63 pages • 2 hours read
Jeanine CumminsA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The loving relationships between parents and their children anchor the novel. Foremost among these is the bond between Lydia and Luca. Lydia expresses her love for her son in myriad ways, most especially by protecting him. For example, she shoves him into the corner of her mother’s shower and curls her body around his during the massacre (Chapter 1), she distracts him by finding shapes in the clouds when an immigration agent beats another migrant (Chapter 21), and she stops to bandage his foot during the trek through the desert—an act that separates them from the group with potentially deadly consequences (Chapter 32). While many parents shield their children from hearing things they are too young to process, Lydia’s drive to protect Luca leads her to share frightening information with him in Chapter 12: “Lydia hesitates, because everything she’s ever thought about protecting Luca has changed now. She doesn’t want him to be afraid. But she needs him to be very afraid […] ‘We are still in danger’” (116). Despite her own trauma, Lydia shepherds Luca away from the site of the massacre all the way to Maryland. Her strength is born out of love and terror: “She is here with Luca and she will protect him at all costs. This is the only thing left that matters” (47). Once a laidback parent who needed time away from her child, the massacre made it unbearable for Lydia to distance herself from Luca.
The paternal bond between Javier and Marta, while articulated less thoroughly than Lydia and Luca’s, is nevertheless central to the novel. Marta is the person Javier loves most. He tells Lydia that Marta is “the only good thing I’ve ever done in my life” (30) and that his love for his daughter is “so vast I sometimes fear it” (30). Javier feels unworthy of the love he and Marta have: “I can never hope to earn it, so I fear it will disappear, it will consume me” (30). He refers to his wife as “la reina de mi corazón, the queen of my heart” (29) and calls Lydia “la reina de mi alma. The queen of my soul” (30). Marta, on the other hand, is his everything: “Es mi cielo, mi luna, y todas mis estrellas” (My sky, my moon, and all my stars) (30). Indeed, Javier’s love for his daughter is so powerful that her suicide sends him into a murderous rage; he blames Sebastián and Lydia. Parental love thus links Javier and Lydia. Both love their children, and love and violence are inexorably linked for them both.
The kindness of strangers is a theme that runs through much of Cummins’s novel, manifesting itself in organized and casual ways. The migrant sanctuaries scattered across Mexico are prime examples of organized acts of kindness. These church-run establishments provide food and shelter to migrants free of charge. Some sanctuaries, such as the Casa del Migrante in Huehuetoca, ask migrants to share information about their personal circumstances to anticipate the needs of future migrants. Others, such as La Piedrera in Guadalajara, have designated communications room for migrants wishing to call or email their loved ones. The sanctuaries also offer spiritual and practical aid. Hermana Cecilia at the Casa del Migrante in Huehuetoca, for example, prays for Lydia and Luca’s safety before warning them to be careful who they talk to. For his part, the padre at the Casa del Migrante in Celaya urges migrants not to embark on the journey north unless they truly have no other option. He enumerates the various calamities that typically befall migrants, ending his impassioned speech with the powerful statement: “Look around you. Go ahead—look at each other. Only one out of three will make it to your destination alive” (169).
Individual acts of kindness are interspersed through the novel. In Chapter 15, for instance, workmen give food and water to migrants riding La Bestia. In Chapter 24, a woman hides Lydia, Luca, Soledad, and Rebeca from immigration agents, bringing them tortillas and beans while they rest in her shed. A young restaurant worker gives the sisters spaghetti in San Miguel de Allende in Chapter 15, while a resident of Hermosillo drapes a hose over a garden wall so migrants can clean up and fill their canteens in Chapter 25.
Whether one lives or dies on their way north depends on the often random acts of kindness—Soledad acting quickly to save Luca from rolling off the train, for example. Fate is a near-unstoppable force, and the only weapon the characters have against it is weaving together small acts of kindness into a rope to hold on their journey.
The migrant experience presents risks for all travelers—robbery, kidnapping, and accidental maiming—but for women and girls making the trip north, the threat of sexual violence is never far away. There are numerous instances of sexual violence in the novel, all of which provide insights into the migrant experience from a distinctly female perspective. Rape in American Dirt is emphasized as an act of power, not of sexuality. Cummins first alludes to the subject in Chapter 12, when Luca witnesses a verbal altercation at the Casa del Migrante in Huehuetoca. Padre Rey and his helper, Néstor, confront Lorenzo in the hallway outside the men’s dormitory and demand he leave the sanctuary. Lorenzo defends himself against accusations, obliquely referencing sexual assault: “This is bullshit, Padre, that puta is lying” (118).
Cummins spells out the nature of the attack in the following chapter, when Lydia overhears Neli and Julia discussing the rape of a 16-year-old Salvadoran girl at breakfast. The teenager reportedly “didn’t want to make a fuss” (126), but Julia interrupted Lorenzo and “chased him away from her” (126). The impact of the assault is apparent on the young victim, who keeps her shoulders “rolled in so far toward each other that her body seems to be trying to swallow itself” (126). As the conversation continues, the reader learns that the Salvadoran girl did not defend herself, “like she knew there was nothing she could do if he’d made up his mind” (127). Neli uses the term cuerpomático, referring to sex as a form payment. When Ixchel seeks clarification, Neli and Julia explain that the female body “is an ATM machine” (128) for getting north. Julia confesses she has already paid twice.
Another instance of sexual assault is the gang rape of Soledad and Rebeca in Chapter 21. Although the reader is only privy to the events immediately preceding and following the attack, the violence of the incident is abundantly clear. Corrupt immigration officials grope the sisters before separating them from the group and loading them onto a truck. Lydia pretends she is their mother and begs an agent to let the girls travel with her. The agent luridly responds, “Don’t worry […] We’ll give the girls a ride” (225) before slamming the van door in Lydia’s face. The sisters arrive at the warehouse hours later battered and traumatized: “The girls do not look well […] They’re both limp—all the flinch has gone out of them” (229). Soledad’s rape is so violent she later miscarries.
This experience with sexual violence is not the first or last for the sisters. In Honduras, Soledad fell in with Iván, a violent gang member who raped her repeatedly. Iván threatened to rape Rebeca, prompting the girls to flee the country. In Chapter 34, Lorenzo tries to rape Rebeca when she leaves the desert cave to urinate. She initially fights her attacker, but eventually gives in, like the Salvadoran girl in Huehuetoca. El Chacal and Soledad interrupt the assault, but the cumulative trauma of sexual violence leads Soledad to shoot and kill Lorenzo, turning her into a murderer. The sisters’ experiences have a transformative impact. Gone are the vivacious girls Lydia and Luca first encountered in Chapter 14. In their place are two traumatized individuals numb to the violence inflicted upon them.
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