Garcia's writing is marked by the pillars of wizardly realism. While unmistakably local in the realities that it portrays, it is also planetary in her appeal to the great metaphysical questions that all serviceman - regardless of their culture or their time and moment in hi humbug come up against. Garcia asks us to consider the temperament of Cuba and Cubaness and socialism and the Spanish language and island life, while also ask us to consider the position that none of these gainsay the fact that all people are concerned with the large questions of what is the nature of time, how much should fate as opposed to individual existence-class concern us, and what may be the meaning and purpose of piece existence.
Like other writers who dip their pen into the well of sorcerous realism, Garcia's work is a blend of myth, fantasy, symbolism, erudition, popular culture and irony.
The story itself is in some ways simpler than the ones often told through this literary style. Garcia's book tells the a matriarch Celia, who equipped with binoculars, is honored to fight back the north coast of Cuba. She performs this duty dressed in her lift out housedress and drop pearl earrings, not seemingly the most divert dress for a socialist worker-hero, but Celia believes with a faith that is both deep and yet not uncomplicated in the revolution. She believes that it has helped the
funny reminiscences and the more than lyrical, wearied recollections of her grandmother, Ms. Garcia stands revealed in this novel as a magical new-fangled writer. It is remarkable that this is a first novel; it is even more remarkable that Ms. Garcia achieves in her debut what legion(predicate) more experience writers never even attempt. She has tackled the large historical theme of political and spiritual exile in this book, using the much ill-treat form of the family epic, and she has produced a work that possesses both the intimacy of a Chekhov story and the hallucinatory magic of a novel by Gabriel Garcia Marquez.
Though one is dazzled by the book's small fireworks of imagery, though one stops to marvel at some of the godforsaken events that bloom on its pages, the reader is never distracted from the captivating story of its extraordinary heroines and the passions that bind and
The review in this quality has done more than simply praise Garcia work's but has helped score it within the tradition of magical realism and has helped explain why Garcia's choice of this particular literary style so suddenly suits the story that she has to tell.
One can only hope that she entrust not do so. Both her particular style and the bigger school of magical realism seem the only capable voice in which to tell the complex and ambiguous and ever-shifting stories of the women who come through in Cuba look toward the United States and the Cuban-Americans living in Florida looking back across the sea to a home that many of them have only known through the stories of other exiles.
Celia's youngest child, Felicia, all the same lives in Cuba with her three children, but her delusions and visions further separate the family. Lourdes believes that Celia is otiose to see the truth about the world, is blinded to the nature of what has happened to the barefaced beginnings of the revolution. But Garcia makes it clear to us that Celia is not deluded; she merely sees the world from a perspective that is more firmly rooted in history tha
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