In “The No-Guitar Blues,” Gary Soto creates a morality tale that explores class divisions, adhering to one’s values, and how cultural diversity factors into the American dream. By naming his protagonist Fausto, he draws on classic Faust tales, setting up a story where the hero will be tempted to make a “deal with the devil”—i.e., act against his conscience. However, Soto subverts the myth by allowing Fausto to atone for his actions and achieve a happy ending through honesty and integrity. Since Soto is writing for young readers, this subversion shares the message that it’s okay to make mistakes if one owns up to them. No one is perfect, but one is rewarded for Following One’s Conscience.

In keeping with traditional morality tales, Fausto is also an “everyman” archetype, meant to represent humanity broadly. As such, he shares characteristics with typical American teens; he loves rock music and dreams of becoming a successful rock star, and he rebels against things he finds too childish like the Chipmunks Christmas album. His everyman status is deepened by the ways he attempts to earn money—mowing lawns and raking leaves, the sorts of neighborhood chores that are ubiquitous in American media.