Antonio's next dream suggests a similar conflict, yet the emergence of Antonio taking control of his own destiny. In this dream, he encounters his three brothers finally home from the war and speaks to them about the future. First, he reminds them that "We must all gather around our father," yet later, he takes on a more religious role by speaking "to the presence of the river [so that] it allowed my brothers to cross with their carpenter tools to build our castle on the hill" (28). While Antonio is still unsure at this point what he wants to become, he is at least starting to make his own decisions, even if they may represent his parents' wishes. Yet by actively defending his father, and then his mother, rather than passively waiting for his life to pass him by, Antonio is beginning to come into his own.
The dreams that follow often involve Antonio's brothers and decisions made by his part to either represent his mother or father's way of life. It's true that he frequently goes back and forth, but the activism of Antonio trying to pursue a future is a credibility to his emerging maturity. One of the later dreams he has after he sees the golden carp shows the beginning of a blending of the two distinct cultural identities for Antonio. Ultima, the character Antonio relates best to and learns the most from in the novel, comes to the little boy during a moment of family tension. She soothes him, reminding him that "the sweet water of the moon which falls as rain is the same water that gathers into rivers and flows to fill the seas" (126). In other words, the seemingly opposing cultures of his mother and father are inherently connected and maybe Antonio doesn't have to choose at all. At this point, Antonio is beginning to understand that it is up to his to formulate his own destiny and be who ever he wants to be.