September 8, 2025 - English Studies

“Saying Yes” by Diana Chang: A Critical Analysis

“Saying Yes” by Diana Chang was first published in the chapbook Saying Yes (Review Women Writers Chapbook No. 10: Translation) in 1997, though it had earlier appeared in her 1982 collection The Horizon is Definitely Speaking.

Introduction: “Saying Yes” by Diana Chang

“Saying Yes” by Diana Chang was first published in the chapbook Saying Yes (Review Women Writers Chapbook No. 10: Translation) in 1997, though it had earlier appeared in her 1982 collection The Horizon is Definitely Speaking. The poem explores questions of cultural identity and belonging, highlighting the tension and harmony between being both Chinese and American. Structured as a dialogue, it resists the restrictive binaries of “either-or” by affirming the empowering inclusivity of “both-and.” Its popularity lies in the way it captures the lived realities of immigrants and bicultural individuals, offering a confident assertion of identity through the repeated affirmation of “yes.” This insistence on acceptance rather than fragmentation gives the poem enduring relevance in Asian American literature and beyond.

Text: “Saying Yes” by Diana Chang

“Are you Chinese?” “Yes.”

American?”

“Yes.”

“Really Chinese?” “No . . . not quite.”

“Really American?” “Well, actually, you see. . .”

But I would rather say yes

Not neither-nor not maybe,

but both, and not only

The homes I’ve had, the ways I am

I’d rather say it twice,

yes

Annotations: “Saying Yes” by Diana Chang

Line	Simple English Explanation	Literary Device	Explanation of Literary Device
“Are you Chinese?”	Someone asks the speaker if they are Chinese, questioning their cultural identity.	Dialogue/Question ❓ (Red)	The question format creates a conversational tone, reflecting external scrutiny of the speaker’s cultural heritage and introducing the theme of identity.
“Yes.”	The speaker confidently confirms their Chinese identity.	Monosyllabic Response ✅ (Green)	The single-word answer emphasizes certainty but its brevity hints at an incomplete exploration of identity.
“American?”	Another question probes whether the speaker is American, focusing on their national identity.	Dialogue/Question 🇺🇸 (Blue/Red)	The repeated question format continues the external probing, highlighting the speaker’s dual identity.
“Yes.”	The speaker confidently affirms their American identity.	Monosyllabic Response ✅ (Green)	The brief response mirrors the earlier “Yes,” showing confidence but suggesting complexity beneath the surface.
“Really Chinese?”	The questioner doubts the speaker’s Chinese identity, seeking further confirmation.	Repetition 🤔 (Yellow)	Repeating the question with “Really” intensifies scrutiny, implying skepticism about the authenticity of the speaker’s identity.
“No . . . not quite.”	The speaker hesitates, admitting they don’t fully identify as Chinese.	Ellipsis/Hesitation 😕 (Gray)	The ellipsis indicates a pause, reflecting the speaker’s uncertainty and struggle to define their identity.
“Really American?”	The questioner now doubts the speaker’s American identity.	Repetition 🤔 (Yellow)	The repeated “Really” mirrors the earlier question, emphasizing ongoing external judgment about the speaker’s identity.
“Well, actually, you see. . .”	The speaker hesitates again, struggling to fully explain their American identity.	Ellipsis/Hesitation 😕 (Gray)	The ellipsis and qualifiers like “Well, actually” convey discomfort and the complexity of claiming a single identity.
But I would rather say	The speaker shifts to internal reflection, wanting to define their identity on their own terms.	Transition/Contrast 🔄 (Blue)	The word “But” marks a shift from external questions to the speaker’s inner thoughts, asserting their agency.
yes	The speaker expresses a desire to confidently affirm their identity.	Repetition/Emphasis ✅ (Green)	The lowercase “yes” repeats earlier affirmations, but its softer tone suggests a personal, resolute claim.
Not neither-nor	The speaker rejects being undefined or caught between identities.	Negation/Contrast 🚫 (Red)	“Neither-nor” negates binary categorizations, emphasizing the speaker’s refusal to be limited to one identity.
not maybe,	The speaker rejects uncertainty or indecision about their identity.	Negation/Contrast 🚫 (Red)	“Not maybe” dismisses ambiguity, reinforcing the speaker’s desire for clarity and self-definition.
but both,	The speaker embraces both Chinese and American identities.	Affirmation/Parallelism 🤝 (Purple)	“Both” asserts a dual identity, using parallelism with “not neither-nor” to emphasize inclusivity.
and not only	The speaker suggests their identity extends beyond just these two labels.	Amplification ➕ (Blue)	“Not only” expands the scope, hinting at additional layers of identity beyond Chinese and American.
The homes I’ve had,	The speaker reflects on the places they’ve lived, which shape their identity.	Metaphor 🏡 (Brown)	“Homes” metaphorically represents physical places and cultural/emotional belonging, tying identity to experience.
the ways I am	The speaker acknowledges their multifaceted identity, shaped by experiences.	Metaphor 🌈 (Rainbow)	“Ways” metaphorically captures the speaker’s diverse characteristics and lived experiences.
I’d rather say it	The speaker reiterates their desire to confidently define their identity.	Repetition/Emphasis 🗣️ (Orange)	Repeating “I’d rather” reinforces the speaker’s agency in claiming their identity.
twice,	The speaker emphasizes their dual identity by wanting to affirm it multiple times.	Hyperbole ✌️ (Yellow)	“Twice” exaggerates the act of affirmation, underscoring the strength of their conviction in their dual identity.
yes	The poem ends with a final, confident affirmation of the speaker’s identity.	Repetition/Emphasis ✅ (Green)	The final “yes” echoes earlier affirmations, concluding with a strong, positive acceptance of their complex identity.

Literary And Poetic Devices: “Saying Yes” by Diana Chang

Device	Example from Poem	Explanation
Alliteration ✨	“not neither-nor not maybe”	Repetition of the ‘n’ sound creates rhythm and emphasizes the rejection of uncertainty.
Anaphora 🔁	“Yes.” / “Yes.”	The repeated beginning creates emphasis on affirmation and identity acceptance.
Antithesis ⚖️	“Chinese” vs. “American”	Contrasting terms highlight the struggle of bicultural identity.
Assonance 🎶	“homes I’ve had, the ways I am”	Repetition of vowel sounds (a/ai) produces a musical quality and unity.
Caesura ⏸️	“Really Chinese?” “No… not quite.”	A pause within the line mimics natural speech and hesitation in identity questions.
Climax 📈	“Not neither-nor not maybe, / but both, and not only”	Builds from negation to affirmation, strengthening the final resolution.
Dialogue 🗨️	“Are you Chinese?” “Yes.” / “American?” “Yes.”	Conversational format makes the poem direct, personal, and realistic.
Ellipsis … 🌌	“No . . . not quite.”	Suggests hesitation, trailing thought, and the complexity of defining identity.
Epiphora 🔄	“Yes.” repeated at line ends	Repetition at the close of lines emphasizes affirmation and resolution.
Imagery 🌄	“The homes I’ve had, the ways I am”	Evokes visual and emotional pictures of belonging and identity.
Irony 🎭	“Really American?” / “Well, actually, you see…”	Shows the absurdity of questioning someone’s identity with rigid labels.
Juxtaposition 🌓	“Chinese” beside “American”	Side-by-side placement underscores cultural duality.
Minimalism ✂️	Short responses: “Yes.”	The simplicity reflects directness and quiet strength of identity.
Paradox ♾️	“Not neither-nor not maybe, but both”	A statement that seems contradictory but reveals a truth: identity can be dual.
Parallelism 🪞	“Are you Chinese?” / “American?”	Similar sentence structures create balance and rhythm.
Personification 🌱	“the ways I am”	Attributes human-like existence to abstract “ways,” making them part of identity.
Repetition 🔔	“Yes… Yes”	Reinforces affirmation and creates a musical, emphatic rhythm.
Symbolism 🕊️	“Yes”	The word symbolizes acceptance, empowerment, and inclusivity of multiple identities.
Tone 🎨	Gentle, conversational, affirming	The relaxed yet firm tone makes the poem accessible and relatable.

Themes: “Saying Yes” by Diana Chang

🌏 Theme 1: Bicultural Identity and Belonging: In “Saying Yes” by Diana Chang, the central theme revolves around the challenges and affirmations of bicultural identity. The poem opens with direct questions: “Are you Chinese?” “Yes.” / “American?” / “Yes.”—a dialogue that instantly situates the speaker in two cultural worlds. Rather than choosing between them, Chang’s speaker asserts both identities, showing the refusal to be confined to a singular national or cultural definition. By embracing this duality, the poem challenges the conventional idea that belonging must be singular, affirming instead that identity can be expansive and inclusive.

⚖️ Theme 2: Rejection of Binary Thinking: In “Saying Yes” by Diana Chang, another strong theme is the rejection of binary categories that force people into narrow definitions. The speaker resists the pressure behind probing questions like “Really Chinese?” and “Really American?” Instead of accepting limiting binaries, the speaker asserts: “But I would rather say yes / Not neither-nor not maybe, / but both, and not only.” This declaration illustrates how identity cannot be captured by rigid categories. The poem therefore rejects reductionist thinking, advocating for fluid, layered selfhood instead of restrictive labels.

🪞 Theme 3: Affirmation and Self-Acceptance: In “Saying Yes” by Diana Chang, affirmation emerges as a central theme, particularly through the repetition of the word “yes.” The speaker’s insistence—“I’d rather say it twice, / yes”—demonstrates not just acceptance but also celebration of who they are. Saying “yes” becomes a metaphor for embracing multiple identities with confidence, rather than apologizing for or explaining them away. This affirmation is not passive; it is a bold redefinition of selfhood that transforms a potentially marginalizing interrogation into a moment of empowerment and pride.

🕊️ Theme 4: The Universality of Hybrid Experience: In “Saying Yes” by Diana Chang, the theme of hybrid experience extends beyond the personal to a universal level. The lines “The homes I’ve had, the ways I am” point to the multiplicity of influences that shape a person’s life. Here, identity is shown not as fixed but as a dynamic product of experience, culture, and belonging. By presenting this truth, Chang highlights that hybrid or multicultural identity is not an exception but a broader human reality in an interconnected world. The poem’s simple yet profound dialogue resonates with all who navigate more than one cultural space, making it universally relatable.

Literary Theories and “Saying Yes” by Diana Chang

Literary Theory	Application to “Saying Yes”	References from the Poem
Postcolonial Theory	This theory examines the effects of colonialism, including hybrid identities and cultural displacement. In “Saying Yes,” the speaker navigates a hybrid Chinese-American identity, confronting external expectations and stereotypes about their cultural authenticity. The poem reflects the postcolonial struggle of defining oneself in a world that imposes binary cultural categories, ultimately embracing a hybrid identity.	– “Are you Chinese?” / “Really Chinese?” / “No . . . not quite.”: These questions reflect colonial legacies of categorizing identity, doubting the speaker’s authenticity. – “but both, and not only / The homes I’ve had, the ways I am”: The speaker asserts a hybrid identity, rejecting imposed binaries and embracing their multifaceted cultural experience.
Feminist Theory	Feminist theory explores gender dynamics and the marginalization of women’s voices. In the poem, the speaker (implied to be female, based on Diana Chang’s identity and context) resists external attempts to define her identity, asserting agency in a patriarchal society that often silences women of color. The poem challenges gendered expectations by prioritizing the speaker’s self-definition over societal questioning.	– “But I would rather say / yes”: The shift to “I” emphasizes the speaker’s agency, a feminist act of self-assertion against external judgment. – “Not neither-nor / not maybe, / but both”: The speaker rejects ambiguity and claims a dual identity, defying reductive labels often imposed on women of color.
Reader-Response Theory	This theory focuses on the reader’s role in interpreting the text. “Saying Yes” invites readers to reflect on their own identities and experiences with cultural duality, especially those from multicultural backgrounds. The poem’s conversational style and universal themes of belonging prompt readers to project their personal struggles onto the speaker’s journey, making meaning through emotional resonance.	– “Are you Chinese?” / “American?”: These questions engage readers by mirroring common experiences of being questioned about identity, prompting personal reflection. – “I’d rather say it / twice, / yes”: The affirmative ending encourages readers to interpret the speaker’s confidence as a call to embrace their own complex identities.
New Criticism	New Criticism emphasizes close reading of the text’s formal elements, such as structure, imagery, and tone, without external context. In “Saying Yes,” the poem’s concise structure, dialogue-to-monologue shift, and repeated affirmations (“yes”) create a cohesive exploration of identity. The tension between external questions and internal resolution is conveyed through deliberate word choice and pacing.	– “Yes.” / “No . . . not quite.” / “Well, actually, you see. . .”: The short lines and ellipsis create a hesitant tone, reflecting identity struggles, while the shift to “yes” at the end conveys resolution. – “Not neither-nor / not maybe, / but both”: The parallel structure and negation emphasize the speaker’s rejection of ambiguity and embrace of duality, showcasing the poem’s formal unity.

Critical Questions about “Saying Yes” by Diana Chang

❓1. How does “Saying Yes” by Diana Chang challenge rigid notions of cultural identity?

In “Saying Yes” by Diana Chang, the poem directly challenges rigid notions of cultural identity by refusing to choose between being “Chinese” or “American.” The repeated responses—“Yes.” / “Yes.”—defy the expectation that identity must be singular and exclusive. When pressed further with “Really Chinese?” “No . . . not quite.” and “Really American?” “Well, actually, you see…”, the speaker highlights the inadequacy of such binary questions to capture lived experience. By declaring “Not neither-nor not maybe, / but both, and not only,” Chang rejects the pressure to conform to rigid categories. Instead, the poem insists that bicultural identity is not contradictory but expansive, offering a critique of narrow cultural definitions.

🔄2. What role does repetition play in reinforcing the poem’s central message?

In “Saying Yes” by Diana Chang, repetition functions as both a poetic device and a thematic strategy. The repeated answers—“Yes.”—in the opening dialogue convey quiet but firm affirmation. This repetition builds toward the emphatic closure: “I’d rather say it twice, / yes.” The insistence on repeating “yes” symbolizes the speaker’s refusal to be diminished or divided by external labels. The echoing of the same word creates a rhythm of assurance, allowing the poem to move from hesitation (“No… not quite”) to self-affirmation. Thus, repetition reinforces the central message: identity is not fragmented but doubled, and to embrace both sides is an act of empowerment.

🧭3. How does the conversational structure of the poem contribute to its meaning?

In “Saying Yes” by Diana Chang, the conversational structure gives the poem immediacy and authenticity. The dialogue format—“Are you Chinese?” “Yes.” / “American?” “Yes.”—mimics real-life interrogations faced by those with bicultural backgrounds. The speaker’s calm yet firm answers reflect lived negotiations of identity. The pauses, ellipses (“No . . . not quite”), and hesitations mirror the awkwardness of such exchanges while simultaneously exposing the absurdity of constantly being asked to prove authenticity. This conversational mode makes the reader a participant in the dialogue, helping them grasp the frustration but also the empowerment in the speaker’s choice to “say yes.”

🌍4. In what way does the poem universalize the immigrant or bicultural experience?

In “Saying Yes” by Diana Chang, the immigrant experience is presented not as an isolated struggle but as a universal human reality. The lines “The homes I’ve had, the ways I am” move beyond fixed national or ethnic categories, emphasizing the fluidity of identity shaped by multiple places and influences. By presenting bicultural existence as “both, and not only,” the poem universalizes hybridity as a common thread in human experience, especially in an interconnected world. The speaker’s affirmation “I’d rather say it twice, / yes” thus resonates with anyone negotiating multiple cultural, social, or personal identities. Chang’s poem transforms a personal experience into a broader statement about belonging, adaptability, and the richness of plurality.

Literary Works Similar to “Saying Yes” by Diana Chang

🌏 “Legal Alien” by Pat Mora – Similar to “Saying Yes” by Diana Chang, it explores the bicultural experience of being both Mexican and American, showing the tension of belonging to two worlds at once.
🪞 “Half-and-Half” by Naomi Shihab Nye – Like Chang’s poem, it highlights the struggles and affirmations of hybrid identity, portraying the speaker’s acceptance of multiplicity rather than division.

🕊️ “Theme for English B” by Langston Hughes – Resonates with Chang’s affirmation of identity, as Hughes reflects on race, individuality, and the interconnectedness of being both Black and American.
⚖️ “Two Countries” by Naomi Shihab Nye – Similar to “Saying Yes”, it deals with straddling cultural lines and finding meaning in duality and belonging across borders.
🔄 “Child of the Americas” by Aurora Levins Morales – Like Chang’s affirmation of “both, and not only”, this poem celebrates cultural hybridity, asserting identity as a fusion of multiple histories and traditions.

Representative Quotations of “Saying Yes” by Diana Chang

Quotation	Context	Theoretical Perspective
🌏 “Are you Chinese?” “Yes.”	Opening dialogue that begins the interrogation of identity.	Postcolonial Identity Theory – highlights how identity is framed through external questioning.
🗨️ “American?” / “Yes.”	The immediate doubling of cultural affiliation.	Hybridity (Homi Bhabha) – reflects dual belonging without contradiction.
⚖️ “Really Chinese?” “No . . . not quite.”	Shows the pressure of authenticity tests within cultural labels.	Essentialism vs. Constructivism – challenges fixed definitions of ethnicity.
🕊️ “Really American?” “Well, actually, you see. . .”	Reveals hesitation and the struggle with imposed national categories.	Critical Race Theory – exposes systemic expectations of proving “Americanness.”
🔄 “But I would rather say yes”	Marks the speaker’s shift from defense to affirmation.	Identity Politics – emphasizes agency in self-definition rather than imposed labels.
📖 “Not neither-nor not maybe,”	Rejects uncertainty and exclusion.	Binary Opposition (Structuralism) – dismantles “either/or” categories in cultural identity.
🪞 “but both, and not only”	Asserts inclusivity of identity rather than limitation.	Intersectionality (Crenshaw) – affirms multiplicity and overlapping cultural positions.
🌱 “The homes I’ve had, the ways I am”	Invokes personal experience and belonging across spaces.	Narrative Identity (Ricoeur) – identity constructed through lived histories and places.
🔔 “I’d rather say it twice,”	Intensifies the insistence on affirmation.	Performative Identity (Judith Butler) – repetition as performative empowerment of self.
✨ “yes” (final line)	Concludes with affirmation and empowerment.	Affirmation Theory / Cultural Resistance – claiming power through acceptance of hybridity.

“Mexicans Begin Jogging” by Gary Soto: A Critical Analysis

“Mexicans Begin Jogging” by Gary Soto first appeared in 1978 in the collection The Tale of Sunlight, which was nominated for the Pulitzer Prize.

Introduction: “Mexicans Begin Jogging” by Gary Soto

“Mexicans Begin Jogging” by Gary Soto first appeared in 1978 in the collection The Tale of Sunlight, which was nominated for the Pulitzer Prize. The poem explores themes of racial identity, societal prejudice, and the struggle for acceptance, drawing from Soto’s own experiences as a Mexican-American. It portrays a factory worker, presumably Soto, who is forced to flee from border patrol despite being an American citizen, highlighting the irony and absurdity of racial stereotyping. The speaker’s declaration, “I shouted that I was American,” and the boss’s dismissive response, “No time for lies,” underscore the conflict of being caught between two cultural identities—Mexican by heritage, American by birth. The poem’s popularity stems from its vivid imagery, such as “the fleck of rubber, under the press / Of an oven yellow with flame,” and its ironic tone, exemplified by the speaker’s joyful “vivas / To baseball, milkshakes, and those sociologists,” which transforms a moment of fear into a defiant embrace of American culture. Its accessibility, emotional resonance, and critique of social injustices make it a powerful reflection of the Chicano experience, resonating with readers who relate to the challenges of navigating dual identities in a prejudiced society.

Text: “Mexicans Begin Jogging” by Gary Soto

At the factory I worked

In the fleck of rubber, under the press

Of an oven yellow with flame,

Until the border patrol opened

Their vans and my boss waved for us to run.

“Over the fence, Soto,” he shouted,

and I shouted that I was American.

“No time for lies,” he said, and pressed

A dollar in my palm, hurrying me

Through the back door.

Since I was on his time,

I ran And became the wag to a short tail of

Mexicans –

Ran past the amazed crowds that lined

The street and blurred like photographs, in rain

I ram from that industrial road to the soft

Houses where people paled at the turn of an autumn sky.

What could I do but yell vivas

To baseball, milkshakes, and those sociologists

Who would clock me

As I jog into the next century

On the power of a great, silly grin.

Annotations: “Mexicans Begin Jogging” by Gary Soto

Line	Text	Simple Explanation	Detailed Explanation	Literary Devices
1	At the factory I worked	The speaker says they were working at a factory.	The poem opens by establishing the setting in an industrial workplace, grounding the narrative in the speaker’s labor-intensive environment, likely reflecting Soto’s own Mexican-American experience.	Setting 🏭
2	In the fleck of rubber, under the press	Describes working with rubber under a machine.	“Fleck of rubber” highlights the gritty details of manual labor, while “under the press” suggests both physical machinery and societal oppression.	Imagery, Metaphor ⚙️
3	Of an oven yellow with flame,	The factory has a hot, glowing yellow oven.	Vivid imagery of a “yellow” oven evokes heat and danger, possibly symbolizing harsh working conditions and societal scrutiny faced by the speaker.	Imagery, Symbolism 🔥
4	Until the border patrol opened	Border patrol arrives, creating tension.	The sudden arrival of border patrol shifts the tone to urgency, introducing themes of racial profiling and fear of authority.	Foreshadowing 🚨
5	Their vans and my boss waved for us to run.	The boss signals everyone to flee.	The boss’s gesture to “run” shows complicity in assuming the workers are undocumented, revealing systemic fear and workplace dynamics.	Narrative progression 🏃
6	“Over the fence, Soto,” he shouted,	The boss yells at Soto to jump a fence.	Naming the speaker “Soto” personalizes the narrative, likely referencing the poet, while the command underscores urgency and dehumanization.	Dialogue, Allusion 🗣️
7	and I shouted that I was American.	The speaker protests they are a U.S. citizen.	The speaker’s assertion of American identity, ignored by the boss, highlights the injustice of racial assumptions and erasure of citizenship.	Irony, Conflict 🇺🇸
8	“No time for lies,” he said, and pressed	The boss dismisses the claim and urges haste.	The boss’s rejection of the speaker’s truth as a “lie” reflects prejudice, assuming Mexican heritage negates American identity.	Irony, Dialogue 🚫
9	A dollar in my palm, hurrying me	The boss gives a dollar and pushes escape.	The “dollar” symbolizes a token gesture or bribe, emphasizing exploitation and the absurdity of the situation.	Symbolism 💵
10	Through the back door.	The speaker is rushed out a back exit.	The “back door” represents a secretive, degrading escape, contrasting with the speaker’s rightful claim to belong.	Symbolism 🚪
11	Since I was on his time,	The speaker runs under the boss’s orders.	“His time” suggests the speaker’s lack of agency, bound by the boss’s authority, reflecting broader labor and societal control.	Metaphor ⏰
12	I ran And became the wag to a short tail of Mexicans –	The speaker leads a group of Mexican workers.	The metaphor “wag to a short tail” likens the speaker to a dog leading others, suggesting both leadership and dehumanization.	Metaphor, Imagery 🐕
13	Ran past the amazed crowds that lined	The speaker passes surprised onlookers.	The “amazed crowds” frame the flight as a spectacle, highlighting public scrutiny and the speaker’s alienation.	Imagery 👀
14	The street and blurred like photographs, in rain	The scene blurs as the speaker runs.	The simile “blurred like photographs, in rain” creates a chaotic, dreamlike image, suggesting disorientation and fleeting moments.	Simile, Imagery 🌧️
15	I ran from that industrial road to the soft	The speaker moves to a residential area.	The contrast between “industrial road” and “soft houses” highlights social divides, moving from gritty to affluent settings.	Juxtaposition 🏠
16	Houses where people paled at the turn of an autumn sky.	Residents look shocked under the autumn sky.	“Paled” suggests fear or surprise, while “autumn sky” adds a melancholic tone, symbolizing change or transience.	Imagery, Symbolism 🍂
17	What could I do but yell vivas	The speaker shouts cheers defiantly.	The rhetorical question and “vivas” show defiance, reclaiming joy and cultural pride in a moment of fear.	Rhetorical question, Tone 🎉
18	To baseball, milkshakes, and those sociologists	The speaker celebrates American culture.	References to “baseball” and “milkshakes” embrace American symbols, while “sociologists” mocks academic categorization.	Irony, Allusion ⚾🥤
19	Who would clock me	Sociologists are imagined timing the speaker.	“Clock me” implies scrutiny or measurement, suggesting society’s attempt to define or limit the speaker’s identity.	Metaphor ⏱️
20	As I jog into the next century	The speaker imagines running into the future.	“Jog into the next century” symbolizes hope and resilience, with “jog” contrasting the earlier frantic “ran.”	Metaphor, Symbolism 🕰️
21	On the power of a great, silly grin.	The speaker runs with a bold smile.	The “great, silly grin” conveys defiance and joy, transforming oppression into personal triumph and optimism.	Imagery, Tone 😄

Literary And Poetic Devices: “Mexicans Begin Jogging” by Gary Soto

Device	Example	Explanation
Allusion	“Those sociologists / Who would clock me”	Refers to academics who study identity, migration, or labor—hinting at how Mexicans are often reduced to research subjects.
Anaphora	“I ran… / Ran past the amazed crowds”	The repetition of “ran” emphasizes urgency, fear, and the forced movement of the speaker.
Assonance	“Over the fence, Soto”	The long “o” vowel sound in “over,” “Soto,” and “no” creates musicality and highlights the moment of escape.
Caesura	“Since I was on his time, / I ran”	The pause after the comma breaks the rhythm, mirroring the sudden shift from work to flight.
Colloquialism	“No time for lies”	Informal speech reflects working-class dialogue and makes the boss’s command sound immediate and harsh.
Contrast	“I shouted that I was American. / ‘No time for lies,’ he said”	Juxtaposes the speaker’s truth with the boss’s disbelief, exposing racial prejudice and stereotypes.
Enjambment	“I ran / And became the wag to a short tail of / Mexicans –”	The line break without punctuation mimics continuous running, showing breathless momentum.
Hyperbole	“Jog into the next century”	Exaggerates his running as endless, symbolizing how the immigrant struggle stretches across generations.
Imagery (Visual)	“The border patrol opened / Their vans”	Creates a vivid image of looming authority and fear.
Imagery (Sensory)	“Blurred like photographs, in rain”	Appeals to sight and memory, showing the confusion and speed of the moment.
Irony	“I shouted that I was American”	It is ironic that a true American citizen must run from border patrol due to appearance and stereotypes.
Metaphor	“Became the wag to a short tail of / Mexicans”	Compares himself to a dog’s wagging tail, showing forced belonging to a group despite his citizenship.
Motif	“Run / Jog” repeated throughout	The recurring idea of running symbolizes survival, displacement, and identity crisis.
Paradox	“On the power of a great, silly grin”	The grin is “silly,” yet it empowers him to resist despair—holding both weakness and strength.
Personification	“Soft houses where people paled at the turn of an autumn sky”	Houses are described as “soft,” while people “pale,” giving human qualities to environment and showing contrast of safety vs. fear.
Satire	“Vivas / To baseball, milkshakes, and those sociologists”	Mocking celebration of stereotypical American symbols highlights the absurdity of forced patriotism.
Simile	“Blurred like photographs, in rain”	Compares the rushing crowds to blurred photos, emphasizing disorientation and motion.
Symbolism	“A dollar in my palm”	The dollar symbolizes exploitation—Mexican workers are reduced to cheap, disposable labor.
Tone (Humorous-Ironic)	“On the power of a great, silly grin”	The playful tone contrasts the serious theme of racial injustice, softening tragedy with ironic humor.

Themes: “Mexicans Begin Jogging” by Gary Soto

Racial Identity and Stereotyping 🧑‍🤝‍🧑
“Mexicans Begin Jogging” by Gary Soto powerfully explores the theme of racial identity and the pervasive stereotyping faced by Mexican-Americans, reflecting the speaker’s struggle to assert their American identity in a society quick to judge based on ethnicity. The poem begins with the speaker working in a factory, but the arrival of the border patrol disrupts this setting, as the boss assumes all workers are undocumented and urges them to flee: “Over the fence, Soto,” he shouted, / and I shouted that I was American.” This declaration of citizenship is dismissed with “No time for lies,” revealing the harsh reality of racial profiling, where the speaker’s Mexican heritage overshadows their legal status. The boss’s assumption that the speaker must be an immigrant underscores how societal biases reduce individuals to stereotypes, ignoring their true identity. The speaker’s eventual defiance, yelling “vivas / To baseball, milkshakes,” reclaims their American identity through cultural symbols, but the need to assert this identity highlights the ongoing tension of living between two worlds—Mexican by heritage, American by birth. This theme resonates because it captures the universal struggle of marginalized groups to be recognized for their full, complex identities rather than reductive assumptions.
Resilience and Defiance 😄
“Mexicans Begin Jogging” by Gary Soto celebrates the theme of resilience and defiance, showcasing the speaker’s ability to transform a moment of fear and oppression into one of triumph and joy. Forced to flee from border patrol despite being American, the speaker runs “from that industrial road to the soft / Houses,” a journey marked by physical and emotional endurance. The act of running, initially spurred by fear, becomes a powerful metaphor for pushing forward against adversity. The poem’s closing lines, where the speaker yells “vivas / To baseball, milkshakes, and those sociologists / Who would clock me / As I jog into the next century / On the power of a great, silly grin,” reflect an irrepressible spirit. The “great, silly grin” symbolizes defiance, turning a degrading situation into an assertion of individuality and optimism. By embracing American cultural icons like baseball and milkshakes, the speaker defies the stereotypes that seek to define them, running not just from danger but toward a hopeful future. This theme of resilience resonates widely, as it reflects the human capacity to find strength and humor in the face of injustice.

Social Injustice and Prejudice 🚨
“Mexicans Begin Jogging” by Gary Soto confronts the theme of social injustice and prejudice, exposing the systemic biases that marginalize Mexican-Americans and other minority groups. The poem’s pivotal moment occurs when the border patrol arrives, and the boss, without hesitation, assumes the speaker and others are undocumented: “‘No time for lies,’ he said, and pressed / A dollar in my palm, hurrying me / Through the back door.” This dismissive response to the speaker’s claim of being American reveals how prejudice overrides truth, forcing the speaker into a dehumanizing escape. The “amazed crowds that lined / The street” further highlight societal complicity, as their stares turn the speaker’s flight into a spectacle, reinforcing their alienation. The “dollar” pressed into the speaker’s hand symbolizes tokenism, a superficial gesture that underscores exploitation rather than addressing injustice. Soto’s critique of these systemic issues—racial profiling, workplace exploitation, and societal judgment—makes the poem a poignant commentary on the broader social structures that perpetuate inequality, resonating with readers who recognize these enduring challenges.
Cultural Duality and Belonging 🏠
“Mexicans Begin Jogging” by Gary Soto delves into the theme of cultural duality and the search for belonging, capturing the speaker’s navigation of their Mexican heritage and American identity. The poem juxtaposes the industrial factory, where the speaker is misidentified as an immigrant, with the “soft / Houses” of a suburban neighborhood, symbolizing a divide between the working-class, ethnic identity and the mainstream American world. The speaker’s assertion, “I shouted that I was American,” reflects their claim to belong in the U.S., yet the boss’s rejection and the need to flee “through the back door” highlight their exclusion from this identity. The poem’s closing celebration of “baseball, milkshakes” alongside the Spanish “vivas” blends American and Mexican cultural elements, illustrating the speaker’s embrace of both worlds. This duality is further emphasized by the ironic nod to “sociologists / Who would clock me,” suggesting external attempts to categorize the speaker’s identity. The poem’s exploration of belonging resonates with readers who experience the tension of living between cultures, seeking acceptance in a society that often demands conformity.

Literary Theories and “Mexicans Begin Jogging” by Gary Soto

Theory	Explanation	Reference from Poem	Application to the Poem
🔍 New Historicism	Literature must be read in the context of its historical, cultural, and political moment.	“Until the border patrol opened / Their vans”	Reflects the U.S.–Mexico immigration context of the late 20th century. The speaker’s forced flight mirrors how Hispanic laborers were stereotyped as “illegal” regardless of citizenship.
📖 Postcolonial Theory	Examines identity, race, and the lingering effects of colonial and imperial power on marginalized groups.	“I shouted that I was American. / ‘No time for lies,’ he said”	Despite citizenship, the speaker is treated as an “other.” The boss and border patrol reproduce colonial hierarchies where Mexicans are seen as outsiders, showing systemic racism.
🌎 Marxist Theory	Focuses on class struggle, labor, exploitation, and the economic forces shaping human life.	“Pressed / A dollar in my palm, hurrying me / Through the back door”	The boss values the worker only for labor. The dollar symbolizes exploitation: Mexican workers are seen as replaceable and disposable under capitalist structures.
👥 Reader-Response Theory	Meaning is created by the reader’s interaction with the text, influenced by personal and cultural background.	“What could I do but yell vivas / To baseball, milkshakes”	Different readers interpret this differently: ironic celebration of American culture, or assimilation. Mexican-American readers may feel frustration, while others may read it as humor.

Critical Questions about “Mexicans Begin Jogging” by Gary Soto

❓ Question 1: How does Soto portray the conflict between personal identity and imposed stereotypes in “Mexicans Begin Jogging” by Gary Soto?

In “Mexicans Begin Jogging” by Gary Soto, the speaker’s identity as an American citizen clashes with how others perceive him. When the boss shouts, “Over the fence, Soto,” and the speaker insists, “I shouted that I was American”, the denial of his truth reflects the imposition of stereotypes on Mexican-Americans. The boss’s response—“No time for lies”—underscores how racial profiling reduces him to a body in flight, regardless of his legal status. Soto shows that identity is not just what one claims but how it is recognized—or denied—by society. The irony is sharp: citizenship papers mean little when skin color and name trigger suspicion.

🔍 Question 2: In what ways does the poem critique labor exploitation and capitalist systems in “Mexicans Begin Jogging” by Gary Soto?

Soto exposes the exploitative nature of labor in “Mexicans Begin Jogging” by Gary Soto through the moment when the boss “pressed / A dollar in my palm, hurrying me / Through the back door.” This action reveals that the worker is seen only in terms of economic value, discarded the moment he becomes inconvenient. The dollar symbolizes both a payoff and an insult, showing how capitalist structures reduce workers to expendable commodities. The command to flee—while still on the boss’s “time”—ironically binds the worker to the system even in flight. Soto critiques not only individual prejudice but also the economic structures that profit from immigrant labor while simultaneously criminalizing it.

🌎 Question 3: How does the poem use imagery of running to symbolize displacement and resilience in “Mexicans Begin Jogging” by Gary Soto?

Running is the central motif and metaphor in “Mexicans Begin Jogging” by Gary Soto. The speaker confesses, “Since I was on his time, / I ran / And became the wag to a short tail of / Mexicans –” where the act of running becomes both literal escape and symbolic displacement. The enjambed lines mimic breathless movement, emphasizing the forced mobility of migrant laborers. Yet the running also suggests resilience and survival: he keeps moving past “amazed crowds” that blur “like photographs, in rain.” The final image—“jog into the next century / On the power of a great, silly grin”—turns running into a paradoxical triumph. Despite being chased, mocked, and reduced, the speaker reclaims dignity in persistence.

👥 Question 4: How does Soto use humor and irony to expose serious issues of race and belonging in “Mexicans Begin Jogging” by Gary Soto?

The closing lines of “Mexicans Begin Jogging” by Gary Soto reveal Soto’s use of humor and irony to critique cultural stereotypes. The speaker shouts “vivas / To baseball, milkshakes, and those sociologists”—a satirical celebration of mainstream American culture and academic observers. Baseball and milkshakes symbolize assimilation into U.S. identity, while the ironic mention of sociologists highlights how Mexican-Americans are studied but not truly understood. The humor of a “great, silly grin” contrasts with the injustice of being forced to flee despite citizenship. Soto demonstrates that laughter becomes a coping mechanism, allowing the speaker to undermine prejudice by embracing absurdity. The irony underscores that sometimes survival requires both endurance and mockery of the system that marginalizes you.

Literary Works Similar to “Mexicans Begin Jogging” by Gary Soto

🌎 “Let America Be America Again” by Langston Hughes
Similarity: Like Soto, Hughes critiques the gap between American ideals and reality, showing how marginalized groups are excluded from the promised freedom.
🚶 “Walking Around” by Pablo Neruda
Similarity: Neruda’s poem, like Soto’s, portrays the alienation of the working class, where daily survival feels dehumanizing and disorienting.

🧱 “The Latin Deli: An Ars Poetica” by Judith Ortiz Cofer
Similarity: Cofer’s work, like Soto’s, explores Latino immigrant identity and the tension between assimilation and cultural preservation.
🛂 “Refugee in America” by Langston Hughes
Similarity: Hughes, like Soto, captures the pain of belonging and unbelonging—citizenship does not erase the experience of racial discrimination.
🚧 “Immigrants” by Pat Mora
Similarity: Mora’s poem, like Soto’s, shows how immigrant families struggle with identity, raising children to “be American” while never fully accepted as such.

Representative Quotations of “Mexicans Begin Jogging” by Gary Soto

Quotation	Context (Theoretical Perspective)	Interpretation
“At the factory I worked / In the fleck of rubber, under the press” 🏭	Chicano Studies: The poem opens with the speaker in a labor-intensive factory setting, grounding the narrative in the working-class experience of Mexican-Americans.	The gritty imagery of “fleck of rubber” and “press” highlights the oppressive, industrial environment, symbolizing the socioeconomic struggles and exploitation faced by Chicano workers.
“Of an oven yellow with flame” 🔥	Postcolonial Theory: The vivid description of the factory’s oven introduces a sense of danger and heat, reflecting the harsh conditions imposed on marginalized workers.	The “yellow” oven symbolizes both physical toil and the systemic pressures of a society that marginalizes ethnic minorities, evoking a colonial legacy of labor exploitation.
“Until the border patrol opened / Their vans” 🚨	Critical Race Theory: The arrival of border patrol introduces racial profiling, disrupting the workplace and forcing the speaker into a dehumanizing flight.	This moment underscores systemic racism, as the assumption of illegality targets the speaker based solely on ethnicity, highlighting the pervasive fear of immigration enforcement.
““Over the fence, Soto,” he shouted” 🗣️	Chicano Studies: The boss’s command personalizes the speaker as “Soto,” reflecting the poet’s own identity, and signals the urgency of escape due to presumed illegality.	The direct address and command to flee over a fence reveal workplace complicity in racial assumptions, stripping the speaker of agency and reinforcing Chicano marginalization.
“and I shouted that I was American” 🇺🇸	Critical Race Theory: The speaker asserts their American citizenship, which is dismissed, highlighting the conflict between their legal identity and societal perception.	This declaration exposes the irony of racial profiling, where the speaker’s Mexican heritage overshadows their American identity, illustrating the erasure of minority citizenship.
““No time for lies,” he said” 🚫	Postcolonial Theory: The boss’s dismissal of the speaker’s claim reflects a colonial mindset that assumes inferiority and illegitimacy of non-white identities.	The rejection of the speaker’s truth as a “lie” perpetuates a power dynamic where marginalized voices are silenced, reinforcing systemic prejudice.
“A dollar in my palm, hurrying me / Through the back door” 💵🚪	Marxist Theory: The boss’s act of giving a dollar and pushing the speaker out symbolizes economic exploitation and tokenism in a capitalist system.	The “dollar” and “back door” represent superficial compensation and exclusion, highlighting how labor systems exploit and marginalize workers of color.
“I ran And became the wag to a short tail of Mexicans” 🐕	Chicano Studies: The speaker leads a group of Mexican workers in flight, using a metaphor that suggests both leadership and dehumanization.	The “wag to a short tail” metaphor reflects the collective Chicano experience of being chased and stereotyped, yet also shows resilience in community solidarity.
“Ran past the amazed crowds that lined / The street and blurred like photographs, in rain” 👀🌧️	Postcolonial Theory: The speaker’s flight through a public space, observed by onlookers, underscores their alienation and objectification as a spectacle.	The “amazed crowds” and simile of “blurred” photographs evoke colonial gazes, where the marginalized are reduced to objects of curiosity, their humanity obscured.
“What could I do but yell vivas / To baseball, milkshakes, and those sociologists / Who would clock me / As I jog into the next century / On the power of a great, silly grin” ⚾🥤😄	Cultural Studies: The poem ends with the speaker defiantly embracing American culture while mocking societal scrutiny, symbolizing resilience and cultural duality.	The celebratory “vivas” to American icons and the “silly grin” transform oppression into triumph, blending Chicano pride with American identity, defying attempts to categorize them.

Day: September 8, 2025