Paternalism and Assimilation in Books About Hispanics:Part Two of a Two-Part Essay Opal Moore and Donnarae MacCann In the first part of this essay, published in the Summer 1987 Quarterly, we showed how four different writers of children's novels published prior to the Seventies made the maturing process of Chicano youths dependant upon an Anglo rescuer, who is able to teach these youngsters the supposedly superior values of the dominant culture and thus rescue them from hopelessness. We concluded that, according to these novels, the growing-up process for Hispanic youths would be a hopeless nightmare of emotional insecurity and lack of guidance if not for outside help. This perspective continues into the 1970's with Frank Bonhams' novel Viva Chicano (1970). Not once in the eight books discussed in both parts of this series is an Hispanic youth significantly influenced by a positive adult Hispanic character. In Viva Chicano, Joaquin Duran, a youth looking for guidance and the stability he lacks at home, temporarily places his confidence in a cardboard facsimile of a long dead Mexican revolutionary hero, Emiliano Zapata. The cardboard figure, stolen from in front of a movie theatre, "talks" to Joaquin, offering him advice on how to straighten out his life. The youngster's own mother is promiscuous, hysterical, and vindicative. Bonham weaves a story of Hispanic emotionalism, superstition, fractured family life, and criminality. The storyline is fairly implausible from the start as Joaquin, called Keeny, is negligent in his babysitting duties and his little brother falls from the second story window. The neighbors converge and insist to the police that Keeny pushed the baby out. Keeny flees the scene without even knowing the condition or fate of his injured brother. In a move from the implausible to the absurd, Keeny steals the Zapata dummy; the dead revolutionary promptly advises him to call upon his parole officer to save his skin. Despite Keeny's extensive run-ins with the police, he is portrayed as a paragon surrounded by the stupid, the weak, the ignorant, the malicious, the mindless. His mother is described as a woman of uncontrollable emotions with a taste for worthless men and an irrational hatred for her eldest son. His friends, the Royal Aztecs (an unofficial gang) are idiots and drug abusers. The only other Hispanic female in the book is the young run-away girlfriend of one of the Aztecs. Her name is YoYo and she is described with a care to detail: She wore a green blouse and skirt separated by six inches of skin. Green plastic boots were zipped to her knees. . . . The amazing thing about her was her hair, lemon-yellow and standing out at least a foot around her head in an enormous bubble hairdo. . . . Indeed she stood out, with her bizarre coloring and makeup, like a vivid parrot that had flown into a henyard from the jungle. (79) YoYo is a silly delinquent who has been on her own since her mother was murdered by a male companion. Her yellow hair suggests her desire to be Anglo at the same time that the "bubble hairdo" might imply an equally misguided affinity for the Black militant movement. (This would account for the "jungle" reference.) The single elements of her appearance combine to connote promiscuity, bad taste (according to these books a quality that is rampant among Hispanic women), confusion and hopelessness. Zapata's ghost has just one message for YoYo—a conventional middle class chiding about her appearance. She promptly dyes her hair black, appropriates the chaste-looking dress and braids of a nineteenth century peasant girl, and becomes conspicuously religious. There is no attempt to offer insight into her real inner conflicts. The hostile social environment, the gangs, drugs, and criminality are not presented in a social or economic context. Instead, they appear to exist as a probable consequence of violent, unprincipled parents and a police force that presumes guilt without evidence. After all, Keeny, a good intelligent boy, could not avoid his predicament. How could an average youth be expected to do so? It is implied that all the good, admirable men are dead and gone; the women are incompetent, hysterical or self...