A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summaries & Analyses
Quizzes
Reading Tools
Content Warning: This section of the guide includes discussion of child abuse, sexual harassment, racism, and substance use.
While Gloria and Martine volunteer at migrant support centers, Nico has the house to himself. When expecting a food delivery one afternoon, he opens the door to a short, muscular Latino man with tattooed hands. He demands to see Martine Salgado and then pushes past Nico into the house. The stranger wanders through the home, takes beer from the refrigerator, sits in Nico’s chair, and uses Nico’s phone. When the food delivery arrives, the intruder helps himself to much of the order and leaves a mess in the bathroom that Nico cleans up, feeling humiliated.
That evening, Martine returns and greets the man with great affection, introducing him as her brother, Domingo Salgado. She says that they were separated during their journey north and that she feared he was dead. Gloria’s welcome is muted. Martine claims that Domingo found her through a city family reunification program. Domingo takes more food and beer and ignores Gloria’s efforts at hospitality. The siblings retreat to the basement.
Over dinner, Nico calls Domingo a “thug,” but Gloria defends him and criticizes Nico’s anti-immigrant views and news sources. Domingo remains indefinitely, bringing belongings, playing loud music, and disregarding house rules, while Gloria seems unable to ask him to leave—a dynamic that Nico attributes to embarrassment around people of color. He equates this to Gloria and Palermo’s pro-Palestinian activism.
To escape Domingo, Nico takes long walks, observing the visible impact of the migrant influx on public spaces. At the Roosevelt Hotel, he exchanges hostile stares with men waiting in line. On the subway home, after he tells a woman via translation software to “go back to [her] own country” (68), she swears at him. Other passengers look on, horrified.
Nico meets his sisters at a restaurant to plan Thanksgiving. Vanessa suggests inviting additional migrants from a local shelter. When Nico asks whether Domingo must be included, citing his behavior, his sisters minimize concerns and note that only Gloria can ask him to leave. Palermo reveals Nico’s private opinion that Martine is a manipulative opportunist, which appalls Vanessa, and they accuse him of being influenced by anti-immigrant videos.
Later, Martine pours rum and asks Nico directly why he dislikes her. They argue about immigration: Nico defends the importance of home and belonging, while Martine criticizes his inactivity and lack of responsibility. She notes that his sisters are childless and suggests that immigrants will inherit the country because native-born citizens like Nico aren’t forming families.
When Nico’s father, Carlin, sends a last-minute Thanksgiving invitation, Nico accepts, partly to avoid Domingo. Gloria erupts in fury at the perceived betrayal, citing her efforts to maintain family traditions while Carlin does little. In anger, she throws the prepared turkey into the garbage.
Nico reflects on his father, a prominent right-of-center journalist who runs an online magazine called Sanity.com. He and Gloria’s divorce was fueled by political disagreements and a sexual-harassment allegation against Carlin.
At an upscale restaurant, Carlin questions Nico about his continued unemployment. Nico defends his preference for passive observation, frustrating his father, and mentions that Domingo has effectively moved in. They discuss their perceived entitlement of migrants and the city’s asylum policies. While driving home, Carlin reflects on how New York’s demographics have shifted dramatically during his lifetime and says that such changes are difficult to discuss openly.
Nico returns to chaos: unwashed dishes, Martine crying at the kitchen table, and an Ecuadorian family no one knows seated awkwardly in the dining room. Vanessa explains that Martine’s three children in Honduras have been kidnapped, with a ransom of $30,000 due by New Year’s Day. Domingo arrives and helps himself to food intended for the visitors. Vanessa distributes donated warm clothing, including one of Nico’s coats.
The next morning, the Bonaventura family gathers around Martine’s phone to view photos of her three children. Desperate, Martine proposes sex work, theft, smuggling contraband, or selling a kidney to raise the ransom. Gloria frames the situation as a shared responsibility and asks her three children to contribute from their inheritances. Palermo claims that her funds are tied up in the construction business. Nico refuses on principle, arguing that the sponsorship wasn’t his idea. Vanessa offers approximately $5,000 in savings, but Gloria rejects a partial contribution and resolves to find the full amount herself.
Days later, Nico privately tells Gloria that they have no independent verification of the kidnapping and raises the possibility that Martine, perhaps with Domingo, fabricated the crisis to obtain money. Gloria responds with fury, calling the suggestion “wicked” and “cynical” and accusing Nico of jealousy and potential “sociopathy” (118). She compels him to admit that he has no evidence and makes him promise never to voice his suspicions to Martine.
Despite Nico’s doubts, the ransom effort proceeds. During a conversation, Martine mentions that migrants at local shelters sometimes stage accidents for profit—a detail that quietly feeds Nico’s suspicions. With Vanessa’s help, Gloria initiates a $30,000 wire transfer from her IRA retirement account.
Two days later, Martine receives word that her children have been released. During a video call, the three appear unharmed. Gloria is introduced as their rescuer, and the children offer thanks in imperfect English. Nico notes that he can’t recall Martine rushing to tell Domingo the news, and he wonders if Domingo already knew.
As Christmas approaches, Nico and Gloria attend dinner at the home of family friends Vernon and Colleen Carmichael. Their son Tyler, home from Chicago, Illinois, reconnects with Nico and confronts him about years of ignored messages and continued unemployment. Nico defends his lack of ambition, claiming contentment in wanting nothing.
Over dinner, Vernon reveals that he and Colleen are completing a documentary about the southern border. He argues that the migrant crisis is an existential threat, calling it an “invasion” and challenging progressive narratives. Upset, Gloria leaves early. Nico stays, relieved to discuss his views without inhibitions. Vernon and Colleen debate how to frame their documentary to remain commercially viable while addressing controversy. The evening reinforces for Nico that his mother’s views are sustained by an ideological echo chamber in which dissenting perspectives are treated as morally unacceptable.
In this section, Domingo’s sudden, aggressive arrival fundamentally alters the spatial and psychological boundaries of the Bonaventura’s domestic space. He pushes past Nico into the foyer, an intrusion that immediately signals a rupture in the household’s safety. He casually appropriates Nico’s food, commands the thermostat, and plays loud Honduran punta music. Through these escalating violations, the dwelling is transitioned from a stable bastion of middle-class security into contested territory. Domingo’s assertive physical presence and presumption override the family’s norms of polite interaction, leaving them unable to respond. Nico’s inability to eject him—compounded by Gloria’s apologetic deference to people of color—further the theme of The Perils of Performative Altruism. The helplessness that Nico feels is channeled into his observations during long walks through New York City, where he witnesses historic public spaces such as the Roosevelt Hotel and the Brooklyn Bridge “overwhelmed” by informal migrant encampments and street vendors. On the subway, Nico’s hostile exchange with a candy vendor—using translation software to tell her to “go back”—sees him venting his personal frustrations against Domingo toward a different person in a public area, drawing “horrified” glances from his fellow passengers. In this section, the novel’s social satire engages with ideas of political radicalization, as Nico displays increasing hostility in public toward migrants and his interior perspective reveals a tendency to consider all migrants in the same light as Domingo.
Domingo and Martine’s interactions expose the fragility of the Bonaventuras’ constructed security, especially Nico’s sense of self, advancing the theme of The Tension Between Bourgeois Comfort and the Struggle to Survive. During a late-night confrontation over rum, Martine bluntly critiques Nico’s stasis, observing that he’s not encaminado, or on a path to manhood. She argues that if native-born citizens refuse to defend or utilize their inheritance, those who have less will simply supplant them, warning, “You no fight, you lose” (79). Nico’s theoretical commitment to passive observation, funded by a comfortable inheritance, functions as a modern shield against adult responsibility. His inertia similarly frustrates his father during their separate Thanksgiving dinner, where Nico’s intellectualized neutrality proves incompatible with Carlin’s view of urgent socio-political realities. Martine’s survivalist pragmatism strips Nico’s philosophy of its intellectual sophistication, reframing it as mere weakness and entitlement. The stark contrast between Nico’s complacency and the Salgados’ raw survivalism illustrates a modern masculine crisis, suggesting that retreating from conflict does not preserve one’s legacy but rather ensures its forfeiture to those with the will to seize it. Carlin’s reflection on New York’s demographic transformation reinforces this anxiety, noting that such changes are difficult to discuss openly without facing “social censure,” forming part of the novel’s satire of linguistic taboos in political discourse. Similarly, at the Carmichaels’ dinner party, Vernon’s offensive use of “invade” to describe the border crisis triggers Gloria’s abrupt departure, a moment that the novel frames as evidence that her worldview depends on linguistic taboos that shield her from uncomfortable realities, though others would characterize the “invasion” narrative not as a reality but as political propaganda.
The escalating ransom crisis exposes the financial and moral vulnerabilities inherent in The Perils of Performative Altruism. When Martine reveals that her three previously unmentioned children have been kidnapped in Honduras, Gloria frames the situation as a shared family responsibility, seeking to draw her own children into this risk and showing her prioritizing her own tenuous sense of moral superiority over the well-being of her children. After their refusal, Gloria is unable to admit that she may be wrong and doubles down: Her insistence on paying the $30,000 ransom by drawing down her IRA forces her to subsidize an opaque, potentially criminal syndicate, acting out a form of sunk cost fallacy. This mutation of the host-guest relationship into extortion is mirrored by the motif of food and hospitality. During the Thanksgiving holiday, Gloria angrily throws a prepared turkey into the garbage after Nico’s perceived betrayal, a casual gesture that demonstrates the ease with which the family can waste food. With this histrionic action, the novel emphasizes Gloria’s privilege and prioritization of her own feelings over the needs of others, also signaling the disintegration of her domestic control as the Salgados gain an increasing foothold in her home.



Unlock all 51 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.