnip about her list of goals. He tells her not to cross off goals. She shouldn’t think of failure as permanent: She should try again.
Amir and Iveliz eat lunch under the tree. As Amir tells Iveliz that his little brother is having heart problems, Akiko approaches and scolds Iveliz for being mad at her when she didn’t do anything wrong. Akiko doesn’t like “revenge,” and she doesn’t want Iveliz to avenge her. Iveliz is “stunned,” but she smiles, and Akiko smiles.
School remains difficult for Iveliz, but gardening class is still a positive experience. Unlike other teachers, Ms. Shannon is never “angry.” The class makes her feel “planted”—like her toes could break out of her shoes and curl around the beetles and worms.
Gardening with Mimi on the balcony is wonderful until Mimi claims Iveliz’s father is here. Iveliz looks for him in Mimi’s room and her room. She starts punching the wall, and her fist turns blue.
These pages include the poems “I Tell Mami,” “I Go to Bed Without Dinner,” “Sangrando,” “Throwback Thursday,” “Ten Reminders by Iveliz Margarita Snow Medina,” “I Find Amir During Lunch,” and “I Explain a Little”
Iveliz tells Mami about Mimi and her father. In Spanish and English, Mami emphasizes that Dad isn’t here: He’s dead. Iveliz thinks about bleeding (“sangrando”) and hurting herself. She’d do it to remind herself that she’s a “real person” with blood, skin, and feelings. She can’t talk to Mami, Mimi, or Dr. Turnip, and she doesn’t want to talk to Amir. Instead, she writes in her journal—it won’t judge her.
Two years ago, during Iveliz’s “dark” period, Dr. Turnip made Iveliz write 10 positive reminders. Her list included her loving father, Amir, “it” wasn’t her fault, and hurting herself won’t solve anything.
Iveliz wonders if Amir is upset with her because Akiko interrupted him when he was talking about his little brother. Iveliz gives him some of her yellow rice, and he gives her some of his spicy okra. Eventually, Iveliz apologizes. She explains her recent struggles. She worries Mami will send her to a place for “kids who need help” (112). Amir holds Iveliz’s hand and promises to find her if her mother sends to a specialized boarding school.
In Pages 53-113, the narrative becomes clearer due to the diction. Iveliz names her mental health condition when she tells Mimi, “Para mi depresion / y mi PTSD” (56). She names her mental health condition again, declaring, “I know the word is ‘flashback’ / and not ‘hallucinations.’ The word is ‘PTSD’ and not ‘bad’” (80). In pages 1-53, Iveliz alludes to her mental health battles, but in pages 53-113, it is stated that she has depression and that she experienced trauma. This explicit naming is a significant shift, as it demonstrates Iveliz’s growing understanding of her mental health condition and her willingness to confront it. The act of naming her diagnosis is empowering, even as she struggles with its implications. It marks a step toward self-awareness, suggesting that part of Iveliz’s journey will involve learning to own her experiences rather than shy away from them. At the same time, the mystery remains. Iveliz doesn’t detail the trauma, nor does she explain the source of the flashbacks.
Mimi and Mami grow as antagonists. Mimi sows conflict by questioning Iveliz’s need for medicine and therapy. She uses outdated language for mental health, claiming, “Las pastillas son para los locos y tu no eres loca”—“Pills are for crazy people, and you’re not crazy” (56). More so, Mimi exacerbates Iveliz’s issues by asking her to look for Dad. Mimi’s dismissive comments reflect a generational gap in understanding mental health, highlighting how cultural and familial norms can contribute to stigma. Mimi views mental health conditions as shameful rather than something needing treatment. This generational divide complicates Iveliz’s efforts to communicate her struggles and underscores her isolation. As for Mami, Iveliz primarily blames her for the flashbacks, stating, “[S]he’s the one who most makes it happen, and she’s always the only one who can make it stop” (80). The implication is that Mami is purposefully upsetting her daughter. The quote reveals Iveliz’s unreliable point of view. Mami wants to help, not hurt, her daughter. She clarifies the status of Dad, saying,
Daddy is dead, Iveliz.
He is dead.
Tell me you get it, please. —
He is NOT here (105).
Mami isn’t trying to hurt Iveliz by explicitly addressing Dad’s death. She’s trying, however unsuccessfully, to pull her out of her head into reality. The truth is that Iveliz’s father isn’t visiting her. He’s a product of her mental health condition and trauma. This stark confrontation between Iveliz and Mami illustrates the depth of their misunderstanding and the difficulty of bridging the gap between a parent’s practical concerns and a child’s emotional reality. Mami’s direct approach contrasts with Iveliz’s need for gentle validation, highlighting the Misunderstandings Between Adults and Young People.
The three critical themes continue to move in tandem. Iveliz builds the Misunderstandings Between Adults and Young People with Mimi’s insensitive diction about mental health, and an unfavorable presentation of Mami. They continue to overlook what she’s going through. However, Iveliz subverts the clash when she can garden with Mimi. Gardening is a pleasant experience. The shared act of gardening becomes a rare moment of connection that transcends their usual misunderstandings. It offers a glimpse of the harmony that could exist if their relationship weren’t clouded by mental health challenges, cultural stigmas, and even Mimi’s Alzheimer’s disease. Moreover, Iveliz’s mental health condition contributes to imbalanced relationships. When Akiko disapproves of Iveliz’s revenge, Iveliz doesn’t react moderately, and her relationship with Amir remains one-sided, with Iveliz unable to show support for Amir’s little brother. This imbalance underscores the broader theme of The Importance of Maintaining Balanced Relationships, showing how unresolved trauma can skew one’s capacity for empathy and mutual support.
Gardening continues to symbolize a tangible reality. About gardening class, Iveliz writes, “Turning soil with a little rake […] / It makes me feel GOOD and planted” (99). The quote ends in a pun, with Iveliz playing off the multiple meanings of the word. Iveliz is planting and she feels planted—that is, firmly attached to what she’s doing. The connection between Iveliz’s emotional state and the physical act of gardening underscores her need for grounding. The stability she feels while gardening contrasts sharply with the instability of her internal world, making gardening a symbol of healing and a brief respite from her mental turmoil.
The journal emerges as a central symbol. Throughout the narrative, Iveliz refers to her journal as “Journal,” turning it into a confidante. In this section, Iveliz makes the symbolism clear, writing, “It’s stupid how a journal is the only one I can talk to right now. / The only one who won’t judge me or call me crazy / or mad” (106). The journal represents a safe audience. She can tell it anything, and it won’t call her names or draw unfavorable conclusions about her. The journal’s role as a trusted companion also demonstrates the power of writing. By externalizing her thoughts, Iveliz gains some measure of control over her emotions. The journal becomes a space where she can explore her true self without fear of judgment, offering a contrast to her strained interactions with others.
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