Breaking Through

The author’s interest in politics is inspired by his junior-year US History teacher, Miss Kellogg, who tells the students that “[i]t’s your responsibility as citizens to be informed about what’s happening in politics” (122). She mandates the class to follow the 1960 presidential race between John F. Kennedy and Richard Nixon, and requires them to ask their opinions on politics in general and the campaign in particular. Papa, ever cynical, says that “I can tell you that in Mexico the rich have all the power. They choose the president, not the people. They tell us we have a vote, but it means nothing” (123), and he opines that the same situation exists in the United States. When Francisco asks how he knows this, Papa responds angrily that, essentially, it is because he is experienced. Conversely, Mama feels that the government in Mexico may have operated in this way, but she believes the US to be different. She hears radio reports that Kennedy “[…] will help poor people” (123). As a result of this conversation, and his belief that Kennedy will help the disadvantaged, the author becomes a supporter of the Democratic Party. Eventually, Francisco learns that Kennedy is the product of great wealth, yet interested in the welfare of the poor; however, he is too cowed by Papa’s prior outburst to share this information with him.

The class is required to keep a scrapbook of news clippings pertaining to the election. Since the family does not buy newspapers, Francisco takes a discarded copy from the office he cleans after school every day and assembles the scrapbook at the end of the semester. When he explains what he is doing to Mama, she says that she is pleased by Kennedy’s election, because “[h]e gives us hope” (125).

In the process of reviewing articles for the assignment, Francisco is enraged to discover that some voters refused to support Kennedy because he was a Catholic. Roberto comments that many people would feel the same about voting for a Mexican. Francisco responds that, in effect, this is wrong-headed thinking, and Papa has taught them to respect everyone; Mama comments that some people are “[…] blinded by the devil” (125). Papa tells the boys that he is proud of his Mexican-Catholic heritage, and they should be as well. Roberto agrees, but tells the family that the Mexican janitor at his job has advised that he and Francisco are light-skinned enough to pass for American, and suggests that they do so. The conversation ends on a lighthearted note when the author states that his accent would always give him away, and his friends have told him that it is thick enough to be cut with a knife. Roberto adds that “[…] you need a machete!” (126) and causes the whole family to laugh. Nonetheless, as Francisco ruminates over the Catholic issue in the presidential election, he is reminded of the unfairness exhibited by the families of both Susan and Peggy, former girlfriends of Roberto and himself, respectively. 

Francisco is requested to participate in the class talent show, “The Junior Scandals,” by the class president, Marvin Bell. Unaware of the meaning of this phrase, the author is initially wary when he looks up the word “scandal” in the dictionary and worries that he is being invited to something “shameful.” When Bell explains that it is meant to describe a form of entertainment, he tells Francisco, “Don’t chicken out” (128). The author recalls having made a number of friends after singing an Elvis Presley song during the eighth grade, and he decides to participate in the class function. When Papa hears Francisco discussing his choice of song with Roberto, he voices his preference for Jorge Negrete, a Mexican singing star. Francisco recalls enjoying Negrete’s music as a child, and writes that he “felt homesick” (130). Roberto suggests that he sing “Cielito Lindo,” and “Papa’s eyes watered” (130) when the author agrees with this choice.

After school on the following Monday, the author joins the groups of students registering to participate in the show. He notices a group of boys offering to dress as girls and model, which makes him uneasy. Additionally, he sees a group of popular girls who intend to dance in a chorus line, and a few boys who will sing folk songs and play the guitar. One of them, George Harshbarger, offers to accompany Francisco as he sings; he also offers advice as to how to project his singing voice.

On the evening of the performance, Francisco experiences such stage fright that he is unable to start singing. Suddenly, he hears Roberto’s voice from the back of the bleachers calling out the phrase, “No te rages, Panchito!” (132). Due to this support, and the image of Papa in his mind, the author is able to sing the song quite fluidly. Some members of the audience join in singing the refrain, and they cheer and applaud at the end of the song. Subsequently, the participants in the show clear the stage, play rock ‘n’ roll music, and dance “[…] the Chicken, the Mash Potato, the Twist, the Stroll, and many other dances” (134).