Outline the information on Lydia’s everyday life in the US and experiences that affect her son’s life there. (Material)

Examine how the author portrays Lydia’s life as an illegal immigrant in the US. Focus on narrative techniques and use of language. (Material)

The excerpt from "American Dirt" by Jeanine Cummins, published in 2020, follows Lydia Pérez, a Mexican immigrant, as she tries to build a new life in the United States with her young son Luca. The passage shows both her everyday struggles and the moments that shape her son's experience in a new and unfamiliar country.

Lydia’s daily life is simple and shaped by routine and survival. Every morning, she puts Luca on the yellow school bus, watching him leave with a mix of hope and fear. She works as a house cleaner — a job that pays little, but gives her a chance to contribute and move forward. She shares a crowded home with the relatives of two girls she met while fleeing, where everyone takes turns doing tasks like cooking and shopping. Though money is tight, Lydia is grateful to be alive and able to see her son grow up.

At the same time, she is trying to learn the cultural and linguistic codes of her new home. Although she speaks English, she struggles with the deeper meaning behind words like immigrant, migrant, or illegal alien. She discovers how even words and symbols — like flags — can either welcome or reject. Bookstores and libraries become places of comfort for her, especially when she finds a poetry book that speaks to her emotions and gives her strength.

Luca also faces new experiences that reveal both opportunities and limits. One day, the local librarian explains that Lydia and Luca are allowed to apply for library cards, regardless of their immigration status. This small act of kindness is deeply meaningful, and Lydia describes the moment as “life-changing.”

Later, at school, Luca’s principal encourages Lydia to sign him up for a geography competition because of his strong academic performance. But when it is revealed that Luca is undocumented, he is no longer eligible to win the prize. This deeply disappoints Lydia. However, the principal, who shares that she was once the daughter of undocumented immigrants herself, offers understanding and support — and even recommends a lawyer who might help them legalize their status.

In conclusion, the text illustrates the difficult but hopeful journey of starting over in a new country. Through everyday routines and small but powerful experiences, Lydia and Luca slowly begin to find their place in American society—even while facing the ongoing challenges of being undocumented.

In the 2020 novel "American Dirt" by Jeanine Cummins, the author explores the life of Lydia, a Mexican woman who is forced to flee to the United States with her son. Through a combination of narrative techniques and stylistic devices, Cummins portrays Lydia’s everyday challenges, her hopes, and the emotional strain of living as an undocumented immigrant.

Right from the beginning, Cummins uses a negative opening line to reflect the gap between Lydia’s expectations and her harsh reality: “It’s not the little adobe house in the desert Lydia imagined.” (l. 1). This contrast immediately creates a sense of disillusionment. Her low socio-economic status is emphasized through the narrator’s description of her work as a house cleaner, which her mother would have found ironic. The line “She has work cleaning houses. Her mother would have thought this the greatest irony.” (l. 10) underlines how far Lydia’s current life is from her former middle-class identity. The crowded conditions she now lives in are shown through an enumeration of people in her household: “They live with the girls’ cousin César and his girlfriend. The girlfriend’s tía lives here, too.” (l. 11-12).

Despite these hardships, Lydia still holds on to hope. Her pragmatic attitude is summed up in the sentence “The money’s not good, but it’s a start.” (l. 11), showing her willingness to make sacrifices. Her longing for intellectual fulfillment and emotional escape is beautifully expressed in the metaphor “The book is water in the desert.” (ll. 24-25). Moments of interior monologue, such as “Today will not be the last day I ever see our ." (ll. 8-9), reveal a deep emotional shift: Lydia no longer lives in constant fear for her son’s life.

Cummins also highlights the structural disadvantages faced by undocumented immigrants. When Lydia is told that her son cannot win a geography contest because he lacks legal status, this directly shows how immigration laws can limit even children’s opportunities. The author uses imagery to emphasize the invisible border between legal and illegal life: “crossing a line she’s not supposed to cross.” (ll. 43-44). This is reinforced by the contrast between the joyful scene of children playing and the serious conversation between Lydia and the school principal: “They shriek and run ... a strange backdrop to what the principal is saying.” (ll. 36-37).

Language and cultural barriers are another theme in the novel. The author juxtaposes Lydia’s basic English skills with her struggle to fully understand her environment: “Lydia’s English is a help” (l. 14) is followed by “codes Lydia hasn’t yet learned to decipher” (l. 14-15). This shows how language can be both a tool and a barrier. Cultural confusion is further explored through the use of alliteration and contrast in the phrase “flags may be a warning or a welcome.” (l. 17). This suggests how difficult it is for newcomers to correctly interpret American social signals.

Finally, the author captures the fear and emotional exhaustion Lydia lives with. Her inner thoughts express hesitation and mistrust: “Lydia is dubious ... who can you trust?” (l. 30) and “Is this a kind of solidarity?” (l. 47). These questions reflect how illegal immigrants often struggle to accept help, fearing the consequences. The line “Should she feel encouraged? What she feels is exhausted.” (l. 47-48) uses juxtaposition to show the constant emotional tension Lydia experiences.

In conclusion, Jeanine Cummins combines emotional imagery, narrative contrasts, and symbolic language to paint a vivid picture of what it means to live as an undocumented immigrant in the US. Lydia’s story is both personal and universal—one of survival, resilience, and quiet strength.

The novel "American Dirt" by Jeanine Cummins and the quote “That these people would leave their homes, their cultures, their families, even their languages, and venture into tremendous peril [...]” (p. 94) express the painful reality many immigrants face in their search for a better life. The story of Lydia, who escapes with her son from a violent drug cartel in Mexico, shows how far people are willing to go to protect their loved ones and reach safety — even if the country they flee to is not welcoming.

Lydia's journey is full of fear and sacrifice. After fleeing her home country, she arrives in the US only to face new difficulties: low-paid work, legal uncertainty, cultural and language barriers. Yet she still hopes that one day she and her son will be able to live safely and freely. This reflects a central idea of the quote: migration is not just a dream of success — it often means risking everything, including one’s identity, for the hope of something better.

The United States is often seen as a land of opportunity. Its long history as a country of immigrants and its multicultural society are part of the so-called American Dream. Many immigrants do succeed in building a new life. Legal support, access to education, and health care programs can help them overcome initial challenges. Education, in particular, opens doors to better jobs and greater financial independence. For those who manage to gain legal status, new chances arise: they can work legally, participate more fully in society, and find stability.

However, not all immigrants are able to realize their dreams. Strict immigration laws and a complicated legal system often cause fear and insecurity. Without proper documents, it is hard to find good jobs or housing, or to access health services. In addition, political conflicts over immigration policy in the US can make life almost as difficult as in the countries immigrants flee from.

Furthermore, immigrants often face prejudice and discrimination because of their origin or status. Many struggle to find work because their qualifications are not recognized or because of limited language skills. Others find it hard to adapt to a new culture or are not given the chance to become part of it.

In conclusion, while the United States does offer real opportunities to immigrants, these chances depend on many factors. Those with legal status, education, and support may succeed in reaching their goals. But for others, especially undocumented immigrants like Lydia, the American Dream remains difficult to achieve. Whether immigrants can accomplish their dreams in the US is not just a question of effort — it is also shaped by politics, society, and access to support systems.

Whose Story Is It to Tell? The Debate Around Cultural Representation in Literature

In recent years, one of the biggest debates in the literary world has been about who gets to tell certain stories. The controversy around the bestselling novel "American Dirt" by Jeanine Cummins is a perfect example. Although the book was praised for its powerful storytelling, it also sparked strong criticism because the author is not Mexican, yet wrote about the experiences of Mexican immigrants. This raises an important question: Should writers be criticized for writing about cultures they don’t belong to?

On one hand, creativity should not have borders. Writing is about imagination, empathy, and exploring the world from different perspectives. If authors could only write about their own cultural or ethnic background, many important stories would never be told. Literature has the power to create understanding between cultures, and writers can open their readers’ eyes to experiences they may never have considered.

When done with care and respect, telling stories from other cultures can be a meaningful way to support intercultural dialogue. Through deep research and by involving people from the culture they write about, authors can avoid clichés and present authentic narratives. In some cases, an outsider’s view might even offer a more neutral perspective that highlights things insiders may overlook.

However, there are also strong arguments against this open approach. One major concern is that it may silence voices from within the culture. If outsiders dominate the conversation, those who actually live these experiences might not get the chance to tell their own stories. This is especially problematic when minority or marginalized groups are involved.

There is also the risk of harmful misrepresentation. Writers who don’t fully understand a culture may rely on stereotypes, either unintentionally or for dramatic effect. When this happens, the result can hurt communities by spreading false or one-sided images. If authors profit from stories that are not truly theirs, some view this as cultural appropriation — using someone else’s culture for personal gain without giving back.

In the end, there is no simple answer. Writers should not be banned from exploring other cultures, but they carry a responsibility. They must ask themselves: Am I the right person to tell this story? Have I done enough to understand the people I’m writing about? Most importantly, are there voices from this culture that should be heard instead — or first?

To Conclude, it is legitimate to raise concerns when authors write about experiences that are not their own, especially if those voices are misrepresented or silenced. However, respectful storytelling that is based on research and dialogue can help build bridges between cultures. Writers have the right to tell the stories they are drawn to—but with that right comes the responsibility to do it with care, respect, and awareness.