69 pages 2-hour read

The Lesbiana's Guide to Catholic School

Fiction | Novel | YA | Published in 2022

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Chapters 23-27Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of antigay bias and suicidal ideation.

Chapter 23 Summary: “In Lak’ech Ala K’in”

The cracked mirror in Yami’s room taunts her as she punches it repeatedly, bloodying her knuckles in grief and guilt over Cesar’s suicidal ideation. After cleaning her cuts in the bathroom sink, she looks up at the Mayan Code of the Heart poem, “In Lak’ech Ala K’in,” that Cesar had taped there and notices that she got blood on it. Later, she wakes up in bed and hears her mother crying in the shower. When Maria confronts her, she reveals that she discovered texts on Cesar’s phone showing that Cesar and Jamal were in a relationship. Yami admits that she knew about them, and Maria feels betrayed that both her children kept secrets from her. Yami decides that she will come out to her mother before Cesar returns from the hospital.


At school, Yami avoids Bo, who senses that something is wrong. During lunch, Yami checks on Cesar’s friends to maintain the story that he has pneumonia. When Bo asks again what’s bothering her, Yami becomes short with her and runs to the bathroom when she feels like she is about to cry. Bo follows her and passes toilet paper under the stall door, revealing that she was the person who comforted Yami previously in the bathroom. Unable to hold in her emotions any longer, Yami confesses everything to Bo—about Cesar’s suicidal ideation, about Jamal being Cesar’s boyfriend rather than hers, about her father’s rejection, and about her own struggles. Bo holds her while she cries, providing the support that Yami desperately needs.

Chapter 24 Summary: “Tú Eres Mi Otro Yo”

Bo takes Yami to the library after school to reprint the Code of the Heart poem that she bloodied. Yami invites Bo into her house for the first time. They kiss, and then Bo notices the glass on the floor and cleans it while telling Yami to stay on the bed and rest. They replace the poem on the bathroom mirror together. Later, Yami’s mother drives her to visit Cesar at the Horizon Behavioral Health Facility, where she brings him Takis as a comfort food.


During their visit, Cesar reveals that he broke up with Jamal as “penance” after confession with a priest, hoping to “get right with God” and possibly become straight (333). Yami challenges his internalized antigay beliefs, reminding him of “In lak’ech,” the Mayan phrase meaning “You are my other me” (26), or “Tú eres mi otro yo” in Spanish, arguing that if he loves her, he must love himself too. This seems to reach him as he begins eating the Takis and asking about her relationship with Bo, his typical personality beginning to reveal itself again.


After returning home, Yami finally comes out to her mother. To her surprise, Maria is accepting, telling her, “Mija, I love you. That’s never going to change” (337). She apologizes for her previous antigay comments and for putting too much pressure on Yami. When Yami reveals that her father stopped speaking to her after she came out to him months ago, Maria becomes furious and immediately calls him to confront him, showing her fierce protection of her children.


When Cesar comes home from the Horizon Behavioral Health Facility, he and Yami find that their mother has baked rainbow pan dulce (a sweet Mexican pastry) and draped decorative paper in rainbow colors from the ceiling. She says that she wants to celebrate her gay children, but Cesar is initially skeptical. When he asks how she can abandon her religious beliefs so easily, she tells him that nothing will ever stop her from loving her children, especially now that she’s seen what can happen if she doesn’t support them. She says, “The Bible also says to love everyone, and not to judge. I believe God has a place in Heaven for everyone with a good heart” (340). Cesar accepts this explanation and eats the pan dulce, grateful for his mother’s support.


Cesar is not ready to go back to school, and Doña Violeta comes over to look after him while Maria works. Yami decides to come out at school, in part to help make Cesar feel more supported. After a conversation with Cesar in which he admits that he still has Jamal’s promise ring and that he’s “working on” his shame about his sexuality, Yami decides to come out by publicly asking Bo to prom.

Chapter 25 Summary: “Si Te Hago Daño a Ti, Me Hago Daño a Mí Mismo.”

Yami and Cesar overhear their mother crying while shouting at their father on the phone. Yami takes the phone and angrily tells her father that he is out of their lives forever. Maria and Cesar huddle around the phone with Yami, and they all shout curses at Emiliano until they realize that he’s already hung up. The experience is cathartic and brings the three together.


In art class, Ms. Felix reveals to Yami that she is also part of the LGBTQ+ community but is not out at school, she offers Yami advice on which of her pieces to enter in the art show, suggesting that Yami choose one that “makes a statement.” Later, the family bonds while making jewelry together, and Maria gives Yami a new phone to replace the one she broke. Yami immediately uses it to take a picture of the three of them together. Maria declares that she will not speak to the children’s father until he accepts them for who they are, explaining that she cannot love someone who doesn’t love her children. Cesar requests an LGBTQ-friendly therapist rather than continuing with his current one, who seems inexperienced with LGBTQ+ clients. The family searches for options together, demonstrating their growing solidarity.


At the art show, Bo displays a detailed portrait of Yami that moves Maria to tears. Yami reveals her prom proposal—a rainbow-colored painting with “PROM?” spelled out in white letters. Bo accepts with a kiss, receiving cheers from many classmates. However, on Monday, Principal Cappa announces that Slayton Catholic “does not endorse romantic same-sex couples for prom” and that they are updating the code of conduct immediately (358). When Yami protests in class, Mrs. Havens threatens to send her to the principal’s office, and Yami responds by going there of her own volition. Bo follows.

Chapter 26 Summary: “Si Te Amo y Respeto”

Principal Cappa gives Bo and Yami detention for their “inappropriate public display of affection” (361), claiming that some students and parents were uncomfortable. Throughout the day, Yami receives a mix of supportive comments and hostility, discovering an anti-lesbian slur written on her locker, which Bo modifies to transform it into a gesture of support. In detention, approximately 40 students, including Cesar, Hunter, David, Amber, and Emily, show up in solidarity with Yami and Bo, turning their punishment into a protest.


At lunch the next day, Bo announces through a megaphone that she’ll be hosting an “anti-prom” at her house, inviting anyone who feels disenfranchised by the school rules. She gets on one knee and, in view of everyone in the cafeteria, asks Yami to attend with her. The idea gains popularity, with about half the “promposals” over the following weeks being for “anti-prom,” which students begin calling “gay prom.” On the morning of prom, Cesar confides in Yami that he still struggles with his feelings for Jamal but has invited him to gay prom as friends and plans to wear the promise ring.

Chapter 27 Summary: “Si Te Amo y Respeto Yo Mismo.”

On prom night, Jenna and Karen appear at Bo’s door, wanting to apologize. When Yami refuses to let them in, a struggle ensues, with Karen pulling Yami out the door, tearing her purple dress. Embarrassed but laughing, Yami and Bo change into matching casual clothes of leggings and T-shirts. The anti-prom becomes a success, with approximately 100 students attending, including many of the school’s students of color.


Cesar attends with Jamal, wearing his promise ring again even though they’re attending as friends. Both Cesar and Jamal participate enthusiastically in dancing, pulling Yami into their circle. She grabs Bo to join her, and they create a dance trend with their improvised arm-flailing movements. Outside on the grass, Cesar accidentally reveals that Yami loves Bo before running off with Jamal. This leads to Bo and Yami confessing their love for each other, kissing and laughing.


When Selena’s “Dreaming of You” plays, Yami and Bo dance together as Yami sings the lyrics. As they lie together on the grass afterward, Yami realizes that she’s no longer just surviving but truly living. She has embraced her authentic self and is no longer afraid of who she is. Looking into Bo’s eyes, she says, “Tú eres mi otro yo” (385)—“You are my other me”—signifying her complete self-acceptance and love.

Chapters 23-27 Analysis

The resolution arc of Reyes’s novel fully develops the theme of Finding Self-Acceptance Despite External Judgment, as Yami stops hiding her identity and starts publicly embracing it. When Yami finally reveals to Bo her complete truth—about Cesar, about Jamal, and about her father’s rejection—she crosses a threshold in her journey toward authenticity, marking a turning point in her character arc. This act of self-revelation is both terrifying and liberating for Yami, exemplified in the promposal scene when she declares, “I don’t want to apologize about who I am, or how I look, or what I feel” (356). Reyes frames coming out not as a singular act but as an ongoing process of living truthfully across various domains—with family, at school, and within oneself. This progression demonstrates how self-acceptance becomes possible when one rejects external judgment, as Yami eventually does with her father, the school administration, and even her own internalized shame.


The broken mirror is the novel’s most central symbol, representing Yami’s fractured self-image and its gradual restoration. Initially introduced in the novel’s first lines, when Yami punches her vanity mirror after seeing Bianca and being reminded of her betrayal, the mirror recurs at emotional crescendos, including when she “punch[es] it again anyway. And again. And again” after Cesar’s suicidal crisis (317). This violent interaction with her reflection symbolizes her rejection of herself and parallels Cesar’s self-destructive impulses. Significantly, Bo helps Yami clean up the glass without judgment: “Bo ignores me and leaves to get the vacuum” (328). This act of care transforms the broken mirror from a symbol of self-hatred into one of healing through connection. When Bo later helps Yami replace the Code of the Heart poem that she bloodied while cleaning her knuckles, the mirror begins to symbolize reconciliation rather than rupture. Reyes suggests that while self-destructive impulses may shatter one’s self-image, compassionate relationships can help reassemble those fragments into something new.


The Mayan Code of the Heart (“In Lak’ech Ala K’in”) serves as a motif of interconnectedness that evolves throughout these chapters, reflecting the novel’s concern with cultural identity and ethical responsibility. Cesar initially uses the phrase to suggest that they’re all “going to hell” (333), perverting its meaning to justify his shame. Yami reclaims it, insisting, “You’re the one who said it. In lak’ech. I know you know what it means. ‘Tú eres mi otro yo.’ I love you, so I love myself” (334). This reinterpretation transforms the Mayan philosophical concept from a burden of obligation into a framework for mutual recognition and self-acceptance, encapsulating The Importance of Supportive Communities. By the novel’s conclusion, when Yami looks into Bo’s eyes and says, “Tú eres mi otro yo” (385), the phrase has become a declaration of both romantic love and self-love. 


Maria’s unexpected acceptance of her children’s LGBTQ+ identities, and her declaration of unconditional love, helps them learn to love themselves unconditionally. Maria’s initial antigay attitudes give way to fierce protection when she discovers her children’s sexualities, culminating in her declaration, “Mija, I love you. That’s never going to change” (337). This transformation proves particularly significant given the cultural context, as Maria rejects patriarchal authority by confronting her ex-husband: “I just don’t know how to love someone who doesn’t know how to love my children” (351). Maria’s solidarity with her children manifests in both small gestures—rainbow decorations and pan dulce in pride flag colors—and profound statements such as “If the Bible tells me I shouldn’t love my kids, then the Bible is wrong” (339). This development represents more than individual growth; it suggests a larger reconciliation between traditional cultural values and LGBTQ+ identity. The family’s evolving understanding directly parallels the novel’s broader thematic exploration of how love can transcend cultural and religious barriers.


The institutional response to Yami and Bo’s relationship provides a pointed critique of religious hypocrisy while affirming that spirituality and LGBTQ+ identity can coexist. The school’s reactionary policy change after the art show—“Slayton Catholic does not endorse romantic same-sex couples for prom” (358)—represents the rigid, exclusionary attitudes found in some religious institutions. However, Reyes juxtaposes this institutional rejection with powerful demonstrations of solidarity, as approximately 40 students join Yami and Bo in detention. The transformation of “anti-prom” into “gay prom” signifies the emergence of a counter-community founded on inclusion rather than doctrine, offering the novel’s clearest demonstration of the importance of supportive communities. Ms. Felix’s revelation that she is also part of the LGBTQ+ community but isn’t out at school complicates this critique by acknowledging that LGBTQ+ people exist within religious institutions, often silenced by structural oppression. Through these narrative elements, Reyes suggests that religious discrimination reflects human failings rather than spiritual imperatives, as Maria asserts when she reconciles her faith with her children’s identities: “The Bible also says to love everyone, and not to judge” (340). This nuanced position avoids simplistic religion-versus-LGBTQ+ binaries, as Maria articulates a more inclusive understanding of both faith and identity.

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