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Names in George Washington Gómez are a motif that serve as a primary identifier of the cultural origins and social status of certain characters.
Tejano characters in the novel are often introduced using their first names, such as Feliciano, Guálinto, María, Carmen, and Maruca, or by nicknames, such as El Colorado (“The Colorful”) and La Gata (“The Cat”). Characters of higher degrees of respect are referred to with honorifics preceding their names, such as Don Feliciano, Don Onofre, and Don Santos for the men, and Doña Domitila and Doña Simonita for the women.
White characters, by contrast, are more often referred to by their surnames, such as MacDougal and MacHenry. Guálinto’s teachers’ surnames are given preceded by the traditionally Anglo marital honorific, such as Mr. Baggley, Miss Cornelia, Miss Huff, and Miss Barton. Miss Cornelia’s name is particularly noteworthy as “Cornelia” is more commonly a first name. This name play serves as a signal that Guálinto’s negative experience with her is a unique case compared to his more positive later experiences with his teachers.
Guálinto’s decision of what name to use for himself is tied to his struggle to define his own identity. His own given name, Guálinto, is entirely original and has no Mexican origin, but is instead a Hispanicized version of “Washington,” foreshadowing his bicultural life. As a young boy in school, at a time in his life when he feels closest to his Tejano identity, he attempts to give his traditional Mexican full name, but Miss Cornelia scolds him. At the end of the story, when he has taken on his “Spaniard” identity, he goes by George G. Gómez, altering the order of his Mexican name to better conform to white structures. This directly parallels María Elena, who is introduced to Guálinto by Miss Barton in Part 3, Chapter 13 as “Mary Helen.”
Guálinto’s namesake makes three relevant appearances in the novel. The first is in the conversation between Gumersindo and María when Guálinto is born, when Washington is chosen due to his “great man” status, even though Gumersindo is somewhat inaccurate as to Washington’s accomplishments. The second is when Guálinto encounters the image of Washington for the first time on his first day of school. The image disappoints him, standing in juxtaposition to the way his young mind imagined the mythology of the man taking shape. The third is in Guálinto’s rendition of the “cherry tree myth” to his classmates, which also serves as a first step towards his more advanced education, as it captures the eye of Miss Huff.
Each reference to Washington shows how the characters of the novel view him less as a man than as a demigod-like figure, inhuman in his simplicity and untainted by nuance. Washington as a symbol reinforces the idea that the histories provided by the white and upper-class institutions are flawed and often false, and that the choice to place such a high bar of accomplishment on Guálinto from such a young age was both foolish and unfair.
“Sanavabiche” is the novel’s Hispanicized version of the English curse “son of a bitch,” and it is used exclusively by characters who identify as Tejano. It is often used to reference characters who have done some great wrong but is also often used to refer to all “Gringos” as a whole or individually.
At the end of the novel, when Guálinto leaves the committee meeting at La Casita Mexicana, abandoning his childhood friends and his last chance to embrace his Tejano identity, a betrayed Elodia hurls the curse phrase at him as he walks out the door. This final insult symbolizes Guálinto’s discarding his Mexican heritage, as it concordantly serves to both indict Guálinto for his betrayal and brand him at last as no better than a “Gringo.”
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