The Epic Fail of Arturo Zamora

Discuss the role of Arturo’s close friends Bren and Mop in the novel, and how their presence—or absence—fosters Arturo’s growing maturity over the course of the summer. Consider why the only two dramatic “dialogue” sections of the novel (Chapters 4 and 9) feature Bren and Mop, and why, for most of the novel, Arturo’s two friends are absent.

The novel foregrounds Arturo’s relationship with females—his mother, Abuela, and Carmen—and presents his male relationships through the medium of letters or social media, or, largely sidelines them, as is the case with his father. Curiously, even Arturo’s surname—Zamora—is that of his mother’s family, not his father’s. Explain how traditional gender roles relate to the novel’s focus on family and community and how they shape Arturo’s developing sense of himself.

Wilfrido’s proposal for Pipo Place entails the destruction of La Cocina, so Arturo and his family are understandably opposed to it. Imagine an alternative scenario in which Wilfrido plans only to develop the vacant lot, allowing La Cocina to stand, and make a case, accordingly, for or against Pipo Place. Take into account Carmen’s explanation of gentrification in Chapter 11, statements given at the public hearing, and how the development could positively or negatively impact the nature of the community.

Abuela counsels Arturo that “[l]ove and faith are most important” (57). While Abuelo’s letters provide an understanding of love as explained by poet José Martí, the narrative does not overtly offer an interpretation of what faith means. Explain what faith signifies in the context of Abuela’s statement. Why does Abuela stress to Arturo that faith is important? How is the faith that Abuela alludes to an important factor in Arturo’s ultimate successes?

Abuelo writes to Arturo, “remember: sometimes life’s answers are hidden in poetry” (91). What important question(s) does Arturo have about himself or his life at this point? What answer(s) does he eventually find in poetry (either that of Martí, including “Guantanamera,” or his own)?

While protesting at Wilfrido’s festival, Carmen tells Arturo, “We’re trying to make a difference, just like José Martí. He fought for Cuban independence from Spain” (141). Drawing on the information provided in the narrative about Martí (along with that in the back matter), explore how Arturo’s efforts to save his community parallel those of the poet José Martí.

According to Carmen, José Martí argued, “‘We are free, but not to be evil […],’ or something like that” (142). This sentiment may seem uncontroversial, but exactly what constitutes “evil” is a matter of debate. When Wilfrido defends his scheme by noting that “people are free to buy property” (151), Arturo invokes Martí’s argument, implying that Wilfrido’s ambitions are evil. Are they? Explain why, or why not.

In one of his letters, Abuela urges Arturo to “[f]ind your voice. Find your story” (91). Arturo does so, and the result is this novel. How does Arturo’s own story underscore the idea that every individual has a valuable story to tell? In particular, consider the central conflict in the story between Wilfrido’s ambitions to “modernize” Canal Grove and the Zamoras’s efforts to preserve their community’s identity and culture from erasure.