By Oscar Hijuelos
"Savor the mysterious energy of a master's pentimento." --Los Angeles Times
"It takes loads of nerve and ability 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 wonderful soul of Beautiful María of My Soul. Hijuelos has created and taken to existence liked characters, a heart-stealing heroine and Havana in the course of an epoch of fixing fate." --Amy Tan, bestselling writer of The pleasure good fortune Club
In Beautiful María of My Soul, Oscar Hijuelos returns to the passionate story he begun 20 years in the past in The Mambo Kings Play Songs of Love.
María is the nice Cuban attractiveness who stole musician Nestor Castillo's center and broke it, inspiring him to write down the Mambo Kings' largest hit, "Beautiful María of My Soul.'" Now in her sixties and dwelling as an exile in Miami, María is still a attractiveness, nonetheless in a position 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 point of view 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 proficient author.
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Additional info for Beautiful Maria of My Soul
Like disaster. — readers see that parenthetical cure for the only true disaster. " designed to deflect attention from the self, the parenthetical injunction maps a course for only one. The poet knows that only knowledge, not wisdom, can be shared. Like the child in "Sestina," the adult must also make something of absence. Her reward is the knowledge with which to write. " The formal constraints of the sestina and villanelle freed Bishop to work with personal material without inducing the maudlin selfdespairing tone she despised.
In the almost processional resignation of "I shan't have lied. It's evident" rests the captive wisdom of the poem. ) like disaster. — readers see that parenthetical cure for the only true disaster. " designed to deflect attention from the self, the parenthetical injunction maps a course for only one. The poet knows that only knowledge, not wisdom, can be shared. Like the child in "Sestina," the adult must also make something of absence. Her reward is the knowledge with which to write. " The formal constraints of the sestina and villanelle freed Bishop to work with personal material without inducing the maudlin selfdespairing tone she despised.
To preserve the sensations around her through experience, the poet must follow the lines and life of the place. The poem that will end in a babble of sound begins in the clarity of language. The poet's task is to name this world as if for the first time: The state with the prettiest name, the state that floats in brackish water, held together by mangrove roots that bear while living oysters in clusters, and when dead strew white swamps with skeletons, dotted as if bombarded, with green hummocks like ancient cannon-balls sprouting grass.