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94 pages 3 hours read

Ernesto Cisneros

Efrén Divided

Fiction | Novel | Middle Grade | Published in 2020

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Symbols & Motifs

Food

The motif of food in the novel serves several purposes. As readers learn more about Efrén’s household, daily life, and likes and dislikes through food details, the motif serves to characterize and humanize him. Mentions of food also help to remind the reader consistently throughout the story of the conflict Efrén has with money; once Amá is gone, Efrén sees how worrying it is to have to choose between the cash for the laundromat and clean clothes (always important to Amá) and having money to use for food and snacks. Most importantly, though, the motif of food serves to support the theme of “Personal Sacrifice for Family.” In the first chapter, Amá makes sopes for her children but does not partake of even one for herself. Mentions of preparing the corn dough on the skillet and flipping tortillas with her fingers suggest taking risks of pain and burns for the sake of efficient and expertly cooked meals.

Without Amá, Efrén tries his best to concoct a recipe for “donut ‘thingies’” on his first morning alone with the twins—a cooking session that results in actual burns for him and reliance on the fallback plan of the school breakfast program to ensure the twins eat something. Efrén sacrifices three dollars, a small fortune in the face of his troubling circumstances, to feed the twins tacos that he redesigns from three to six. Later, as his worries about food increase, he risks humiliation and consequences if caught when he steals food from the trash (untouched and prepackaged) to augment dinner for the twins, calling it a buffet. Efrén discovers the struggle to provide food when it is his responsibility to do so.

Apá brings a pizza late one night to reheat for dinner the next day; he takes only a slice for himself before heading back to work. He sacrifices a bit of cash on the pancake breakfast fundraiser the morning Amá is expected home, serving the church’s fundraiser and supplying a hot breakfast to the children. Neighbors offer dishes to the Navas when they hear that Amá is on her way, sacrificing their own resources to help celebrate her homecoming; when Amá cannot come, Efrén comments that the food is a “waste” because they could not fit it into the fridge. Food becomes a symbol for not only the comfort of Amá, but the personal sacrifice family members make for one another. 

Family nicknames (Soperwoman, Soperman, Soperboy)

Efrén pieces together a nickname in his thoughts for his mother in the opening scene of the story as she prepares breakfast. Because she uses a simple ingredient, frijoles (beans), leftover from the previous night’s dinner to create a wonderful meal of sopes for him and the twins, he calls her “Soperwoman.” His respect and love for Amá only grow over the events of the novel, as Efrén realizes repeatedly how very superhero-like Amá really is—not only with milagros in the kitchen but in tending to the family and helping to keep everyone in positive spirits. When Efrén sees the superhuman efforts Apá makes by working two long jobs and rejecting sleep in place of earning money to try to bring Amá home, he realizes Apá is a “Soperman.” When Efrén accepts that his best chance to start effecting change is from the position of his school’s presidential office, he agrees to take the job; inside, he realizes that it is his chance “[t]o be…Soperboy.” This motif—the use of these nicknames in Efrén’s interior monologue and the allusion to superhero-like miracles and feats of strength—supports the theme of “Miracles Versus Reality.”

El Muro

El Muro refers the Mexico-US border wall that Lalo shows Efrén when he is in Tijuana: “The Muro is the iron wall that separates us from the US side. It ends where the ocean waves begin to form […] same water on both sides of the wall” (188). The wall is fencelike in that people can see and touch through its bars, and Efrén witnesses family members lined up for their turn to see loved ones on the other side. Lalo explains that through the Muro is how he “got to watch [his] daughter grow up” (191). Efrén is grateful to have the money to try to get Amá home, but realizes he is no better or different inside than anyone on the wall caught by its politics and circumstances. The Muro symbolizes the pain and loss experienced by families separated by the US-Mexico border, and it also represents the larger problems faced by undocumented immigrants who risk so much for a better, safer, freer life in America. This symbol and Efrén’s realizations about family separation support the theme of “The Fight for Humanitarianism, Tolerance, and Justice.”

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