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73 pages 2 hours read

Brenda Woods

Emako Blue

Fiction | Novel | YA | Published in 2005

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Chapters 1-4Chapter Summaries & Analyses

Chapter 1 Summary: “Monterey”

Monterey Hamilton rides with her parents to the funeral of her best friend, Emako Blue, who was recently murdered in a drive-by gang shooting. Inside the church, Monterey sees her friend and crush, Eddie, who sits down in front of them, and Monterey puts a hand on his shoulder in greeting. The preacher begins the service and states that Emako’s death is a “Tragedy! Outrage! Atrocity!” (3). He also notes her innocence and compares Emako to a lamb.

Monterey sees that her friend is beautiful inside her pink casket, even in death. She recalls the first time she met Emako. In a flashback, Monterey describes meeting Emako earlier that school year during choir auditions. Emako’s talent is immense: “She had a voice that could do tricks [...] a voice that’s a gift from God” (5). Monterey senses the jealousy and attraction of everyone in the room toward Emako as she finishes, and she hears her classmate, Jamal, tell Eddie, “I’m gonna havta get with that” (6).

Emako and Monterey both make it into the choir and become acquainted. Monterey goes outside to wait for her father to pick her up, wondering why she has never seen Emako before today and why someone as cool as her would talk to Monterey, who describes herself as “a nobody” (7). In the car on the way home, Monterey tells her father that she can take the bus home, but he tells her it is too dangerous. At home, her mother reminds her to not lock her door, even though Monterey protests that she is a teenager now and needs space.

Monterey sees Emako again at the first choir practice, and Mr. Santos seats them next to each other. Emako says hi as Monterey sits between her and another girl, Savannah, who ignores Monterey when she says hello. Emako notices this and whispers “What’s up with bubble butt?” (10), making Monterey giggle.

When practice ends, Jamal touches Emako on the shoulder and flirts with her. Savannah accuses Jamal of being a “player” because he is still dating Savannah’s best friend, Gina, who goes to a different school. Jamal denies dating Gina, and Emako tells Jamal and Savannah she has no time for “nonsense.” She leaves, saying she cannot miss her bus because she has to watch her younger siblings while their mother works.

Emako misses her bus and laments that her mother is going to make her quit chorus now, but Monterey offers her a ride home. Emako asks if she is sure because she lives in South Central Los Angeles, but Monterey insists. Emako recently transferred schools, and she likes it better here on the Westside. Emako implies that the Westside is nicer and assumes that Monterey is wealthy because she lives there.

At Emako’s, Monterey notes that Emako lives in a small yellow house “with grass that needed cutting” (14). Monterey and Emako meet up the next day at school and share the stories behind their names. Emako explains that Emako is a Japanese name and that her mother named her after the nurse who helped deliver her. Monterey shares that she was conceived while her parents were at the Monterey Jazz Festival.

At choir practice, Monterey asks Emako if she wants to go to Knott’s Berry Farm with her and her cousin that weekend, but Emako declines because she has to watch her siblings while their mother works. Sensing that she is lying, Monterey tells Emako that she can just say that she does not want to go, and Emako admits that she believes she’s “too grown” for the trip. Emako calls Monterey later that afternoon and invites Monterey to her house on Sunday as an apology for declining Monterey’s invitation.

Mr. Hamilton drops Monterey off at Emako’s house; he is leery of South Central Los Angeles, where he grew up, because of its high crime rates. As Mr. Hamilton drives off, Emako and Monterey watch him from the porch. A car with tinted windows drives slowly down the street past Emako’s house, and a young man wearing a black bandana and two gold watches calls out to Emako. She tells Monterey that the guy just got out of the California Youth Authority and is a gang member. She explains that gang activity and violence at her old school are part of why she wanted to transfer. Emako dreams of having a career in music so that she can help move her family “away from all this madness” (22).

Chapter 2 Summary: “Jamal”

As Jamal enters the church at Emako’s funeral, he sees Monterey but decides to not greet her, unsure of what to say. He and Eddie see and acknowledge one another. Jamal feels a rush of fury and despair. He thinks about how he wants to “get the MF who had done this” (25).

Jamal recalls the first time he met Emako in the fifth grade when they attended piano lessons at the same house. He remembers the teacher being frustrated with Emako because she refused to learn how to read music, insisting instead that she could learn everything by ear.

Jamal does not see Emako again until she begins attending the same high school as him, and he sees how much Emako has grown and matured not only in her appearance but her talent. Jamal envisions a future in which he writes and produces the music that Emako performs, imagining them sweeping the yearly awards shows with their act. At choir tryouts, Jamal falls instantly in love with Emako: “I wanted to hand her a bouquet of lavender roses and tell her she had my heart. Crazy love” (26). He nearly tells her this after choir practice before Savannah interrupts them to inquire about his relationship status with Gina. Jamal thinks about how he likes Gina but does not see her as more than a casual and occasional hook-up partner.

A few days go by before Jamal can approach Emako without Savannah nearby. As he sees her waiting for the bus, he switches into “player mode” and asks her if she remembers him from piano lessons. Emako does, and he offers to give her a ride home. They listen to an Aaliyah CD on the way home, and Jamal asks Emako if she wants to stop at McDonald’s. They sit in his car eating, and Jamal asks Emako if she has a boyfriend. Emako says she does not and that she is looking for someone mature, so Jamal asks what she thinks about him. She tells him “You’re a’ight” (28), and before Jamal can inquire further, Emako checks her watch and tells him she has to go so that her mother can leave for work. Jamal watches her make her way into her house.

Chapter 3 Summary: “Savannah”

Savannah Parker enters the church at Emako’s funeral and sees Monterey glaring at her. Savannah thinks she deserves the opportunity to say goodbye to Emako. Savannah understands why most people think she hated Emako, and Savannah admits that she was jealous of her beauty and talent. Savannah also admits that beyond this, Emako was kind to others, and that “this was the part I didn’t trust” (30). Savannah recalls that “no matter what I did to that girl, she wouldn’t let me pull her down into my little hell” (31). Savannah looks around the church and regrets that she will never have the chance to apologize to Emako.

At choir practice back in October, Savannah recalls watching Jamal try to flirt with Emako. Feeling loyal to her friend, Gina, Savannah decides to intervene and asks Jamal why he is trying to flirt with someone who is not his girlfriend. She calls Emako “ghetto,” and Jamal dismisses Savannah, calling her ugly. As practice begins, Savannah is jealous of Emako’s talent. As she listens to Emako sing, she thinks of her house in the hills with a swimming pool and feels “good, like I had something she didn’t” (32).

Savannah’s mother picks her up after practice, and they argue about the radio. Savannah tells her mother to leave her alone and sulks quietly for the rest of the ride. In her room at home, she thinks about Emako and decides “to start a little something” with her (33). She has the opportunity the next day at school when she runs into Emako in the bathroom. Savannah greets Emako and approaches her, telling her that they need to talk about something. Savannah warns Emako not to get involved with Jamal because he is already dating Gina and that even when they break up, “he always gets back with Gina when he’s finished with his little chicken heads” (34). Emako tells Savannah she is not a “chicken head,” and Savannah, trying to seem sincere, tells her she knows, and that is why she is sharing this information with her.

Chapter 4 Summary: “Eddie”

Eddie Ortiz makes the sign of the cross as he enters the church for Emako’s funeral. As he sits listening to the service, he imagines Emako as an angel, flying around the church and singing like a “pajarito, like a bird” (37).

Eddie joins the choir because he likes to sing and because he thinks it will look good on his college transcripts. Eddie plans to attend college a year early, taking summer school classes in order to gain enough credits to graduate ahead of schedule.

Like everyone else, Eddie notices Emako’s musical talent right away. He is romantically interested in her friend, Monterey, even though Monterey always seems nervous around him. After practice, Eddie gets the bus home and thinks about Monterey, wondering if he should ask for her number. He decides against it, thinking that he will be graduating early anyway because “I couldn’t wait for my future to become my present, for the present to become my past” (38). Eddie wants to leave his home early to escape the streets that claimed his older brother Tomas, who is now serving time in jail for gang-related activity.

Eddie calls out to his younger sister, Hortensia, when he gets home, to make sure she is okay. Hortensia tells him to stop worrying so much. Eddie checks the mail and sees a letter from Tomas, which he hides in a drawer in his room. He knows that if his mother sees the letter, she will read it and cry.

Chapters 1-4 Analysis

The opening chapters of Emako Blue introduce the four narrators of the text. The text begins with Emako’s funeral, as each narrator arrives and reflects on their relationship to Emako. The funeral scenes introduce an important theme: The Impact of Gang Violence on Individuals and the Community. There is an enormous turnout at Emako’s funeral, which Monterey believes would not be half as large “if Emako hadn’t died the way she had” (1). The text reveals later on the Emako died from her injuries sustained in a gang-related shooting. The death of someone so young and full of promise is tragic, but the implications of her death relating to gang violence brings the people out in even greater numbers, suggesting an unspoken recognition of a systemic problem in the community.

Her friends illustrate the impact that Emako’s death has had on them as they attend her funeral, revealing the individual impact of gang violence. Jamal, one of the narrators, remarks: “I wanted to scream. I wanted to break some heads. I wanted to get the MF who had done this. But I couldn’t. I had to leave it to the police or God” (24-25). Jamal’s overriding emotion is that of anger, a desire to retaliate against the person who killed Emako. His cooler head prevails, however, showing his true character and disinterest in violence as a solution to problems.

The narrative then shifts to flashbacks, which offer context about Emako’s life and relationships leading up to her death. These relationships, and the comparisons of socioeconomic status therein, introduce the theme Escaping the Cycle of Poverty and Violence. Each character points out that Emako has an immense musical talent, and Emako reveals in Chapter 1 that music is her chance to escape the cycle of poverty and violence that she and her family are currently in. Emako shares with Monterey her plans to have a successful music career in order to help her family: “you watch… I’ll be livin’ it up” (22). Emako sees herself as the one in her family who can use her skills to lift them out of poverty, especially with her brother, Dante, wrapped up in gang activity and currently serving a juvenile detention sentence.

Eddie also reveals his hopes to escape the cycle of poverty and violence in these chapters. He explains that he has gone to summer school three years in a row in order to graduate early: “I couldn’t wait to be in college and away from the streets that had taught me to watch my back, day and night” (38). This quote not only illustrates Eddie’s plan to escape his circumstances for a better, safer life, but it also connects to the ways violence affects individuals and the community. Eddie doesn’t feel safe in his home and community due to the prevalent gang presence. The effect these gangs have on individuals is clear within the text, but they also contribute to an overarching sense of unease and looming danger for the community.

Monterey and Savannah, who live relatively privileged lives, contrast the needs and ambitions of Eddie and Emako. Their troubles are tame by comparison, with Monterey wishing her parents afforded her more freedom, and Savannah wishing for more connection with her parents. Eddie and Emako, on the other hand, fear for their very lives. We see the contrast between these two worlds most poignantly when Monterey invites Emako to Knotts Berry Farms. Emako admits she feels too grown for the outing; she has been forced to grow up very quickly. She’s standing in as a parent for her younger siblings while her mother is working, and she must plan and navigate her future very consciously in order to earn a better life. Monterey, whose parents have already earned a better life for her away from gang violence, doesn’t yet understand the full implications of Emako’s autonomy, nor does she understand what “being grown” really is: It is both autonomy and immense, burdensome responsibility.

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