The Circuit: Stories from the Life of a Migrant Child

Cantinflas, Pedro Infante, and Jorge Negrete were early Mexican media stars that inspire Roberto and Francisco’s imaginations in The Circuit. Known as “the Charlie Chaplin of Mexico,” Mario Fortino Alfonso Moreno Reyes (1911-1993), or Cantinflas, was a Mexican actor, filmmaker, and comedian. In his films, Cantinflas often played the part of the little guy, el peladito, to call attention to the plight of the poor. A movie featuring Cantinflas puts the idea in Roberto’s head that money is so easy to get in California, it is just lying out in the streets.

Pedro Infante (1917-1957), the “idol of Mexico,” starred in 59 movies and recorded 366 songs. He posthumously received a star on the Hollywood Walk of Fame in 1994. Jorge Negrete (1911-1953) was another famous Mexican actor and singer and a friend of Pedro Infante. Negrete’s nickname was “El Charro Cantor,” or “The Singing Cowboy,” because he typically wore fancy charro outfits of tight pants and short coats with ornate decorations, and wide, broad-brimmed sombreros. In first grade, Francisco plays on the swings with Arthur, singing Mexican corridos and pretending he is Pedro Infante or Jorge Negrete.

Corridos are traditional Mexican ballads. Their lyrics tell stories about historical and legendary people and events, and give news about local issues, such as hardships, oppression, immigration issues, and love. Corridos peaked in popularity from 1910-1920, during the Mexican Revolution. Corridos were often recited, and when sung, were usually accompanied by guitars or string instruments. When corridos are set to dance rhythms, they are often played as waltzes or polkas. In The Circuit, it is mentioned that although Papá never went to school, he learned about the Mexican Revolution in part by listening to corridos. Francisco also loves corridos: the family listens to them on the car radio and he sings them with his friend Arthur in first grade. He is also excited to learn to play the trumpet, because he “heard it in many corridos” (83).

Green cards—which were initially white—were first issued after the start of World War II, and served as proof that the bearer could live and work permanently in the United States. Green cards were an element of the Alien Registration Act of 1940, which required foreign-born people in the US to register with the government. Since the official name of the form—“Alien Registration Receipt Card Form I-151”—was so long, everyone began to refer to it and the legal residency status it represents, as the “green card.” Immigrants would register at post offices, which sent their forms to the Immigration and Naturalization Service (INS), who then mailed them back their Form AR-3, printed on white paper, to prove they registered.

In The Circuit, Papá gets a green card, allowing him to legally live and work in the United States. Today, green cards still grant immigrants the right to live and work in the United States and they offer a foundation for future citizenship.

The legend of La Llorona, or “the Weeping Woman,” is known throughout the southwestern United States, Mexico, and Central America. The story varies from location to location, but the essence remains the same: A proud, beautiful girl named Maria marries a handsome man for his wealth. They have two children. The man gradually tires of Maria, and only spends time with their children, which makes Maria jealous. When Maria sees her husband with another woman, she becomes so angry that she takes her children to the river and drowns them. Maria immediately regrets her action, but they have already floated away. In some versions, Maria then drowns herself, in others she trips and hits her head. Either way, she dies, but she does not rest in peace. She appears in a long, white burial shroud, wandering up and down the riverbank, crying for her children. When Francisco’s younger brothers are too excited to sleep on their first night in a real, though old, house, Roberto silences them by scaring them. He cautions that La Llorona is upstairs, weeping. She may mistake another child for her own, carrying them away, or drowning them. Roberto’s scare tactics work: His little brothers are silent for the remainder of the night.