Barrio in East Los Angeles by Danny Santiago

There are sure as shooting tensions in the midst of parents and kidren no matter what the age, but the younger child accepts the parents more(prenominal) readily, looks up to them as role models more easily, and ignores their foibles (if he or she even nonices them) more readily. Chato sits with his father and his father's friends every hebdomad and is proud to do so, for this is a ritual that makes Chato feel get virtually of his father's existence and also more grown-up in his own world than he really is:

My father and his friends were in the mood to prank at everything and I was proud to laugh along with them plot I sat sunning on the steps (11).

The boy is self-aware when his father draws him too much into the conversation, brags about him, kids him, but he is more than willing to hang on his father's every enounce as the older man talks about the crossroads in Mexico and the life lived there, a life that contrasts sharply with what the family is experiencing now in East Los Angeles. The words of his father open a whole different world for the boy, a world hyperbolise by the older man's love for his own memories:

Yes, they admitted, there was longing down there but the food had such a taste on it. The beans themselves were better than the best prime steaks of the the States (13).

Chato is also known as Junior, a name that cerebrate him even more closely with his father, as if he were a copy of the older man. He is calle

d at various times his father's Junior to accent this relationships, a term used by the lady on Forney Street, for instance (114).

The luck of the child is always bound with the fate of the parents, but as the child grows, he or she becomes more independent and less bound to the parents. This is gather inn in the novel for both(prenominal) Chato and his sister, though his sister is always more dependent on the parents than is the boy. When the sister wants to marry the illegal, she has terrible fights with her father over the disregard because the father wants to control her as he always has. break-dance of the independence that develops for Chato is of the sort that occurs with every child as they see their parents in a different light.

Chato begins by worshipping his father and emulating him. When he learns of his father's infidelities, he is the only member of the family who really takes it to heart. He learns not only about his father's infidelities but about his mother's acceptance, or at least tolerance, of them, which alters his view of the dynamics of the family: "Doesn't anybody give a doodly-squat but me?" (147).

Santiago, Danny. Famous All Over Town. New York: Plume, 1983.

Chato's cognition of his father and mother and his growing knowledge of himself and his life jolt during his probation period. His father is less and less in control as he had been in the past. With social proletarians like Mr. Fujita coming around and showing power over the father, the relationship changes subtly, veering between defense of the father and realization that the father is not almighty as once believed to be.

Chato's meeting with Pelon becomes a way of expressing his independence, preeminent to tragedy and his arrest. The two steal a car, and in the ensue chase a policeman shoots and kills Pelon. A social worker at Juvenile Hall reads a report on Chato which is based on very little knowledge--he was asked and answered only a few questions--and yet which is too close to the
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