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58 pages 1 hour read

Andrea Beatriz Arango

Iveliz Explains It All

Fiction | Novel/Book in Verse | Middle Grade | Published in 2022

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Themes

The Complexities of Mental Health Conditions

The novel-in-verse centers on Iveliz, and as her main conflict is her mental condition, the theme of The Complexities of Mental Health Conditions is central. After experiencing a car crash that killed her father, Iveliz experiences PTSD and depression. She speaks about her mental health conditions like they were in the past. They’re a phase that she went through, but she’s moved on. Iveliz refers to it as her “dark period,” and her counselor and mother worry about her “reverting.” Iveliz claims, “I’m fine now. FINE,” but her poems subvert the linear narrative. She hasn’t “moved on from everything” because mental health conditions typically require careful attention (1).

To control her mental health condition better requires work. She must talk about her feelings so that others can help her. If Iveliz doesn’t put effort into articulating her complex mindset, she can’t expect people to grasp the intricacies of her situation. Iveliz opens up to Akiko, and Akiko replies, “[Y]ou should have said something sooner.” Iveliz writes, “And I feel annoyance flare up / ‘cause it’s not my job to teach anybody / anything” (251). One poem later, Iveliz realizes that she can’t expect Akiko to instantly understand her set of mental health conditions. She was “brave” to admit that she was confused by Iveliz’s conduct. Talking at length about her mental state may be “annoying,” but it’s the only way for her to illuminate the various ways PTSD and depression impact her and her relationship with the world.

The complex presentation of mental health conditions makes Iveliz a multilayered character and a misleading narrator. Iveliz is not intentionally deceiving because she is writing in her own journal. Nevertheless, her devotion to her feelings causes her to misrepresent reality. She sees Mami and Dr. Turnip as antagonists when they’re demonstrably trying to help her. She also makes Dad seem like he’s still alive. The lack of clarity is the product of her PTSD and depression. As her emotions confuse her, her presentation of external events is difficult to follow before having the full story. Iveliz refers to her journal as her “true inner thoughts.” She adds, “[I]f you can’t trust a girl and her poems, / well, / who CAN you trust?” (2). The question is ironic. The twist is that, though Iveliz isn’t a trustworthy narrator, she’s trustworthy in the sense that the she conveys her raw feelings and emotions regardless of their link to reality.

Misunderstandings Between Adults and Young People

The theme of Misunderstandings Between Adults and Young People relates to The Complexities of Mental Health Conditions, with Iveliz feeling like adults don’t recognize the layers of her mental state. About the central adults in her life, Iveliz quips,

[W]ho am I left with?
Mami? That’s a joke.
Turnip? I’m a job.
And definitely not Mimi (106).

Iveliz believes Mami only wants to “fix” her, and the term “fix” erases Iveliz’s humanity, turning her into a malfunctioning object or computer program. Once Mami finds the right part or identifies the erroneous code, Iveliz will be “fine” again. Iveliz claims Dr. Turnip doesn’t genuinely care about her: He’s treating her for money. Iveliz also ties Dr. Turnip to Mami, presenting Dr. Turnip as a spy for Mami. Whatever she tells Dr. Turnip will get back to Mami, so for most of the story, she tells him nothing. At times, Iveliz aligns herself with Mimi. They’re in a similar situation, and Iveliz likes gardening and cooking with Mimi. Yet Mimi isn’t a true champion because she dismisses Iveliz’s mental health condition and the concomitant medication and therapy. Feeling like the adults in her life overlook the complexity of her situation, Iveliz turns them into antagonists.

Yet the antagonism isn’t stable, and the binary often collapses. Mami showcases her devotion to her daughter by getting her therapy and medication. Iveliz claims she doesn’t like or need either, but Mami isn’t trying to antagonize her daughter: She wants her to have a healthier mental state. Mami doesn’t pretend to possess the answers. She tells Iveliz, “Donde fallé? Qué hice mal? / Tu papa sabria que hacer pero yo”—“How did I fail? What did I do wrong? Your father would know what to do, but […] (182). Mami’s vulnerable dialogue subverts her oppressor characterization. Dr. Turnip’s earnest dialogue also undercuts the imputed conflict between adults and young people. He encourages her to use her voice and assert her agency, stating, “[W]e are HERE. Let us help you. / Let us listen” (203). As Mimi drops her dismissive attitude toward mental health, she, too, becomes a supporter.

Iveliz’s transformation happens when she starts trusting adults who want to help her. The change starts with Dr. Turnip. She confides in him, and he tells her that she needs to confide in others. Talking to Mami doesn’t lead to oppression but healing. Mami takes off work, and they bond over a Netflix show and the photo albums they make for Mimi. With Dr. Turnip, Mami, and Mimi on her side, Iveliz is in a better position than when she thought of them as mostly adversaries.

The Importance of Maintaining Balanced Relationships

For most of the story, Iveliz’s relationships are lopsided. The emphasis is on her and her needs, and the imbalance manifests in her relationship with Amir. Iveliz presents him as her “best friend.” She labels him “the most chill person I know” (29). The praise is misleading: What makes Amir “chill” is his tolerance for Iveliz’s demands. She expects Amir to be available to her all the time. After Mimi calls her Tania, Iveliz tries to video chat. As he doesn’t answer, Iveliz grows angry, composing a poem, “My Ex-Friend Amir, Unforgiven” (52). Dad tries to reason with Iveliz, telling her, “[N]o one can be there for someone 24-7.” Yet Iveliz isn’t ready to adopt a moderate position. She hyperbolic declares, “I don’t need anyone / I got me, myself, and I. / Soy la dura” (52).

Iveliz has her journal, but the journal is another manifestation of her lopsided interactions. Iveliz turns her journal into an interlocutor, addressing it as “Journal,” but the journal isn’t a person. About her journal, Iveliz says, “[You’re the] only one who won’t judge me or call me crazy / or mad” (106). The journal can’t form unfavorable perceptions of her because it lacks agency. It functions as a receptacle for her overwhelming emotions. Thus, the journal symbolizes a safe audience, but at the same time, it represents an enabler. It encourages Iveliz to express her unmitigated feelings and doesn’t push to consider an equitable perspective because it is only representative of Iveliz’s unfiltered emotions.

The adults, too, are subject to Iveliz’s polarizing attitude toward relationships. She presents Maimi as an unqualified antagonist, and while she confesses that her “hate” for Dr. Turnup isn’t “personal,” she dismisses him as an agent of Mami’s oppression. Mimi, too, represents Iveliz’s polarization. Sometimes, she presents Mimi as her greatest ally. When she cooks or gardens with Mimi, she’s happy. Other times, she gives Mimi the same adversarial status as Dr. Turnip and Mami. However, Mimi truly antagonizes Iveliz by trivializing her mental health condition and treatments.

Iveliz’s position improves once she starts cultivating relationships where both people feel valued and acknowledged. Dr. Turnip encourages her to talk and explain her feelings. Speaking about her overwhelming feelings doesn’t overwhelm people but leads to understanding. When Iveliz conceals her feelings from Akiko, there’s conflict. Once she reveals her emotions, the girls figure out a way to maintain the friendship. The same dynamic applies to Amir and Mami. Since Iveliz stops viewing her mother as an unredeemable enemy, they can connect and bond. As Iveliz’s balanced relationships take root, she writes less in her journal. She doesn’t need it because other people can handle her feelings now that she’s embraced a practical attitude toward human connections.

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By Andrea Beatriz Arango