Return to Sender

The narrative returns to Tyler’s third-person limited perspective with the section “Nameless Farm.” Tyler reflects how his family is unable to find a good name for the farm. Mom convinces Tyler to go to the trailer, say hello to the girls, and drop off some board games for them. He does not really want to and suggests that he help the men in the milking barn instead, but Mom is insistent as she usually is with one of her “good ideas.” She reminds Tyler that the oldest sister will be in his class. Tyler does not understand how the Mexican girls can attend school, but Mom says, “Of course they can go to school. In fact I already checked with Mrs. Stevens and she said any child who wants to learn is welcome at Bridgeport” (41). On the visit, Tyler introduces himself and learns that the girls’ proper names are María Lubyneida, María Ofelia, and María Dolores; Luby, Ofie, and Mari are their nicknames. They discuss cows and the farm. Ofie and Luby unintentionally reveal that they were born in America but that Mari was born in Mexico, which sends Mari fleeing down the hall in tears.

At dinner Mom asks Tyler how the visit went, and he tells her it was fine, not wanting to speak too positively or negatively about it—too much in either direction might prompt Mom to send him back often. Mom wonders aloud if the girls might help her with house chores for extra money, but Ben suggests the girls keep Grandma company sometimes. Tyler explains how Mari left in tears when her sisters mentioned her birthplace. Ben says, “She probably just didn’t want you to know that she’s not an American citizen” (49).

Tyler takes his telescope to the barn’s hayloft to look at the stars. Mari is already there. He is not thrilled that she is in his favorite spot, but he is kind to her and allows her to view the constellations through the telescope. Mari is amazed and appreciative. Mari tells Tyler her mother is on a trip and will be back. Tyler mentions how the swallows (golondrinas) will soon leave for the winter. Mari compares them to the monarch butterflies (mariposas) that also migrate. Mari’s Papá calls her back to the trailer, and she departs.

Back in the house, Tyler’s parents explain that although the Mexican workers claimed to have legal allowance for employment in the US, Mari’s earlier reaction in front of Tyler tells them the Mexicans are “likely not legal” (56). Tyler realizes now that his parents hired workers who do not have legal citizenship or permission to work in the United States. He asks if they should call the police, but Dad makes it clear that the Mexicans are their last chance to avoid selling the farm.

Mari writes another letter, this one to the president of the United States. In “Esteemed Mr. President” dated September 15, Mari discusses school and family, and apologizes for being in the US without legal permission. She asks the president to understand: “Please Mr. President, let it be okay for my father and uncles to stay here helping this nice family and helping our own family back home buy the things they need” (61). Mari tells the president she and her sisters visit Tyler’s grandmother and relays her concern about climate change. She explains how Tyler showed her his plans and notes for helping his family and farm in the event of an emergency. He keeps a list of everyone welcome at the farm in an emergency, including the class bullies, Clayton and Ronnie.

On the bus home, Clayton and Ronnie harass and tease Mari, and the bus driver must intervene. They also harass Tyler: “Your dad’s breaking the law! You should all be thrown out along with them!” (66). After that incident, Tyler does not walk into school with the girls and rejects Mari’s request to view stars that night. Tyler asks Mari if her dad and uncles have legal working documents. Mari tells Tyler they do not and adds how she came to the country when she was four. Tyler walks away, and Mari is sad.

Mari tells the president in closing that the next day is “Fourth of July in Mexico” (Mexican Independence Day). She intends to stay up till midnight to say “¡Viva Mexico!”, but she will also say “Long live the United States of the World!” (72).

In “Watched-Over Farm” the narrative returns to Tyler’s point of view. Tyler believes that his grandfather is watching over the family from the stars; when a shooting star appears, Tyler thinks it is his grandfather in visible form. This makes sense to him, as it was his grandfather who gave him the telescope and taught him about star navigation. He does not share this thought with his parents; he fears his mother, who feels it is best to stop dwelling on Gramps’s death, might seek counseling for him.

Colder temperatures arrive, and Tyler brings the telescope back to his bedroom. Now there is no way he and Mari can stargaze together. This is both relieving, because Tyler is very upset with Mari’s illegal status, and dismaying, because without Mari to chat with, the loss of his grandfather and the overall emptiness of the farm are more noticeable to Tyler. Without any guilt, he uses the telescope to spy on the Mexicans some nights; in another connection to the section’s heading, “Watched-Over Farm,” he is concerned that Homeland Security might be surveilling the farm. That would explain the sporadic phone calls in which the caller hangs up as soon as someone answers. One night Mari leaves the house and stands under the dark sky. She turns in a circle, looking up at the stars. When Tyler studies the sky to see what she sees, he envisions a constellation that looks just like his grandfather’s face.

Tyler goes to talk about his grandfather with Grandma. He finds her upstairs in her house, where she does not often go anymore since moving her bedroom to the main level. Tyler discovers that the three Marías helped his grandmother set up a “Day of the Dead” altar in memory of Tyler’s grandfather with his framed photo, a few of his favorite foods and fishing lures, and other trinkets that represent his life. His grandmother explains the collection is in the upstairs “because the others might not understand” (82). Grandma says instead of an altar, she calls it a memory table. Tyler is familiar with Day of the Dead customs from Ms. Ramirez, who teaches Spanish at school. Tyler recalls that Gramps died on the last day of school; he wonders if he could have helped save Gramps if he had been home instead. Grandma decides she will keep the memory table there even after the Day of the Dead and invites Tyler to come anytime he is missing Gramps.

Tyler asks Grandma what Gramps would have thought about the Mexicans and his father breaking the law to employ them. Grandma surprises Tyler by telling him Gramps knew about Uncle Larry’s hiring of undocumented Mexican workers and thought that everyone deserves a chance for success in America.

On the Day of the Dead, November 2, the girls, Tyler, and Grandma get together to celebrate the lives of Gramps and Abuelita. The girls, who call Tyler’s grandmother Grandma, seem surprised that he is there after his distant coolness toward them, but soon Mari smiles at him. They eat, then go to the garden where Gramps died. Tyler set up his telescope there before the celebration, and now they take turns looking at the stars. From inside the trailer, someone plays guitar and sings “La Golondrina”; Mari explains, “You sing it when you are far away from your homeland and the people you love” (91). Tyler thinks the sad song matches his feelings when he is missing Gramps, and he realizes he understands how the girls feel “so far from home” (91). He is sorry for his behavior of late but does not tell them. Before the night is over, they see a meteor shower in the cold night sky.

Mari’s next letter begins “Querida Abuelita” (Dear Grandmother) and is dated November 14. Mari tells her deceased grandmother about the celebration they had at her American grandmother’s house; she explains how she is worried about Abuelota, Papá’s mother, whose blood pressure medicine now requires Papá and his brothers to send more money home. Mari writes that if Papá must go back to Las Margaritas to be with Abuelota in her last days, he will take Mari and her sisters. Luby and Ofie would have trouble adjusting; Mari thinks they are too used to America’s snacks and comforts like Coca-Cola, TV, and toys. Mari tells how Ofie wanted Mamá’s photo out for the Day of the Dead, and Mari insisted against it. Papá “ruled” that Ofie would not display the photo but allowed that “your mother is probably watching us from the other side of life” (97). He says they will wait to put the photo out till next year. Mari cries, inconsolable; this makes Ofie cry and promise to not put the photo out, “not even next year” (98).

Papá calls the acquaintances who took their old apartment in Durham and is surprised to get a message stating the number is disconnected. He calls a friend who tells him the “acquaintances had recently been picked up at work and deported” (100). Mari takes the phone and convinces the friend to leave their new phone number at the old apartment in case Mamá returns.

The doorbell rings but they are too afraid to answer. After lots of ringing, they hear shouting and banging. Tyler’s mother later arrives to let them know it was trick-or-treaters who threw eggs and bad fruit at the trailer when no one answered the door. The family is still tense and nervous, thinking about la migra. Mari wonders if Mamá might be ringing the doorbell at the Durham apartment and receiving no answer, like the trick-or-treaters. Mari asks her grandmother to watch over Mamá’s footsteps and guide her to the phone number so she can call. Mari states that if Mamá does not come home this year, then Mari will add her photo to the Day of the Dead altar herself.