The Lesbiana's Guide to Catholic School

Jewelry and beadwork function as a multifaceted symbol representing cultural heritage, economic necessity, maternal connection, and artistic expression. For Yami, helping to create and sell her mother’s handcrafted pieces becomes both a financial lifeline and a tangible connection to her Mexican identity. The intricate nature of the beadwork symbolizes the complexity of Yami’s own identity formation as she navigates multiple aspects of herself—Mexican American, LGBTQ+, Catholic, student, and provider.

The jewelry-making process itself becomes symbolic of heritage preservation. Yami describes how “the colors she chooses grow more vibrant when they’re woven together, like the design gives a life to them that wasn’t there before. Her beaded necklaces, earrings, and bracelets all remind [her] of Mexico” (14). This description parallels how Yami’s own identity becomes stronger and more vibrant when she integrates all parts of herself rather than compartmentalizing them. The author uses this symbol to illustrate how cultural knowledge and practices are transmitted across generations, even when physically separated from their origins—just as Yami is separated from her father in Mexico.

Economically, the jewelry represents both necessity and empowerment. When Yami revamps her mother’s Etsy store, she transforms their financial situation while simultaneously honoring her mother’s craft. She observes that “the angular patterns feel like they belong in a Mexican calle being sold to anyone passing by” (182), highlighting how their economic activity connects them to cultural tradition. The jewelry symbolism intensifies when Yami begins saving money to potentially support herself and Cesar if they’re rejected for being LGBTQ+, positioning the craft as both cultural expression and survival strategy.

Perhaps most poignantly, the jewelry symbolizes the deepening relationship between Yami and her mother. Initially, jewelry making is primarily economic, but by the novel’s end, it becomes a bonding activity. When they work together after Cesar returns from the hospital, Yami thinks, “We used to do this together for fun when we were little, but it’s been years. […] It feels like exactly what we’ve been missing” (350). The beadwork symbolizes how relationships can be mended and strengthened through shared creative endeavors, mirroring Yami’s own journey toward wholeness.

The Mayan Code of the Heart—“In Lak’ech Ala K’in”—serves as a central motif throughout the novel, representing Indigenous identity, ethical responsibility, and interconnectedness between individuals. First appearing in the bathroom mirror where Cesar has taped it, the code contains the lines 

Tú eres mi otro yo / You are my other me. Si te hago daño a ti / If I do harm to you, Me hago daño a mí mismo / I do harm to myself. Si te amo y respeto / If I love and respect you, Me amo y respeto yo / I love and respect myself (26). 

Lines from this poem form the titles of several chapters, and this credo becomes central to understanding the relationship dynamics between characters, particularly Yami and Cesar.

Reyes uses this motif to explore the relationship between self-harm and harm directed toward others within relationships. When Cesar considers suicide, the code takes on devastating significance—by harming himself through shame, he has also harmed Yami. During their reconciliation, Yami challenges him: “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. I love myself! And I know you love me, too’” (334). Through this confrontation, the author illustrates how self-acceptance and love for others are inextricably linked, a central theme in the novel.

The motif also functions as a linguistic marker of Mexican Indigenous identity. Cesar “wears his indigeneity on his sleeve” and “says ‘in lak’ech’ instead of ‘same’” (26), demonstrating how language preserves cultural connection. For Yami, who feels “less Indigenous somehow” without her father present (26), the phrase becomes a way to reclaim part of her heritage. This dimension of the motif emphasizes the novel’s exploration of intersectional identity and cultural preservation.

Significantly, the code transcends biological relationships. When Bo reveals her struggles with feeling disconnected from her Chinese heritage, Yami responds with “In lak’ech” (129), extending the philosophy to her developing romantic relationship. The novel culminates with Yami telling Bo, “Tú eres mi otro yo” (385), signifying that true love requires seeing oneself in another. Through this motif, Reyes illustrates that authentic connection—romantic, familial, or platonic—demands recognition of shared humanity and interdependence, challenging the Catholic school’s attempts to divide and categorize people based on sexuality.