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53 pages 1 hour read

Rigoberto González

Butterfly Boy: Memories of a Chicano Mariposa

Nonfiction | Autobiography / Memoir | Adult | Published in 2006

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Part 1Chapter Summaries & Analyses

Part 1: “Smarting Points, Starting Points”

Part 1, Chapter 1 Summary: “Summer’s Passage, Southern California, 1990”

Content Warning: This section of the guide includes discussion of domestic violence, sexual assault, drug and alcohol abuse, eating disorders, and anti-gay bias.

Rigoberto focuses on his relationship and breakup with his “lover,” who goes unnamed throughout the book. The relationship is highly volatile, violent, and abusive. Rigoberto begins by describing how his lover gives him hickeys all over his body that they call “butterflies” when they have sex. Rigoberto notes that he is often waiting for his lover to come home or return his calls and that the watch he received from his lover as a gift is pretty but feels like a “handcuff as well” (4). Over time, the “butterflies” turn into more violent acts during sex, such as punching and hitting.

Rigoberto resolves to break up with his lover, and he describes the scene during which he leaves. First, they talk about how Rigoberto is going to go to México, possibly for the whole summer. Rigoberto reflects on the explosive argument, and sex, that they had the night before. He describes how much he still desires his lover’s body, especially his arms. Finally, Rigoberto walks out the front door and, despite his expectations, his lover does not protest or call. Then he gets on a Greyhound bus from Riverside, California, to Indio.

Part 1, Chapter 2 Summary: “Welcome to Indio, California, Pop. 36,793”

Rigoberto arrives in Indio, California, where his paternal grandparents live, to join up with his father to make the rest of the trip down to Zacapu, Michoacán, México, where his maternal grandparents live. He will be turning 20 years old during this trip, which makes it “more significant” (10). During the bus trip to Indio, Rigoberto reflects on his difficult relationship with his father and his lover. He reveals that his father has a new wife and children and that his brother, Alex, has warned him that it might be a difficult trip to Zacapu.

Rigoberto arrives at his paternal grandparents’ house in the Fred Young Farm Labor Camp where his grandfather greets him and offers him something to eat. Soon after, his father, brother, and grandmother arrive from picking grapes. They have an awkward reintroduction with no physical contact. Soon after, Rigoberto gets into an argument with his father because a photograph of his parents that he treasured has gotten water damage. His father doesn’t seem to care that the picture is ruined or that it is so important to his son. Rigoberto storms outside and thinks about how when he was a child, he dreamed of getting away from it all. Now that he is a young adult, though, he “know[s] [he] ha[sn’t] ventured very far because [he’s] back. And [he] keep[s] going back” (16).

Part 1, Chapter 3 Summary: “Ghost Whisper to My Lover”

The sections entitled “Ghost Whisper to My Lover” are addressed to Rigoberto’s unnamed lover. Later, Rigoberto says that “ghost whispers” are what he calls the “game” he and his lover play in which he shares intimate details about his life after sex. In the “Ghost Whisper” of Chapter 3, Rigoberto describes to his lover a dream he had after he fell asleep as a child while watching his father perform in his rock band, Dinastía. Rigoberto was five years old and he fell asleep under a table near the stage while his father played. In the dream, Rigoberto was naked and he went up on stage, where the crowd demanded to hear him speak. He felt scared and vulnerable and wet himself. When he woke up, he found that he really had wet his pants. Rigoberto tried to get his father’s attention, but his father was entirely focused on the crowd.

Part 1, Chapter 4 Summary: “Now Leaving Mexicali, Baja California, Norte”

Rigoberto and his father are at the Mexicali bus station in Baja California in northern Mexico, near the US–Mexico border. They are going to get a bus to Zacapu in Michoacán, much further south. Rigoberto and his father argue over what kind of bus tickets to get. Rigoberto wants to take a first-class bus because it won’t make as many stops and the bus itself won’t be as likely to break down. His father says that he can’t afford first-class tickets, so Rigoberto lends him the money. Despite this, Rigoberto’s father buys second-class tickets and asks to “borrow” the difference (20). Rigoberto decides not to argue this time, because lending his father money gives him some leverage over his father’s behavior.

They board the run-down bus that will take them to Zacapu. Rigoberto estimates that the trip will take three or four days. Even though he has some misgivings, Rigoberto feels some excitement at leaving. The only entertainment that he will have during the trip is conversation with his father, and it goes poorly almost immediately. His father asks him if he remembers his mother, which Rigoberto finds a ridiculous question—of course he does. While his father talks to the other passengers, Rigoberto reflects on his mother and her relationship with his father.

Rigoberto describes how his father tried to teach his mother how to drive, because his mother wanted to learn as a sign of her independence. However, his father berated his mother every time she made a mistake and made her cry. But, “like the good suffering wife, she forgave him” (25). His mother made an effort to learn English after work, even though she could barely read or write, like many of his family members. She dictated her letters to her mother to Rigoberto, since she had dropped out of school in the third grade to support her family and writing was a painstaking process for her.

Rigoberto falls asleep on the bus as it drives through small, poor towns. Later, while driving along the Pacific Ocean in Sinaloa, his father makes an effort to talk to Rigoberto about his studies, even though he doesn’t really understand them. Then, he tells Rigoberto a tall tale about the time that he slept through a bus being held up. When Rigoberto fails to appreciate the story, his father stops trying and passes the time chatting with the other passengers, with whom he is very popular. During a stop, Rigoberto watches a man help his ailing mother go to the restroom. A little while later, the bus breaks down on the side of the road and they have to wait for another bus to continue the journey.

On the second bus, Rigoberto’s father starts drinking and then falls asleep. Rigoberto curls up against him and reflects on his relationship with his lover; he wishes that he could tell his father about it. He describes his lover as “a man twenty years [his] senior” who always wanted to hear his stories (37). Rigoberto’s father wakes up and they ask each other to tell a story.

Part 1, Chapter 5 Summary: “Ghost Whisper to My Lover”

Rigoberto talks about his father’s obsession with UFOs, or OVNIs in Spanish. Rigoberto’s father told him how one of his fantasies is to be abducted by a UFO. When Rigoberto asked why, his father said, “just to know” (39). Rigoberto says that even after all these years, he suspects that his father still looks for UFOs as an escape from “the turmoil of worries and responsibilities” (39).

Part 1 Analysis

Part 1 of Butterfly Boy introduces two of the narrative modes of the memoir. In Chapters 1, 2, and 4, Rigoberto González recounts in present-tense his trip to visit his maternal grandparents in Mexico. These chapters are denoted with the title “Summer’s Passage” or a location name. In Chapters 3 and 5, entitled “Ghost Whisper to My Lover,” González describes memories of his childhood in the past tense as if he is addressing his lover, the one he has left behind in Riverside. The two modes of the text are therefore narratorial and lyrical; the first describes a sequence of events while the second express feelings and is not explicitly situated in time. This mixture of modes establishes the memoir’s attempts to tell a life story while also coming to terms with internal feelings.

The text opens with a description of the physical abuse González suffers at the hands of his lover. This is just one example of The Cyclical Nature of Violence in Relationships that is explored throughout the text. González refutes the assumption that people in abusive relationships can just leave rather than put up with the violence. He describes how the intimacy of the relationship, his relative poverty and powerlessness, and his own volatile background can make such a decision extremely difficult.

Despite the abuse, González is hopeful that his lover will call him back and stop him from leaving on his trip to Mexico. This desire to return to an abuser is echoed in Chapter 2, when Rigoberto meets up with his father in Indio, California. The narrative hence implicitly draws a comparison between González’s love for his father and his lover. While reflecting on this dynamic, González realizes that despite the physical distance between himself and his troubled family, he feels drawn to return to them, much as he will later be drawn back to his abusive lover upon his return to Riverside later in the book. Immediately upon reconnecting with his father, he learns that the man has treated a treasured picture of his parents with carelessness and neglect. This picture reflects González’s own fragility and vulnerability as a child when he was neglected; it also represents a tarnished attempt to hold onto memories, something that a memoirist inherently rectifies.

This section also introduces The Challenges of Family Dynamics, which characterize much of the text. In Chapters 2-5, González describes his father, a complicated figure who, despite being neglectful and at times abusive toward him, is well-loved by others. He repeatedly ignores González’s desires. He does not take care with the photograph of his mother or listen to González when he wants to take the first-class rather than the second-class bus. In the first Ghost Whisper in Chapter 2, González describes an early experience of this when his father does not even notice when he goes missing during a concert performance. Despite this, González tempers some of his resentment by acknowledging that his own father has had a hard life. González sees his father’s fascination with UFOs as an expression of his desire for escape from his difficult life as a migrant farmworker. This epitomizes the purpose of the lyrical monologues to González’s lover: It removes him from the narrative with his father and leaves space for reflection that takes context into account.

In Chapter 4, it becomes clear how González’s decision to become a writer is at least in part due to the lessons he learned from both his parents. He describes how his mother took English lessons despite her limited formal education and slow progress. He “admire[s]” her for her persistence in learning English, something he will later emulate. Reading and writing is also a way that they bond. From his father, González learns the value of telling a good story. While most of the stories González’s father tells are tall tales, it is a way that they relate to one another and to the world. Throughout the bus journey, they ask each other to tell a story. At the end of Chapter 4, they have a genuine moment of bonding when they each ask the other to tell a story at the same time: “‘You tell me first,’ he insists, even though he’s the superior storyteller” (37). This is a more positive counterpoint to The Challenges of Family Dynamics recounted in the text.

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