Feliz Cumpleaños – El Partido

BASIC INFO	LANGUAGE LEVEL	COMPREHENSION-AIDING FEATURES
Book Title Feliz Cumpleaños – El Partido (Happy Birthday – The Game) Author(s) A.C. Quintero Illustrator(s) Cover art by Alan Ng Chapter art by J.Fierro Other Contributors (none) Published by Self-published Genre Realistic Fiction Publication date 2017 #Ownvoices No	From the author/publisher’s website Spanish 1 Student Reader Total Word Count 3100	Illustrations YES Glossary YES Guiding Questions NO Context NO Other

IDENTITIES PRESENT IN THE TEXT		SYNOPSIS
Races, Ethnicities, and Nationalities none specified; names are Spanish-language names and a traditionally Latin American food is mentioned (patacones) Languages spoken Spanish Sex and Genders Female Male Ages Teenager: 13-18 Social classes Middle Class	Sexual Orientation Heterosexual (Dis)Abilities and Neurotypes None mentioned in text Religions, Syncretism, and Spirituality None mentioned in text Relationship and Family Structures Heteroparental Body Descriptions Text mentions the bully is “alto” and “fuerte” (12). (tall and strong) Illustrations depict very slender characters on the front cover and throughout the book.	From the author/publisher’s website Esteban just can’t get a break, even on his birthday! From the forgetful teacher in class to the bully that takes his lunch, he is at his wit’s end. Although his day starts to brighten when a good friend and love interest wish him “happy birthday,” he is still subject to Roberto’s (the bully) attacks. However, a soccer match may set the record straight. Esteban has an uphill battle and must muster the courage to stand up for himself, even on his birthday. Will this be a breakthrough moment for Esteban, or will his fear hold him back?

ILLUSTRATIONS	STORY	SOCIAL JUSTICE
To what extent do the illustrations present positive and thoughtful representations of identities? * The cover features two light-skinned, masculine-presenting teens (names and pronouns are masculine in text) making a fist toward each other while wearing facial expressions with eyebrows lowered and baring teeth. This refers to the 2017 self-published cover. The online catalog at Wayside Publishing (as of Fall 2023) offered this novel with an updated cover that changes the apparent age of the protagonists, making them appear much younger. This updated Wayside cover depicts one protagonist with lighter-brown skin and the other protagonist with darker-brown skin. The darker-skinned character is slightly taller and has a scrape on his face and elbow. Both characters have scrapes on their legs and lowered eyebrows, and they appear to be baring their teeth toward each other. The darker-skinned character, with his height and a slight smile, appears to be the dominant character who is potentially engaging in bullying behavior towards the smaller, lighter-skinned character, who has a downturned mouth. Note: The LLLAB Board ordered a copy of this updated version in the Wayside catalog to examine if the interior illustrations or the text differ from the 2017 self-published version. However, Wayside sent the 2017 self-published version. As of October 2023, the updated version is no longer in the catalog. Hence, with the exception of this note above about the alternate cover, this review refers only to the 2017 self-published version. * Interior illustrations are line drawings defaulting to White, portraying all characters with straight hair and thin noses. * All characters illustrated in the text exhibit very thin waists: the two protagonists (on the cover and throughout); the teacher (p. 7) and Cristina (p. 19).	We understand identities are complex and no single story represents the spectrum of identity-based experiences. Also, a text may address a stereotype, misrepresentation, or generalization without relying on it. *Does any stereotype, misrepresentation, or generalization affect any positive and thoughtful representations of identities in the text?* Certain people or groups are left out or given roles that don’t enable them to be heard.: The female supporting character is often spoken for and her intentions or desires are assumed by the male characters. The females are shown as supporting characters– e.g. a teacher; a person over whose affection the protagonists are fighting to win; a student watching from the sidelines as four males compete athletically.	This section is for teachers who are working towards sourcing more texts within the four domains of anti-bias education. We are excited about reading all books and we understand that not all books are written for this specific purpose. *Does this text work toward goals within any of the* four domains of anti-bias education as defined by Learning for Justice? Identity: Promote a healthy self-concept and exploration of identity The text challenges stereotypes about gendered division of household labor as the father is presented as a really good cook (“el mejor cocinero del mundo,” 11) and as the main caretaker.

LLLAB’s REVIEW
Feliz Cumpleaños: El Partido tells the fictional story of Esteban, a teenage student who, on his birthday, overcomes adversity through playing a soccer match against Roberto, a classmate depicted as a bully. Roberto has not only stolen items from Esteban, but also attempted to hinder the development of a romantic relationship between Esteban and another classmate, Cristina. The narrative showcases the father as a primary caretaker who cooks for the family (“el mejor cocinero del mundo”/the best cook in the world [p. 11]). Teachers may wish to highlight the ways in which this expands upon stereotyped gender roles, challenging the notion that cooking and caregiving are exclusively female roles. The author uses inclusive language choices in Spanish, such as ‘estudiante(s),’ as opposed to using gendered, non-inclusive terms like the term ‘alumno(s)’ (Chapter 1). The text confronts and challenges the stereotype of females as “forgetful”. The teacher says to the class, “Tengo muy mala memoria”/I have a very bad memory (p. 8) and a short time later, Andrés comments, “Las chicas no tienen buena memoria”/Girls don’t have a good memory (p. 18). Cristina’s behavior challenges this assumption, as shortly thereafter she demonstrates that she has remembered Esteban’s birthday (p. 20). Esteban responds, “¡Gracias, Cristina! Tú tienes una muy buena memoria!” / Thank you, Cristina! You have a very good memory” (p. 22) to which she affirms, “Claro ¡las chicas tenemos muy buena memoria!” / Of course we girls have a very good memory! (p. 22). While the text challenges a stereotype of females as forgetful, it does so by asserting the gender-essentialist assumption mentioned previously: “Claro ¡las chicas tenemos muy buena memoria!”/Of course we girls have a very good memory! (p. 22). Teachers may wish to discuss with students that having a good memory, or any other personality attribute, is neither universal among a particular gender nor unique to that gender. Teachers may also wish to discuss the limiting nature of stereotypes whether negative or positive. Male stereotypes appear in the text, such as toxic masculinity, lack of emotional intelligence, and shallow representations of what it means to be popular (tall, handsome, athletic): “Roberto es un chico muy arrogante. Él es alto, fuerte y muy energético; también es muy popular en la escuela porque es buen futbolista. Roberto también tiene reputación de ser bravucón.” / Roberto is an arrogant boy. He is tall, strong, and very energetic; he is also very popular in school because he is a soccer player. Roberto also has a reputation of being a bully (p. 12). Such descriptions reinforce traditional ideals of masculinity, potentially promoting narrow and harmful expectations. Teachers should engage students in discussions about the implications of such stereotypes. The reference to the bully as “energetic” reifies a stereotype of energetic, hyperactive students as problematic and may suggest an implicit bias against ADHD/neurodivergence (p. 12). On page 13, there is a bullying scene where the depiction of the male bully is strong, tall, athletic, a great soccer player, the captain of the team, and energetic. These are all characteristics that make him popular as well. Teachers may wish to discuss stereotypes of who is “popular.” The portrayal of bullying scene, particularly the lack of intervention form adults, might contribute to a perception that schools are inherently places where bullying is prevalent and must be overcome independently. “Roberto toma las papitas de plátano de Esteban. — ¡Son mis papitas! — exclama Esteban. –¡No, no son tus papitas. Son mis papitas! Adiós, ¡perdedor! — Roberto mira a Esteban otra vez y le dice: ¡Feliz cumpleaños!” / Roberto takes Estaban’s plantain chips. “They are my chips!” Esteban exclaims. “No, they are not your chips. They are my chips! Bye, loser!” Roberto looks at Esteban again and says to him: Happy Birthday! (p. 13) In another example: “Roberto tomó tu almuerzo otra vez? ¡Él es un bravucón! — Sí, él es un bravucón. Toma mi almuerzo casi todos los días.” / “Roberto took your lunch again? He is a bully!” “Yes, he is a bully. He takes my lunch almost everyday” (p. 17). The text challenges hard patriarchy (the controlling, possessive behaviors of the “bully” character) but fails to address soft patriarchy (the similarly controlling, possessive behaviors of the “hero” character). The text also does not challenge the female’s choice for passivity. Roberto, the bully, repeatedly demonstrates hard patriarchy. First, he insults his girlfriend, Cristina: “Mi amor, tú tienes amnesia”/My love, you have amnesia (p. 28). Then, he speaks for her when he attempts to impede her developing a relationship with Esteban–“Cristina no te dice que somos novios?” / Cristina doesn’t tell you that we are girlfriend and boyfriend?–and she remains quiet: “Ella no dice nada” / She doesn’t say anything (pp. 27-28). Next, Roberto displays possessiveness by referring to Cristina not just as his girlfriend, but as “his girl” (p. 30). This overlooks that she is presumably a girl in relation to many other people, such as family members, and not only to him. Moreover, this possessiveness contrasts with an empowered understanding of a female belonging not to others, but to herself. Finally, Roberto appears to attempt to control Cristina’s affections and self-understanding: After he has stolen the soccer ball that she has gifted to Roberto’s rival, Esteban, Roberto kisses Cristina on the cheek and says, “Eres mi chica especial, ¿comprendes? Eres mi chica especial” / You are my special girl, do you understand? You are my special girl (p. 31). In response Cristina is shown again passively accepting this treatment as she says nothing: “Cristina no dice nada” / Cristina doesn’t say anything (p. 31). Meanwhile, Esteban’s statements as the “nice guy protagonist” in the text display a soft patriarchy with similar underlying attitudes of control and possession toward Cristina. First, he interrupts Cristina while speaking: “Cristina no termina su frase porque Esteban la interrumpe” / Cristina doesn’t finish her sentence because Esteban interrupts her (p. 22). Then, after his friend comments, “Roberto tiene tu balón, y la chica que te gusta”/Roberto has your soccer ball, and the girl that you like (p. 34), Esteban affirms this assessment: “Roberto tiene dos cosas que quiero… tiene mi balón. También tiene la chica que me gusta” / Roberto has two things that I want… He has my soccer ball. He also has the girl that like (p. 35). The language used by both Esteban and his friend reflects their belief that a girl is a thing that one can possess, with the “nice guy protagonist” putting Cristina on a similar level as a soccer ball as an object to have. Additionally, Esteban demonstrates controlling behaviors when Cristina takes agency over the type of physical affection she wishes to give. “Ella le extiende la mano a Esteban. Pero, Esteban no quiere la mano de Cristina. Él quiere un abrazo”/She extends her hand to Esteban. But Esteban doesn’t want Cristina’s hand. He wants a hug (pp. 31-32). Although he is ultimately pleased with Cristina’s choice (“Cuando Cristina toma la mano de Esteban, ella le da una tarjeta de cumpleaños”/When Cristina takes the hand of Esteban, she gives him a birthday card [p. 32]), the focus of the story remains on Esteban’s pleasure. Later, instead of talking with Cristina as an equal about her relationship with Roberto, Esteban tells her what he thinks is good for her: He tells her “Roberto no es un buen novio para ti”/Roberto is not a good boyfriend for you (p. 32). Additionally, Esteban also appears to speak for Cristina when he tells Roberto, “Ella no quiere ser tu novia”/She doesn’t want to be your girlfriend (p. 42). Finally, instead of asking Cristina’s input about whether or not to leave the soccer field, he takes control: “Vámonos Cristina”/Let’s go, Cristina (p. 42). A recurring theme throughout these interactions is that Cristina says nothing (“Cristina no dice nada”): as previously discussed, she says nothing after Esteban interrupts her (p. 23), when Roberto speaks for her (pp. 27-28), and when Roberto kisses her and tells her who she is to him (p. 31). In fact, rather than a fully developed character, Cristina functions mostly as a foil for the male protagonists. She is someone for boys to fight over and win, but in the text she lacks agency to choose her own romantic partner. Teachers may wish to discuss with students how elements of patriarchy such as control and possession can manifest both in relationships of abuse, as well as in seemingly well-meaning relationships. They may also wish to explore with students the opportunities that females have to assert agency over their own lives and to actively name and resist such treatment. This could be a learning opportunity to acquire language about agency and resistance in the target language. Teachers may also wish to discuss with students issues of consent prior to kissing someone. Later in the story, a friend of Esteban says that he prefers when Esteban is aggressive instead of timid. Esteban is usually timid (p. 45), but when he expresses his intention to defeat his rival Roberto in a soccer game–“Voy a darle una buena lección”/I’m going to give him a good lesson (p. 35)–the friend responds, “¡Este es el Estebán que me gusta!”/This is the Esteban that I like! (p. 35). This conversation raises questions about why Esteban’s more aggressive side should be preferable to his friend than his more timid side. Teachers may wish to explore and challenge social constructions of masculinity.

LLLAB’s REVIEW

Feliz Cumpleaños: El Partido tells the fictional story of Esteban, a teenage student who, on his birthday, overcomes adversity through playing a soccer match against Roberto, a classmate depicted as a bully. Roberto has not only stolen items from Esteban, but also attempted to hinder the development of a romantic relationship between Esteban and another classmate, Cristina.

The narrative showcases the father as a primary caretaker who cooks for the family (“el mejor cocinero del mundo”/the best cook in the world [p. 11]). Teachers may wish to highlight the ways in which this expands upon stereotyped gender roles, challenging the notion that cooking and caregiving are exclusively female roles.

The author uses inclusive language choices in Spanish, such as ‘estudiante(s),’ as opposed to using gendered, non-inclusive terms like the term ‘alumno(s)’ (Chapter 1).

The text confronts and challenges the stereotype of females as “forgetful”. The teacher says to the class, “Tengo muy mala memoria”/I have a very bad memory (p. 8) and a short time later, Andrés comments, “Las chicas no tienen buena memoria”/Girls don’t have a good memory (p. 18). Cristina’s behavior challenges this assumption, as shortly thereafter she demonstrates that she has remembered Esteban’s birthday (p. 20). Esteban responds, “¡Gracias, Cristina! Tú tienes una muy buena memoria!” / Thank you, Cristina! You have a very good memory” (p. 22) to which she affirms, “Claro ¡las chicas tenemos muy buena memoria!” / Of course we girls have a very good memory! (p. 22).

While the text challenges a stereotype of females as forgetful, it does so by asserting the gender-essentialist assumption mentioned previously: “Claro ¡las chicas tenemos muy buena memoria!”/Of course we girls have a very good memory! (p. 22). Teachers may wish to discuss with students that having a good memory, or any other personality attribute, is neither universal among a particular gender nor unique to that gender. Teachers may also wish to discuss the limiting nature of stereotypes whether negative or positive.

Male stereotypes appear in the text, such as toxic masculinity, lack of emotional intelligence, and shallow representations of what it means to be popular (tall, handsome, athletic): “Roberto es un chico muy arrogante. Él es alto, fuerte y muy energético; también es muy popular en la escuela porque es buen futbolista. Roberto también tiene reputación de ser bravucón.” / Roberto is an arrogant boy. He is tall, strong, and very energetic; he is also very popular in school because he is a soccer player. Roberto also has a reputation of being a bully (p. 12). Such descriptions reinforce traditional ideals of masculinity, potentially promoting narrow and harmful expectations. Teachers should engage students in discussions about the implications of such stereotypes.

The reference to the bully as “energetic” reifies a stereotype of energetic, hyperactive students as problematic and may suggest an implicit bias against ADHD/neurodivergence (p. 12).

On page 13, there is a bullying scene where the depiction of the male bully is strong, tall, athletic, a great soccer player, the captain of the team, and energetic. These are all characteristics that make him popular as well. Teachers may wish to discuss stereotypes of who is “popular.”

The portrayal of bullying scene, particularly the lack of intervention form adults, might contribute to a perception that schools are inherently places where bullying is prevalent and must be overcome independently. “Roberto toma las papitas de plátano de Esteban. — ¡Son mis papitas! — exclama Esteban. –¡No, no son tus papitas. Son mis papitas! Adiós, ¡perdedor! — Roberto mira a Esteban otra vez y le dice: ¡Feliz cumpleaños!” / Roberto takes Estaban’s plantain chips. “They are my chips!” Esteban exclaims. “No, they are not your chips. They are my chips! Bye, loser!” Roberto looks at Esteban again and says to him: Happy Birthday! (p. 13) In another example: “Roberto tomó tu almuerzo otra vez? ¡Él es un bravucón! — Sí, él es un bravucón. Toma mi almuerzo casi todos los días.” / “Roberto took your lunch again? He is a bully!” “Yes, he is a bully. He takes my lunch almost everyday” (p. 17).

The text challenges hard patriarchy (the controlling, possessive behaviors of the “bully” character) but fails to address soft patriarchy (the similarly controlling, possessive behaviors of the “hero” character). The text also does not challenge the female’s choice for passivity.

Roberto, the bully, repeatedly demonstrates hard patriarchy. First, he insults his girlfriend, Cristina: “Mi amor, tú tienes amnesia”/My love, you have amnesia (p. 28). Then, he speaks for her when he attempts to impede her developing a relationship with Esteban–“Cristina no te dice que somos
novios?” / Cristina doesn’t tell you that we are girlfriend and boyfriend?–and she remains quiet: “Ella no dice nada” / She doesn’t say anything (pp. 27-28). Next, Roberto displays possessiveness by referring to Cristina not just as his girlfriend, but as “his girl” (p. 30). This overlooks that she is presumably a girl in relation to many other people, such as family members, and not only to him. Moreover, this possessiveness contrasts with an empowered understanding of a female belonging not to others, but to herself. Finally, Roberto appears to attempt to control Cristina’s affections and self-understanding: After he has stolen the soccer ball that she has gifted to Roberto’s rival, Esteban, Roberto kisses Cristina on the cheek and says, “Eres mi chica especial, ¿comprendes? Eres mi chica especial” / You are my special girl, do you understand? You are my special girl (p. 31). In response Cristina is shown again passively accepting this treatment as she says nothing: “Cristina no dice nada” / Cristina doesn’t say anything (p. 31).

Meanwhile, Esteban’s statements as the “nice guy protagonist” in the text display a soft patriarchy with similar underlying attitudes of control and possession toward Cristina. First, he interrupts Cristina while speaking: “Cristina no termina su frase porque Esteban la interrumpe” / Cristina doesn’t finish her sentence because Esteban interrupts her (p. 22). Then, after his friend comments, “Roberto tiene tu balón, y la chica que te gusta”/Roberto has your soccer ball, and the girl that you like (p. 34), Esteban affirms this assessment: “Roberto tiene dos cosas que quiero… tiene mi balón. También tiene la chica que me gusta” / Roberto has two things that I want… He has my soccer ball. He also has the girl that like (p. 35). The language used by both Esteban and his friend reflects their belief that a girl is a thing that one can possess, with the “nice guy protagonist” putting Cristina on a similar level as a soccer ball as an object to have.

Additionally, Esteban demonstrates controlling behaviors when Cristina takes agency over the type of physical affection she wishes to give. “Ella le extiende la mano a Esteban. Pero, Esteban no quiere la mano de Cristina. Él quiere un abrazo”/She extends her hand to Esteban. But Esteban doesn’t want Cristina’s hand. He wants a hug (pp. 31-32). Although he is ultimately pleased with Cristina’s choice (“Cuando Cristina toma la mano de Esteban, ella le da una tarjeta de cumpleaños”/When Cristina takes the hand of Esteban, she gives him a birthday card [p. 32]), the focus of the story remains on Esteban’s pleasure. Later, instead of talking with Cristina as an equal about her relationship with Roberto, Esteban tells her what he thinks is good for her: He tells her “Roberto no es un buen novio para ti”/Roberto is not a good boyfriend for you (p. 32). Additionally, Esteban also appears to speak for Cristina when he tells Roberto, “Ella no quiere ser tu novia”/She doesn’t want to be your girlfriend (p. 42). Finally, instead of asking Cristina’s input about whether or not to leave the soccer field, he takes control: “Vámonos Cristina”/Let’s go, Cristina (p. 42).

A recurring theme throughout these interactions is that Cristina says nothing (“Cristina no dice nada”): as previously discussed, she says nothing after Esteban interrupts her (p. 23), when Roberto speaks for her (pp. 27-28), and when Roberto kisses her and tells her who she is to him (p. 31). In fact, rather than a fully developed character, Cristina functions mostly as a foil for the male protagonists. She is someone for boys to fight over and win, but in the text she lacks agency to choose her own romantic partner.

Teachers may wish to discuss with students how elements of patriarchy such as control and possession can manifest both in relationships of abuse, as well as in seemingly well-meaning relationships. They may also wish to explore with students the opportunities that females have to assert agency over their own lives and to actively name and resist such treatment. This could be a learning opportunity to acquire language about agency and resistance in the target language. Teachers may also wish to discuss with students issues of consent prior to kissing someone.

Later in the story, a friend of Esteban says that he prefers when Esteban is aggressive instead of timid. Esteban is usually timid (p. 45), but when he expresses his intention to defeat his rival Roberto in a soccer game–“Voy a darle una buena lección”/I’m going to give him a good lesson (p. 35)–the friend responds, “¡Este es el Estebán que me gusta!”/This is the Esteban that I like! (p. 35). This conversation raises questions about why Esteban’s more aggressive side should be preferable to his friend than his more timid side. Teachers may wish to explore and challenge social constructions of masculinity.

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