By Oscar Hijuelos
"Savor the mysterious energy of a master's pentimento." --Los Angeles Times
"It takes loads of nerve and talent to drag off anything as wealthy as Beautiful MarÍa of My Soul, yet pull it off Hijuelos does." --Cleveland simple Dealer
"I fell immediately in love with the fantastic soul of Beautiful María of My Soul. Hijuelos has created and taken to lifestyles liked characters, a heart-stealing heroine and Havana in the course of an epoch of fixing fate." --Amy Tan, bestselling writer of The pleasure success Club
In Beautiful María of My Soul, Oscar Hijuelos returns to the passionate story he started 20 years in the past in The Mambo Kings Play Songs of Love.
María is the good Cuban attractiveness who stole musician Nestor Castillo's middle and broke it, inspiring him to put in writing the Mambo Kings' largest hit, "Beautiful María of My Soul.'" Now in her sixties and residing as an exile in Miami, María is still a good looks, nonetheless able to turning heads. yet whereas she left Cuba many years in the past, she hasn't ever forgotten Nestor. As she thinks again to her days--and nights--in Havana, a wholly new viewpoint at the Mambo Kings tale unfolds. Beautiful María of My Soul is a beautiful act of reinvention, and one other modern vintage from a very gifted author.
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Additional resources for Beautiful Maria of My Soul
Shelley’s father is aptly named Battle Fairchild because he embodies the pugnacious ethic that Troy has copied right up to this bloody moment of conﬂict. Battle’s daughter hardly wants to consider that her true-born Deltan sire might be just a facsimile and not the self-begotten source, the model of all mastery at Shellmound. She ﬁnds it more reassuring to deny the series of reﬂections upon reﬂections that undermines any notion of patriarchal originality. Shelley thinks her way backward from a moment of bloodshed to its origins in copying cultural prototypes, but she then goes beyond recognizing southern role-playing to a gasping intuition of universal mimesis that is just as unconscious as Girard claims.
From pop culture to high culture—and even to the seemingly sublime forms of cultic practice—the South has cultivated models that perpetuate an ethos of violence. TV, movies, and music mediate violence indirectly, but Redﬁeld’s 1880 study recognized how a more immediate kind of modeling might foster southern violence. It observed that “boys imitate their elders, arm themselves for selfdefence or to resist so-called insults, and season themselves to deeds of violence” (160). Redﬁeld’s was a classic southern explanation.
The closeness of blood kindred in southern life meant that such mimetic desire might easily propagate itself at home and proliferate with the kind of rapidity that makes ﬁre and disease into Girardian images for the spread of violence (Violence 29 – 31). Family members might rally to protect one of their own, and entire clans might oppose each other for generations (McWhiney 160 – 62). Twain recorded precisely such an ongoing circulation of reciprocal antagonism when the Grangerfords battled the Shepherdsons, their violent and honor-bound doubles, in The Adventures of Huckleberry Finn.