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73 pages 2 hours read

Celia C. Perez

The First Rule of Punk

Fiction | Novel | Middle Grade | Published in 2017

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Symbols & Motifs

The Worry Dolls

Malú’s dad gives Malú the six worry dolls in Chapter 2, prior to Malú and her mom moving from Florida to Chicago, and the dolls remain a consistent presence throughout the novel. The paper dolls are something that Malú turns to in moments of anxiety and worry, and she brings them with her on the day she apologizes to her bandmates for getting mad at Joe. The dolls function as a symbol both of Malú’s dad and of Malú’s youth, even as she moves farther away from both. While Malú grows increasingly more independent over the course of the book, she is still very much a child, and has frequent moments of not believing in herself or being unsure of how to feel or act in certain situations. The worry dolls provide a source of comfort for her, just as her dad does for the first half of the book, prior to Malú looking more toward Mrs. Hidalgo as a role model. By the time Malú and her band are prepping to play the Alterna-Fiesta, the dolls have disappeared from the narrative; Malú’s confidence has grown, and it seems unlikely that she will need them again in the future.

The Candy Necklaces

The candy necklaces worn by Selena and her friend group are symbolic of mainstream, American consumerist pop culture. They are superficial, ersatz, and cheap. They are easily obtained and easily discarded. Further, they are at once a status symbol and a weapon: It seems to be only Selena’s clique that wears or is perhaps allowed to wear the necklaces, and the group wields their status by at moments utilizing the necklaces as missiles aimed at Malú and her friends. Most importantly, the candy necklaces represent neither Chicanx culture nor DIY/punk culture; indeed, it would be fair to deem the necklaces as the antithesis of both.

The first time a candy necklace makes an appearance in the novel is in Chapter 6; this is also when the reader meets Selena Ramirez for the first time. Selena is chewing on the necklace as she talks to Malú; that is, Selena is literally consuming the item that perhaps most defines her aesthetic. In Chapter 16, Selena and her clique approach Malú and Joe; Malú states that they resemble “a pack of clones that escaped from Willy Wonka’s factory” (134). This description serves to dehumanize Selena’s group, making them that much more plastic and homogenized. In Chapter 24, the candy necklace is made into a weapon and thrown at Malú and Joe as they talk. Finally, in Chapter 28, after Selena discovers the flyer for the Alterna-Fiesta that Joe’s left in the copier, Malú imagines “pouring her bottle of water on [Selena] and watching her melt, like the Wicked Witch of the West, until there was nothing but a pile of clothes and a candy necklace” (232).

Cilantro

Malú loathes cilantro. For her, the herb tastes soapy, and she does all she can to avoid it. While many people enjoy cilantro, a small percentage of the world’s humans harbor a genetic factor in their olfactory-receptor genes that makes the herb repugnant. (The celebrated chef Julia Child was one such person.)

Cilantro is a common component of Latin cuisine; the fact that Malú vehemently dislikes it makes her self-conscious and pushes her farther away from the Mexican American portion of her identity. Early in the novel, she picks cilantro out of her guacamole, and later, at Sunday dinner at Oralia’s, it’s again mentioned that Malú dislikes cilantro, in addition to spicy food, both of which alienate her, at a gustatory level, from her Mexican roots and reaffirm her diverse background (those of Caucasian and Asian descent are more likely to harbor the gene that makes cilantro taste soapy).

The Quetzal

Quetzals are large, brightly-colored birds found most almost exclusively in Mexico and South America. There are five species in total, and they are part of the Trogoniformes class of avians. Quetzals and trogons are virtually unique among birds, and thus make a good symbol for Malú, who works very hard to look as individual as she can. Malú learns about the quetzal in a book she finds at Calaca Coffee, an appropriate setting for such a discovery as it’s at Calaca that Malú locates many pieces of the patchwork that will construct her identity. The quetzal was scared in both Aztec and Mayan culture, and closely associated with the snake god Quetzalcoatl. Nobility in both cultures included the brightly-colored tail feathers of the quetzal in their headdresses, and Malú does something similar to this, prior to performing at the Alterna-Fiesta, by choosing quetzal colors to perform in to bring her luck. In this way, the quetzal functions as a symbol of Malú moving toward embracing the Mexican American portion of her identity, as she continues to mature.

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By Celia C. Perez