Esperanza envies the kids who get to eat lunch in the canteen at school instead of having to go home for lunch. She pesters her mother to write her a note giving her permission to eat at the canteen and to pack her a lunch. Her mother is reluctant at first, but after it becomes clear that none of the other kids will need bag lunches, she writes a note for Esperanza and packs her a sandwich, one made of rice since the family cannot afford lunch meats. At school, Sister Superior does not accept Esperanza’s mother’s note, saying that Esperanza lives too close to school and must go home to eat. The Sister points to some rundown tenements up the street, accusing Esperanza of living there. Esperanza is embarrassed and nods her head, even though the buildings the nun points to are much more rundown than her own house. She gets to eat at the canteen that day but is too upset to enjoy the experience.

For Esperanza’s cousin’s baptism, Esperanza’s mother buys her a beautiful new outfit but forgets to buy the shoes that go with it. At the party after the baptism, Esperanza refuses to dance because she is embarrassed by her old brown saddle shoes. Her Uncle Nacho insists she is beautiful, and the two of them do a fancy new dance while everyone watches and applauds. Esperanza is proud that one particular boy watches her dance.

Esperanza, Nenny, Lucy, and Rachel jump rope and discuss the meaning of the hips they are beginning to develop. Rachel says that hips are good for propping a baby on while cooking, but Esperanza thinks this idea is unimaginative. Lucy says that hips are for dancing, while Nenny, who is too young to understand what it’s like to develop hips, says that without them, you might turn into a man. Esperanza defends Nenny, then tries to give a scientific explanation about the purpose of hips that she gleaned from Alicia. Esperanza begins to believe hips have a musical quality. Rachel, Lucy, and Esperanza make up original chants about hips while dancing and jumping rope. Nenny repeats a rhyme she already knows, embarrassing Esperanza with her childishness.

Esperanza’s family wants her to get a summer job. She has been spending her days playing in the street and plans to begin looking sometime in the near future. One day, when she comes home after she lets a boy push her into the water from the open fire hydrant, she discovers that her aunt has found her a job matching pictures with negatives at the local photofinishing store. Esperanza just has to show up and lie about her age. The actual work is easy, but the social aspects of the job are difficult for Esperanza. She doesn’t know whether she can sit down. She eats her lunch in the bathroom and takes her break in the coatroom. In the afternoon, a man Esperanza describes as older and Oriental befriends her. Esperanza feels more comfortable now that she has someone to eat lunch with. He asks her to give him a kiss because it’s his birthday, but when Esperanza leans over to kiss him on the cheek he grabs her face and kisses her hard on the lips for a long time.

Esperanza experiences shame and embarrassment so acutely in these sections that the feelings nearly paralyze her. When she wants to eat at school, the nun makes her feel ashamed about where she lives—the second time a nun has demeaned Esperanza this way. In “Chanclas,” which means “sandal,” Esperanza’s immense shame at her clunky school shoes keeps her from enjoying the party. When Esperanza has her first job, she is embarrassed because she doesn’t know whether to stand up or sit down, and her shame leads her to scarf down her lunch in the bathroom. In all three of these situations, Esperanza’s shame is largely self-imposed. People do not try to make Esperanza feel bad. Even in her experience with the nun, who does try to embarrass her, Esperanza ultimately exiles herself out of shame once she gets to the canteen. These sections suggest that, to succeed, Esperanza must overcome not only the obstacles society sets up, but also the stumbling block of her own feelings of shame.

“A Rice Sandwich” and “Hips” reveal the often vast differences between spoken and written language, or, in other words, public and private voices. In “A Rice Sandwich,” we can hear Esperanza’s mother’s written voice in her note to the nun. Esperanza is ashamed of the note, which is not written convincingly enough to make the nun follow its instructions. The writing is stilted and childish, much different from the dynamic style in which Esperanza writes, and the voice of Esperanza’s mother that we hear in the writing differs from other playful neighborhood voices. Esperanza has her own shortcomings in the voice she shares with others. The voice Esperanza uses with her friends is neither as lyrical nor as interesting as her written voice. In “Hips,” Esperanza expresses greater interest in the scientific explanation for hips than in the more creative, everyday uses her friends suggest, just as in “And Some More” Esperanza concerns herself with the actual names for clouds.

In these four sections, Esperanza begins to welcome her emerging sexual identity, but a forced kiss makes her anxious and wary of it. In “Chanclas,” she is proud that one particular boy watches her dance. In “Hips,” Esperanza’s is the only jump-roping rhyme that explicitly expresses a desire for hips. In the beginning of “The First Job,” Esperanza comes home wet because she has let a boy push her into the water flowing out of an open fire hydrant, the first sign of any outright flirting. However, this seemingly healthy and normal course of sexual maturity derails at the end of that section, when Esperanza’s friendly peck on the cheek turns into a violent kiss on the mouth that is forced on her by an older man. Here, sexuality brings about violence, while in the previous two sections it was celebrated with dances and poetry.