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Carlos HernandezA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Salvador Vidón, known as Sal, is a new student at Culeco Academy of the Arts, a prestigious magnet school in Miami with stringent admission criteria. On noticing another student struggling to open his locker, Sal offers to help. The student, Yasmany, promptly insults Sal, deriding his khaki cargo pants and vest designed for his magic tricks as safari wear. Yasmany also labels Sal a “white boy,” an irony considering students teased Sal in his Connecticut school for being “too brown.”
Sal attempts to avoid confrontation, but the situation turns nasty when Yasmany slaps Sal’s diabetes bag to the ground. The bag contains his glucose monitor, insulin, and emergency Skittles—and when it lands, it sounds like something has broken. Surrounded by an audience, Sal’s showmanship instincts kick in.
Sal accuses Yasmany of not wanting help opening his locker because he keeps dead chickens inside. As a confused Yasmany becomes the subject of Sal’s ridiculous monologue, laughter ensues. Blood oozes out of the locker’s gaps. Sal takes charge, throwing the locker open—a raw grocery store chicken plops onto the floor. In the ensuing chaos, Yasmany vehemently denies that it’s his. Sal assures Yasmany that he believes him, indicating to the reader that it was Sal who put the chicken there.
Principal Torres addresses Sal and Yasmany in her office, starting off by pointing out the frequency of Sal’s visits. Sal correctly counters that his previous visits were in fact the school’s fault, as the school lacks unfamiliarity with supporting diabetic students. Principal Torres gracefully acknowledges Sal’s point, apologizing and outlining her plan to address the issue.
She then turns on Yasmany, who has a clear history of bullying. Warning of expulsion, she challenges him to defend his actions. Yasmany announces that his lawyer will arrive soon; a moment later, Gabi Reál, the school newspaper editor and student council president, bursts in and prepares to defend her client.
Gabi introduces herself to Sal, assuring him that she holds no grudges and is willing to represent him in the future. Apologizing for her tardiness, she reprimands Yasmany for not waiting for her arrival. Gabi then reports that while multiple students can attest to Yasmany’s locker struggles, only Sal has ever successfully opened the locker, shifting suspicion to him. Principal Torres directly asks Sal if he placed the raw chicken in Yasmany’s locker.
As tensions rise, Sal leans “back into life” (25), envisioning his meditative relaxation as resting on a sleeping giant that grants favors if asked correctly—a skill Sal acquired after his mother’s death. Requesting a favor now, Sal tells Principal Torres the chicken incident was an illusion. In disbelief, Principal Torres calls the custodian, Mr. Milagros. Sure enough, the custodian found nothing on returning with his cleaning supplies; he suggests a demon may have consumed the chicken. Yasmany insists on the chicken’s existence, but Principal Torres dismisses him and prepares to send Sal back to class until Gabi intervenes.
Gabi accuses Sal of inciting panic and endangering students’ safety, a claim Principal Torres supports, citing disruption and potential injuries. Sal inquiries about injuries, prompting Principal Torres to admit no harm actually occurred. Gabi then contends that Sal’s trick was too realistic for an illusion. To prove his skills, Sal points out that “Gotcha!” is stamped on Gabi’s hand—then reveals his stamp ring, reluctantly violating the magician’s code.
Principal Torres releases Sal, intending to expel Yasmany next. However, surprising himself, Sal advocates for Yasmany along with Gabi, leading Principal Torres to reduce the penalty to a five-page report on type 1 diabetes. All three students are then dismissed back to class.
With only nine minutes for lunch, Sal heads to his locker, needing a snack for his sugar levels. Gabi calls after him, and Sal flees. The students mysteriously part, almost if frightened of him. Sal trips and lands hard on his knee. Gabi checks on him. Sal, jokingly, mentions potential leg loss due to his condition, but Gabi calls his bluff. Sal confesses he avoided Gabi because she tried to get him in trouble. The term “sapingo” sparks laughter, but the mood shifts, and Sal abruptly leaves, refusing to talk to “reporters.” Gabi vows to make him talk.
Hastening to his textile arts class, Sal joins the knitting group, only to note an unusual silence. Noticing Gladis touching her “mal de ojo” pendant, which Sal recognizes due to his Cuban heritage, he learns that the students suspect Sal of performing “black magic” because of the chicken incident.
In Health and Wellness, although Sal planned to cheat on the rock climbing wall, he alters his plans to avoid the “brujo” label. Sal and another student have a playful exchange as a result that involves Sal flashing a middle finger, but Sal avoids trouble with Mr. Lynott, who is still embarrassed by his missteps regarding how he discussed Sal’s diabetes at the start of class.
Sal’s last class is intermediate Theater Workshop. It’s “show-and-tell” day, on which all the students perform their strongest acts. Sal asks to go first, but the teacher, Mrs. Waked, convinces him to go last—save the best for last. The performers, who have varied talents, are all impressive, but Sal gets nervous once Gabi’s turn arrives. Gabi challenges the students to prove their acting skills by attempting to fool her advanced lie detector, which can distinguish whether someone is using their memory or their imagination. Though Sal is the only one who doesn’t throw his hand up, Gabi calls on him.
Key to the tone of Sal and Gabi Break the Universe is Culeco Academy of the Arts, a fictional middle-school magnet program in Miami, Florida. With this setting, Carlos Hernandez departs from the standard trope in middle-grade fiction of adults as antagonists. In particular, in middle-grade fiction, adults typically pose significant challenges for young protagonists. Adults often create conflicts, whether as outright villains or as figures opposing the protagonists’ goals of freedom and adventure in favor of safety and order. In contrast, in this academy and the world surrounding it, adults are not the adversaries of the protagonists but supportive sidekicks. Culeco Academy stands out as a well-funded institution with dedicated teachers and administrators. It fosters an environment where adults actively respect and listen to students, taking responsibility for their failures and working to rectify them.
The theme of The Foundations of Friendship is evident in the first scene that brings together the novel’s main characters. This scene unfolds like many opening scenes in the genre, with the protagonist and narrator, Sal, finding himself in the principal’s office after confronting Yasmany, a bully. However, at this point, the narrative takes a distinctive turn from the norm. First, when Principal Torres questions Sal about his third consecutive visit in three days, Sal responds boldly, calling out the injustice of blaming him for these incidents: in fact, he was in the office “[b]ecause the students and faculty of Culeco have a lot to learn about how to make school safe for diabetics” (17). His response does not lead to immediate chastisement. Instead, Principal Torres acknowledges the issue, apologizes, and promptly lays out steps to address the oversight. This initial interaction sets the tone for a story that showcases how schools should be, shifting the emphasis toward the young characters’ emotional growth. Second, rather than delighting in his bully receiving just punishment, Sal shows compassion, stepping in to support Gabi’s plea for leniency. This small show of kindness is the first brick laid in the development of the three students’ new relationships.
These chapters also start to hint at The Implications of the Multiverse by emphasizing the humanity of each character, especially the adults. A major lesson of the novel is that all humans make mistakes, even adults, and those mistakes have consequences that can ripple out; it’s therefore important at all ages to address those mistakes openly and with emotional honesty. The adult characters in these chapters, in addition to demonstrating that behavior themselves, encourage the younger characters toward this realization. Principal Torres, for example, spent a year mentoring Yasmany to improve his behavior. She also allows Gabi to step into her private meeting with Sal and Yasmany so Gabi can serve as Yasmany’s attorney, illustrating Principal Torres’s respect for students who advocate for others. Yasmany struggles to articulate his feelings, particularly when those feelings are not related to anger. Allowing Gabi to speak for Yasmany allows the boy fair representation, particularly when opposing Sal, who is exceptionally quick-witted.
The narrative consistently presents excellent teaching examples as well. Sal’s Textile Arts teacher, Dr. Doctorpants, embraces a unique and engaging teaching style and wears his handmade costumes daily as an example. Mrs. Waked, Sal’s Intermediate Theater Workshop teacher, believes her students are geniuses and strives to empower them without getting in their way. Even Mr. Lynott, the gym teacher, adjusts his behavior after learning about Sal’s diabetes, demonstrating genuine concern. The school as a whole strives to foster student autonomy. On the one hand, that means the students tend to be independent and strong willed, taking charge of their own narrative; on the other hand, it also means the students must take responsibility for their actions.
Despite this backdrop of supportive adults and well-funded academics, Culeco has many imperfections. Sal faces bullying, insults, and ostracization, portraying the school’s realistic challenges. After the chicken incident, Culeco’s other students press against walls to avoid coming close to Sal. No one talks to him in class; some call him a “brujo.” No adult seems to notice this ostracization, let alone intervene. The adults demonstrate flaws, such as Principal Torres overlooking Sal’s limited lunchtime, contributing to the story’s authenticity. She sends him out of her office with only 10 minutes left for lunch. Principal Torres overlooking Sal’s need to eat is another marker of her lack of understanding about Sal’s unique challenges. Similarly, Mr. Lynott’s initial effort to support Sal is clumsy, based on limiting Sal’s access to student activities.
Additionally, it is concerning that all the adults expect Sal to be in complete control of his diabetes without their intervention. There is no mention of a school nurse who should be helping Sal manage his diabetes. Although part of this may be to illustrate the freedom offered by Culeco Academy, Sal is still young, and diabetes is challenging for even adults to manage. He should have far more support at the school to manage his diabetes than he does. That said, the adults genuinely try their best, and the students’ prejudices seem surmountable. The independence that Sal enjoys also plays into the theme of The Importance of Dealing with Grief, emphasizing the maturity necessary to manage and process one’s emotions. Overall, these chapters show Sal navigating the challenges of gaining control over his supernatural powers in an imperfect yet supportive setting.
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