The Circuit: Stories from the Life of a Migrant Child

In The Circuit, Francisco Jimenez describes formative memories of his childhood years with his migrant family. These initial four autobiographical stories, starting with when he was around four years old, establish the main themes in Jimenez’s memoir: The Challenges of the Immigrant Experience, The Importance of Education, and The Value of Family.

Francisco’s first-person narration gives readers an intimate look at his thoughts and feelings as a young child. His use of Spanish words and phrases honors his Mexican heritage and gives readers who do not understand the Spanish language a sense of what Francisco may have felt as a child when still unable to understand English. Non-Spanish-speaking readers can generally understand the meaning of Spanish words through their context: La frontera that the family crosses to get to California is “the border.” Other phrases are harder to interpret. When Papá tires of Francisco’s pestering on the train ride, he exclaims, “¡Otra vez la burra al trigo!” (4), which translates roughly to “Again, the donkey is back in the wheat!” This Spanish idiom reflects Papá’s exasperation with Francisco’s repetitive questions and shows the richness of Francisco’s native language. Although the expression is different, English speakers have similar idioms—e.g., “here we go again”—for similar situations.

Francisco describes his memories without embellishment. He uses little figurative language except for occasional similes, which utilize comparisons to simple things that are a part of Francisco’s world. The cotton shells scrape Francisco’s hands “like cat’s claws” (11), and the patchwork of linoleum he and Roberto make on the floor of their tent looks “like a quilt” (30). Francisco’s narrative voice is matter-of- fact and often graphic: He describes difficult events and emotions, like Torito’s illness—the infant’s locked jaws, the blood in his stool—and Francisco’s response to it—fear, confusion, and sadness. Francisco cries “hysterically” when he thinks Torito has died.

Although Francisco shares moments of joy and pride—like winning a blue ribbon for his butterfly illustration—his tone is predominantly serious and reflective in the stories, expressing a sense of resignation to the various hardships that compose The Challenges of the Immigrant Experience. Papá is certain that life in the United States will be a step up. He is willing to work hard to make a better life for the family. Mamá is hopeful that, “God willing” or “Dios lo quiera,” their lives will improve (4). Roberto joyfully envisions money lying around for the taking. The family is excited, hopeful, and united in their desire to change for the better. Even when they arrive and find no work and must live rough in a borrowed tent, Mamá believes they will be “fine” once the work begins. Ironically, however, moving to California seems to place the family in a worse financial situation. In Mexico, though they also had no electricity or running water and slept on a dirt floor, they had extended family, land, and livestock. The work was hard, but milking cows and selling their milk suggests independence. Roberto’s uncertainty that they are in fact in California—because his high expectations were unmet—foreshadows disappointments to come.

The memoir’s title describes the family’s need to keep moving and “follow the crops” from season to season. The circuit represents constant motion, change, and instability. When Papá, Mamá, and Roberto return at midday after picking cotton, Francisco’s simple description of their lunch gives readers insight into each family member and their priorities on the circuit: “Papá ate quickly because he did not want to lose time from work. Roberto and I ate slowly, trying to make time last a bit longer. Holding him in her left arm, Mamá nursed Trampita while she ate with her right hand” (10). Francisco succinctly illustrates Papá’s drive to earn money, Roberto and Francisco’s desire to relax and be together, and Mamá’s focus on caring for the baby.

Francisco starts first grade in January, long after other students, when the family returns to “Tent City” after the cotton harvest. His education, which becomes something Francisco looks forward to and works hard at, is constantly interrupted. “Inside Out,” illustrates both The Importance of Education and the barriers to learning and frustrations that Francisco faces. Francisco knows no English but is expected to understand Miss Scalapino’s instructions and to speak English, rather than his native Spanish. This tactic of total language immersion with zero reading instruction, remediation strategies, or support for English-language learners, unsurprisingly fails. Francisco must repeat first grade, like Roberto.

The language difference is both a significant barrier in Francisco’s education and with his connection to others in school. It isolates him. Francisco desperately wants to understand what Miss Scalapino says and read the words in the books he is drawn to, but has no tools to decode the language. Language also reflects cultural and class differences in Francisco’s two worlds: his life with other impoverished Mexican migrant workers in the camps, fields, and life at home, where everyone speaks Spanish, and his life in the “outside world” of school, commerce, and non-Mexican people, where English dominates. Like the caterpillar in the jar that becomes a butterfly, however, Francisco begins to transform: School gradually broadens his linguistic and social skills, giving him greater confidence (See: Symbols & Motifs).

The Value of Family is an important theme in “Soledad.” The word soledad means “loneliness” or “solitude” and is a feeling that cuts young Francisco’s heart. He so dislikes being left isolated and alone that he wishes he could work just to be with his family. His childlike desire to work in the fields changes in later stories as Francisco matures and recognizes fieldwork’s physical and emotional toll. Papá helps to teach Francisco important lessons: He expresses his strong work ethic when he reprimands Francisco for doctoring the cotton, saying Francisco should be “ashamed” both for cheating and jeopardizing their jobs. While Francisco is initially “hurt and confused” by Papá’s criticism (13), he will later learn to value and emulate his father’s work ethic, cherishing his father’s example.  

“Miracle in Tent City” also emphasizes the family’s close bond despite their struggle with poverty. Although poor, the Jimenez family has love and pride. They are determined to make the best life possible despite hardships and a growing family. Their perseverance is evidenced in ingenuity and unity. From scavenged, discarded materials, they make items that they cannot afford to purchase, like an icebox instead of a refrigerator and Torito’s box crib. Papá shows his willingness to sacrifice for the family when Torito becomes ill, telling Mamá they will find a way to afford the hospital despite their poverty.

The family’s Roman Catholic faith also informs their lives: Papá fixes the image of the Virgen de Guadalupe to the wall of whatever dwelling they inhabit. Their faith sustains them during Torito’s illness and unites the family in their love for him. They receive strength and support from each other and their prayers. Francisco prays on his own when Torito is rushed to the hospital, showing that his faith is ingrained in his thoughts and beliefs. His prophetic dream features white butterflies, which signify positive change and transformation (See: Symbols & Motifs). Of the three approaches to healing Torito, two fail. Doña María’s folk medicine is ineffective. The doctors at the hospital, representing science-based medicine, cannot treat Torito. The family’s devotion, their promise to pray to Santa Niño, is ultimately rewarded with the “miracle” of Torito’s recovery.