32 pages • 1 hour read
Luis Alberto UrreaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
On the way to the funeral, Big Angel has a flashback to a man he killed with a club. He shudders. He is complaining about being late again, and the family has stopped caring. Meanwhile, Perla’s son Yndio parks his car outside the funeral home and watches his family come and go, refusing to go inside. He sees his Uncle Caesar and Caesar’s wife, Paz. The family files into the elaborately decorated funeral home, Little Angel settling beside his siblings, MaryLú and Caesar. The preacher enters and begins belting a sermon about guilt and sin and purging oneself of television. Big Angel makes his appearance, rolling slowly down the center aisle like a celebrity and waving at his young nieces and nephews. He reflects on his belief that he will survive this cancer, somehow—with herbs and supplements and sheer force of will. He feels he will live forever. He reads from his gratitude diary, which his friend Dave gave him and encouraged him to write in. As the funeral ends, Big Angel makes a joke his grandchildren don’t understand.
It rains as the family walks toward the gravesite. Lalo pushes Big Angel, and Perla walks with Little Angel. They pass the grave of Perla’s son Braulio. Perla can’t look at it, Lalo chokes up, and Minnie stands before it, wiping leaves from Braulio’s name. Lalo reflects on his troubled past as a gangbanger with Braulio and his memories of Braulio speaking to an army recruiter in the mall. The recruiter promised citizenship in exchange for a few years of fighting. He was a liar. Lalo recalls a bomb going off in an alleyway in Iraq. When he came back, he got into trouble again trying to sneak a friend from Tijuana into the United States. He moved into Big Angel’s garage, hoping to stop bringing shame on the family. Little Angel joins Minnie at Braulio’s grave, and she tells her uncle she wishes her brother Yndio were there. Her father and Yndio are not getting along, she explains to Little Angel, due to Yndio’s lifestyle choices; by way of explanation, Minnie pulls out her phone and shows him Yndio’s Facebook page, which shows him cross-dressing and describing himself as “non-cisgendered, non-heteronormative.”
The ceremony ends quickly, and soon they are back home. Party preparations begin for Big Angel’s birthday. Lalo gets a call from his son, who tells him someone finally figured out who killed Braulio. Meanwhile, in the kitchen, Little Angel flirts with La Gloriosa, Perla’s sister. Perla banishes him to Big Angel’s bedroom, and the men argue about whether they are an “American” family. Big Angel brings up the fact that Little Angel is half-white. They reconcile quickly, and soon Big Angel is recalling old times with their father, and Little Angel curls up in bed beside his dying brother.
After everyone leaves, Perla climbs quietly into bed to avoid waking Big Angel. He is awake, however, and the husband and wife reminisce about their courtship, when Big Angel lost his virginity to Perla on the beach. Big Angel reminds Perla of the hard work they put into their family. Big Angel tells Perla he can astral-project in his sleep, walking around freely without his body. Meanwhile, Little Angel sleeps on MaryLú’s couch in Mamá América’s old house, though he has his own hotel room. They eat cookies together, and MaryLú asks him about life in Seattle. Little Angel recalls his childhood and his strained relationship with his father, who often beat him. Minnie, at her own house, stays up late drinking white wine alone in the living room. She waits until her man is asleep to climb into bed. She often wants to be alone and to sit with herself in the darkness. The chapter ends when Big Angel wakes in pain at two o’clock in the morning. He takes codeine and thinks about his home, which still feels like a palace to him after all these years. Big Angel washes himself in memory again, blissful. He “invited every memory to come to him and clothe him in beauty” (97).
The presence of death looms again here as the family attends the funeral. The occurrence of a funeral just before a birthday party is a moment of foreshadowing on Urrea’s part—this birthday party is, in a sense, also a funeral for Big Angel. The circular nature of the book, which begins and ends in a graveyard, hammers home the perpetual presence of death.
The symbol of rain is introduced in these chapters when it begins to drizzle while the family is in the car on the way to Mamá América’s funeral. Big Angel sees the rain as a symbol from the heavens—a touch from the divine. Rain brings rainbows. Both rain and rainbows make it into Big Angel’s gratitude book.
Patriarchy is pivotal to the thematic landscape of these chapters. Though Big Angel is sick and dying, he is seen as the pillar of strength holding the family together. He is a celebrity among his grandchildren and essential to the safety and longevity of the family: “Even in his wheelchair, Big Angel believed he could kick the ass of anything that came at him, and everybody else believed it too. They needed it to be true” (47). The idea that, despite Big Angel’s physical weakness, his family must see him as a physically intimidating figure establishes not only Big Angel’s sense of self, but also his importance for the security of the family.
Finally, these chapters begin to define the family castaways—the black sheep. In deepest exile is Yndio, whose queerness is contradictory to ideas of Mexican manhood. Minnie also feels exiled as a woman whose father never recognizes her strength because of her gender. Little Angel is the final castaway. He is half-white and thus rejected by both white and Mexican communities. He lives in the no man’s land between races and cultures. No one in the family understands his pain because they see it as a privilege; as Big Angel says, “Must be nice, Carnal […] To choose who you are” (83).
By Luis Alberto Urrea