Yolanda Identity Crisis Analysis

In the first section, Yolanda explores an identity crisis by trying to see if she fits in in the Dominican Republic. Fifi tries to make amends to her father for eloping by throwing him a birthday party that goes awry. We learn how fond Mami is of telling stories, even if it means bending the truth a little bit. The first section features not one, but two mental breakdowns-brought to you by Sandi and Yoyo-and Yoyo's breakdown has a lot to do with the end of her marriage to a jerk named John. The section ends with an exploration of Yolanda's sexual awakening, where she explains to us why she never had sex with a guy named Rudy Elmenhurst. In section two the four García sisters get accustomed to the "American teenage good life" but are forced
Yoyo freaks out about seeing snow for the first time. Sandi catches a woman making a move on her dad... also totally weird. In the third section, we finally get to the story about how Carlos was almost arrested by Trujillo's secret police. He and his family manage to escape to the U.S., thanks to the help of a State Department official named Victor Hubbard, who's kind of a player but at least has Papi's back. A household servant named Chucha mourns the family's departure and thinks about death a lot-hint, hint. Yoyo is envious of the toys her male cousin gets and agrees to show him her private parts in exchange for a trade. Sandi's artistic talent ropes all the de la Torre children into art lessons with the overbearing art teacher Doña Charito; but then she catches the teacher's husband doing something naughty with his sculptures and is so surprised she falls and breaks her arm. The statue the sculptor is "Working on" ends up having Sandi's face. Yoyo gets a toy drum from her grandma and uses it to smuggle a newborn kitten away from its mommy cat. No one is happy with this situation; Yoyo feels guilty and throws the cat out the window. Yoyo explains that this is the central "Violation" that exists at the center of her