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55 pages 1 hour read

Kirstin Valdez Quade

Night at the Fiestas

Fiction | Short Story Collection | Adult | Published in 2015

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“Mojave Rats”Chapter Summaries & Analyses

“Mojave Rats” Summary

Monica Vigil-Rios wakes at dawn to find her daughter Cordelia shivering with cold and realizes that the heat has gone out again in their trailer. Monica silently curses her husband Eliot, a geologist, for leaving her alone with Cordelia and their baby, Beatrice, while he collects rock samples. Eliot will be home later, but she will have to attempt to fix the heater on her own now. She tries to restore heat to the trailer but is unsuccessful, so she goes back to bed. She wakes too late to get Cordelia onto her bus to school and is forced to venture out into the cold, windy morning on foot with both girls in tow. Of the motley crew of residents at their trailer park outside of the town of Gypsum, she is unsure whom she might be able to ask for a ride. After a brief walk around the park, she returns dispirited to the trailer. Cordelia, who adores school, is upset that she is missing art day. Monica wishes that her life were different. She had envisioned something other than a dusty trailer park in the Mojave desert when she’d married an academic, and she hopes to live in a small house, finish her own degree, and attend fancy dinner parties.

To entertain Cordelia, Monica proposes that the two play dress-up. A severe and serious child, Cordelia reluctantly agrees. Monica chooses a black, beaded dress that Cordelia’s father, Peter, gave to her. (She is no longer involved with him and rarely speaks about him.) She recalls wearing the dress as a younger woman and becomes momentarily caught up in memories of her youth and early adulthood. Monica grew up in Santa Fe. Her family was not wealthy, but Peter, her first husband, was. He ridiculed her for her lack of education and intellect even as she showed interest in literature and art. Monica’s mother was more materialistic; she had grown up with so little that her desires were largely for material things like television sets and nice carpeting. Monica herself had loftier aspirations, and she was hurt that her husband thought so little of them.

Now, Monica is startled from her reverie by a knock at the door. It is Amanda, a young girl from one of the neighboring trailers. Monica is slightly ashamed of how harshly she judges the family for their appearances and for their obvious poverty. Amanda is nine, while Cordelia is only seven, but Amanda tries to act much older. Monica feels that Amanda sexualizes herself by wearing clothing that is inappropriate for a little girl. She also believes that Amanda lacks manners. Amanda has brought a backpack full of random objects, including a torn pornographic magazine, a porcelain figurine, and an odometer. Monica asks if the items are Amanda’s and is met with rolled eyes and a “Duh!” Monica, Cordelia, and Amanda talk about Monica’s husband. Monica tells the young girl that her husband is a geologist and that he is working toward his PhD. Amanda seems bored until Cordelia reveals that he has had some difficulty with his advisor and that his progress has stalled. Monica grows defensive when Cordelia shares this family secret. She asks Amanda to leave. Just as the young girl is exiting the trailer, Monica impulsively gives her the beaded gown. She has a vision of sloughing off her old life and her expectations for her marriage and wants to be rid of the dress, which is a physical reminder of who she once was. Cordelia is upset by her mother’s choice to gift this heirloom to an obviously unworthy neighbor girl, and Monica tries to explain that Amanda does not have nice things and needs the dress more than Monica or Cordelia.

Later, Eliot returns and fixes the heater. Monica tells him about the dress. By that point, she is surprised at her own actions and is starting to feel regret. Eliot dismisses the interaction as her attempt to give something nice to an underprivileged child and tells Monica that it was just a dress: a meaningless object. Monica contemplates asking Amanda’s mother to return the dress but decides against it. She and Eliot have a brief argument about it but reconcile later. The trailer is warm, he is home, and life seems to be returning to normal.

“Mojave Rats” Analysis

This story focuses primarily on key issues of class, and through the narration and the use of motif and symbolism, Valdez Quade specifically explores The Effects of Class on the Coming-of-Age Journey. Monica, the story’s protagonist, has experienced the realities of several different social classes throughout her life, and these varied worldviews have left her with a longing for all that she does not currently have. In many ways, her current attitude both mirrors and conflicts with that of her mother’s years ago. Monica was born into a working-class family in Santa Fe, and while her mother longed for the material trappings of wealth, Monica associates affluence with education and yearns for this intangible mark of distinction.

Because Monica was unhappy with her family’s class position, she sought to better herself through school and also through marriage. It is important to note that Monica has viewed both husbands as a “step up” into the world of the middle and upper classes. However, in both marriages, Monica finds that her elevated social standing does not bring her joy or radically alter her life. Thus, Valdez Quade suggests that she has chased the wrong dream and has been rewarded with a dissatisfying existence. For example, her first husband never saw her as anything other than a girl from an impoverished background, no matter how many books she read or how expensive her clothing was. She remembers him “laughing at her in public for working her way through the classics or for not knowing that framed Monet prints were tacky” (42).

Similarly, her second husband, an academic, fails to propel her into the glamorous life that she thought she would have as a professor’s wife. Their trailer in the Mojave desert and the run-down park where they live represent Monica’s fraught feelings about the inescapability of her class position. For this reason, Monica tries to separate herself from her neighbors, but she realizes that she has much in common with them. One of the primary tactics that Monica uses to perform a hierarchically higher class position is to carry around her copy of George Eliot’s Middlemarch, a canonical work of literature that details the struggles of an intellectually gifted female protagonist. Monica hopes that by associating herself with such a lofty tome, she will garner the respect of the neighbors that she assumes to be only marginally literate. This blatant performativity becomes a motif within the collection, and several other characters in these stories also try to access different class positions through performative erudition.

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By Kirstin Valdez Quade