Graciela Altamira is a Cuban woman who fled to New Jersey in order to protect her sons from Fidel Castro’s regime. She ends up working in a doll factory, where she finds two women from the village where she was born. Caridad and Imperio were never close friends with Graciela, but the three women have clung to the aura of familiarity by spending time with each other.

As Graciela begins to find her place in American society, Imperio and Caridad remember all the hometown scandals that Graciela was involved in. Now, they worry that she will follow the same patterns, which would cast them in a bad light, of course. They also reminisce about the circumstances in which they left Cuba.

Although many Cuban refugees left with hopes of some day returning, Graciela knows not to count on it. Instead, she seeks her inspiration from nightly telenovelas. She finds hope for her dreams within the dramas played out on her television. It has become a new cultural obsession, in which the impossible can happen. Much to Caridad and Imperio’s dismay, Graciela finds the courage to move forward, to indulge her talents, and to—just possibly—find love.

The story is told from the perspective of each woman. Fun-loving Graciela, reserved Caridad, and the seemingly cold-hearted Imperio each give voice to their experiences through chapters dedicated solely to their first-person points of view. This technique—one that is seeing more use in fiction—lends intimate depth to Graciela’s story. Every person is more than their perception of themselves, and the option to use a direct, first-person voice for Graciela’s peers demonstrates this in a near-seamless way.

While this novel is ultimately about Graciela’s journey to self-discovery, it also provides a surprisingly frank look into Cuban culture. The average American has no idea what life is like in Cuba, other than references to a ruthless dictator and illegal cigars. This book can open American eyes to what might prompt families to board boats under the cover of darkness. Nothing is as simple as it seems on the surface, whether it’s illegal flotillas of refugees, international custody battles, the economic impact of embargoes, and so on. In all our American “wisdom,” we sometimes forget to look beneath the surface to find the stories that matter. And whether we like it or not, stories like Graciela’s matter.

Reviewed by Christina Wantz Fixemer
7/7/2006

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