All participants were assigned fictitious names to protect their identity. All spoke Spanish as their native language, and all were monolingual. Their formal education ranged from 3 to 11 years. Although some all had children living in their native country, others had given birth to children in the United States.
All of the participants reported having lived in poverty in their native country and had entered the United States by walking across the U. The interviews were conducted in Spanish, and the taped narratives were then translated into English as they were transcribed. Thematic analysis was accomplished by highlighting text and identifying emerging themes.
Their home communities also lacked opportunities for gainful employment and were often subject to threats of violence. Consuelo noted that after her husband stopped sending her money she simply did not have the resources to support herself and her four children. Rosario left Mexico without her baby because she could not feed her. Margarita left home because of the difficult conditions her family endured; they had no electricity and had to transport water from a nearby river by donkey.
And Beatriz was driven to leave El Salvador without her children because, had she stayed, the entire family would have starved. They recalled dropping out of school at an early age to help support their families. By age 7, Beatriz was selling peanuts and candy alongside her sister and mother. Each participant stated that poverty was their primary reason for becoming a transnational mother. Three participants reported that they emigrated to escape life-threatening personal relationships.
Dolores and Patricia reported patterns of severe physical abuse as children. Consuelo, Dolores, Margarita, and Maria disclosed personal histories rife with spousal physical abuse. Patricia and Margarita insinuated that their husbands were murdered because of involvement in Honduran and Mexican gangs, respectively. All of the women expressed the hope that the sacrifice they made in leaving their country and their children and coming to work in the United States will provide their children with a better life than theirs.
Beatriz related how she and her husband decided that they could provide a better life for their children by leaving them with grandparents and coming to the United States. Once settled, they hoped to bring their children north to join them. Unlike the other participants, Dolores and Rosario doubted that their children would ever join them in the United States. Ana, Beatriz, Consuelo, and Margarita hold out hope that changes in U. We do it so they can have opportunities and hope for a better life.
Next one needs to secure funds to pay a coyote , a people smuggler, to guide her across the border. Throughout this process, would-be immigrants must continually negotiate with relatives, neighbors, and trusted friends to ensure basic care and supervision for their children. Margarita recalled the devastating realization that she could only bring one of her four children. Consuelo could only afford to bring two of her children, leaving her year-old daughter and year-old son, the youngest, to fend for themselves.
Dolores left her four children with her mother in conditions of extreme poverty. Ana still dreams of the infant she left in Mexico; he is now 11 years old. I knew that it was not going to be easy to bring them here to join me. You know when you make that decision [to migrate without your children] that you will suffer.
Most participants reported walking all day and all night, without food.
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We leave behind the scattered, overlapping, time-jumping structure and get into a simple, straightforward relation of events as they happen. If a story doesn't have fathoms of depth, mixing up the form isn't going to do anything to change that, and there's nothing wrong with an unadorned, transparent structure. The art gets a lot cleaner, too, though we start switching artists back and forth, which hurts the overall continuity. It's hard enough to remember which secondary bit player of the ensemble cast I'm looking at without the distraction of a completely different style.
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The physical layout and the focus are still sometimes murky, but less often. I suspected Aaron's been trying to play off the chief as an Al Swearengen sympathetic villain, a la Deadwood, which was confirmed in an interview I came across. Unfortunately, he isn't able to fill the page with the pure, unstoppable personality required to carry off such a character.
The dialogue all tends to run together and we rarely get any surprising emotional moments, which means little depth. So, the chief ends up a pale imitation. I'm also tired of the plotline where we see how terrible and inhuman the rez is, and one of the characters wants to give up, but then something good happens and they are utterly redeemed and they decide that the rez is good.
It's not a terrible little story, but it's happened at least three times now and it's not helping the book buck predictability. Aaron has expressed a desire to show a complete little story in each issue, but he doesn't seem to have enough different stories to actually doing it without getting repetitive. While I do appreciate that the book is getting on track, I'm just not getting much reward from reading it. Frank Miller did crime better.
Garth Ennis did quirky, harsh dialogue better. Every Native novel I have read covered the same rez cliches. I just don't see anything here that I haven't seen before. It's so hard to write a dark, violent book and take it completely seriously.
Both Miller and Ennis kept their tongues in their cheeks, stepping back from the darkness now and then to keep their story from becoming a mirthless trudge through the exact same emotional territory as the last issue. A story which is so joyless, which demands that you take it seriously, and yet has the emotional depth of a crime drama is hard for me to get through without a lot of eye-rolling and laughing.
Looking through the ads in the back just started to depress me. I'm not going to say there aren't great comics and innovative authors out there, I'm just saying I wish I could find them and I'm tired of reading the same damn thing over and over again. My Suggested Readings in Comics View 2 comments. Dec 02, Jedi JC Daquis rated it it was amazing.
Dead Mothers is easily the best volume among the first three. It has so much drama and emotion that you feel like you are watching an Emmy Award-winning series oh please make the series happen. This volume has relatively less violence but still has plenty of it and more touching conversations. This is where I also appreciate Guera's work more than Aaron's story.
This volume's quiet when it comes to exposition though. Nothing much has moved forward as the central theme of this volume is view Dead Mothers is easily the best volume among the first three. Nothing much has moved forward as the central theme of this volume is view spoiler [how the characters cope with recent deaths hide spoiler ]. Think of this as the calm before the storm volume. Jan 21, James rated it it was amazing. God, I love this series. I've decided that much of R. His characters live and breathe, and he inserts more detail into the background of seemingly mundane scenes as mosts artists do on the "important" stuff.
Love it. There are 2 pages in the middle of this one -- for those who have read it, I'm referring to the scene in the interrogation room, when Dash tells the kids that their mother is dead -- that are nothing less t God, I love this series. There are 2 pages in the middle of this one -- for those who have read it, I'm referring to the scene in the interrogation room, when Dash tells the kids that their mother is dead -- that are nothing less than sublime.
Not a word of dialogue, and yet you know everything that happened inside that room. Aug 04, Damon rated it really liked it Shelves: comics. Good detective comic. Whit this lacks in funny it makes up for with atmosphere. Nov 12, Gavin rated it it was amazing Shelves: comics. Library lost and I had to request a purchase. We pick up where Vol 1 and 2 both left off: Dash's mother Gina's dead, scalped body. There's also a parallel running of a meth-head single mother who's murdered the same night, and the real gem of this volume is the stuff Aaron writes between the eldest son of the murdered woman and Dash.
He obviously sees himself in the boy, and wants to help him, and thinks he does, but as with much here, that's up in the air His sadistic racist FBI boss tells him to change his focus or else I really hate Nitz. You know you're a good writer when you can make someone feel loathing for a fictional character.
He puts Dash in a lose-lose situation, and as a result, even more pain and suffering goes down. The revelation here as well, is that Red Crow is most broken up about Gina's murder, even though in the long run it will be beneficial to his enterprises. His rage about her murder is mirrored with Dash's seeming reaction of not giving a shit. The artwork here is superb, communicating so much with looks, body language, and also helping Aaron to do a lot without having to resort to writing long-winded monologues like so many lesser writers would do.
I enjoy the covers by Jock especially.
“He Killed My Mommy!” Murder or Attempted Murder of a Child's Mother
There's a lot of violence here, a lot of pent up anger in most of the characters, and it really seems like it's all going to build up to a severe explosion. The reveal at the end of the main storyline is kind of what I had vaguely suspected, but forgot all about since I hadn't read in months.
That will open up a whole new bunch of possibilities, and the Dash storyline with knowing the other FBI agent is there, and the after effects of Gina's murder on both Dash and Red Crow. Well worth the wait, but I really wish I hadn't had to. If you're not already reading, or have read this series, DO IT.
There's a reason why this guy has been given so much to do with the big characters at Marvel.
The Plight of Transnational Latina Mothers: Mothering from a Distance
View all 3 comments. Oct 02, Sam Quixote rated it really liked it. The complex story gets more complicated as more bodies pile up and the character of Diesel remains a mystery. Throw in an intriguing new character in the form of Franklin Falls Down and some decent back story and this series is finally getting Phew, made it through another dark, misery drenched volume of Jason Aaron and RM Guera's "Scalped", the story of undercover cop Dash Bad Horse trying to bring down Red Crow, head of the Prairie Rose Indian Reservation and owner of the newly opened Casino.
Throw in an intriguing new character in the form of Franklin Falls Down and some decent back story and this series is finally getting as good as I hoped it would be. Don't get me wrong, this is still a tough read, not least because every way you turn you see people hooked on drugs or alcohol, kids being killed or beaten or worse, people being tortured, people being beaten up, emotional and physical turmoil litter the pages - there's no humour so there's no let up and Aaron and Guera don't give a damn. It's a real barrage of human misery you've got to endure if you want to read this series.
That said, the story that's been set up over the first two books becomes more intriguing as the characters become more fleshed out and the world of the modern day Indian is explained further. Bad Horse goes from being a one note Wolverine archetype to a more human character, while Red Crow also remains a questionable person. Probably Vertigo's most dark series they've put out yet, it's no "Y The Last Man" but it has plenty going for it if you're willing to stick with it - which I think is definitely worth it. Dec 24, Ije the Devourer of Books rated it it was amazing.
Scalped, Vol. 3: Dead Mothers
Brutal but brilliant and overflowing with drama and tension. Feb 28, Cyndi rated it it was amazing. Great series so far! Dark, gritty and twisted! Absolutely worth continuing. Vertigo rocks! Sep 14, Nate added it. Which means the emotions are even more pronounced than before. Seriously, the emotions bleed off the pages. You can feel every twist of the knife, every word unspoken, every tear shed. The artists - Guera is joined by John Paul Leon and Davide Furno for these issues - do an incredible job visualizing all the pain and devastation.
I love when writers trust the artist to tell the story like this. Aaron proves even further in this volume that Scalped is first and foremost about the characters. Jun 23, Kaila rated it liked it Shelves: , graphic-novels , gritty-dark-blood , testosterone-overload. Women in Refrigerators anyone? Feb 02, Neil rated it liked it.
The second volume of this series was fantastic, and ends with pretty big plot point, but in this installment nothing much happens aside from the main character being in denial about the pretty big plot point. Scalped is written very well, the art fits the gritty atmosphere needed, as well as the violence depicted. I'm not sure if this series is written by an Indian, but I suspect it is and I'm going to research that to be sure.
Life on the reservation is tough; we've all heard it, seen a few movies, read a few books about it. But this graphic novel pounds the facts home. For those reasons alone, it's worth reading this series. How WE, who don't live there, can help out, remains to be seen. But opening eyes, minds, and hearts has got to be the first step. Purchase Subscription prices and ordering Short-term Access To purchase short term access, please sign in to your Oxford Academic account above.
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