Guerra’s novel is a grand if bittersweet valentine to Cuba, and maybe her mother.
What begins as one fictional Cuban woman’s examination of her personal life expands into a broader, deeper consideration of what it means to be Cuban, both for those who left since Castro took power and for those who stayed.
Not coincidentally, Nadia, the protagonist, shares the author’s last name, and, as in Guerra's earlier coming-of-age novel, Everybody Leaves (2012), the similarities between author and character feel purposeful: They're both diarists with careers in the arts, both have parents who were also artists in post-revolutionary Cuba. As the novel opens, Nadia is searching both psychologically and physically for her mother, who deserted Cuba in 1980, leaving behind her husband and 10-year-old daughter for reasons Nadia has never fully known. Thanks to a grant for artists, Nadia travels to Europe, where she receives contradictory information from her mother's former friends and lovers. Readers begin to see Nadia’s unnamed mother as a stand-in for Cuba: deeply flawed yet adored at her peak, now in failing health and living in Russia. Nadia decides to care for her mother and has her brought back to Havana, where she arrives with pages of writing related to a novel that was never published because it was deemed politically dangerous back in 1980—not unlike Guerra's mother Albis Torres' own poetry. Nadia’s endlessly solipsistic observations have been dominating the narration, but now the tone shifts to her mother’s cleareyed mini history lesson about the revolution via fragmented notes about her privileged girlhood in late 1950s Cuba, her adoring platonic relationship with Che, and her mentorship by historical figure Celia Sánchez, lovingly presented here as an altruistic saint, the most important woman in the revolution, and Fidel’s closest confidante. A third tonal shift occurs as Nadia reports on a visit to Miami, where exiles consider their reassembled version of Cuba more authentic than the Cuba where Nadia chooses to remain despite dramatic changes over the next decade.
Guerra’s novel is a grand if bittersweet valentine to Cuba, and maybe her mother.Pub Date: Aug. 3, 2021
ISBN: 978-0-06-299074-7
Page Count: 240
Publisher: HarperVia
Review Posted Online: May 18, 2021
Kirkus Reviews Issue: June 1, 2021
BOOK REVIEW
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
A vibrant tale of a remarkable woman.
Who was Shakespeare?
Move over, Earl of Oxford and Francis Bacon: There’s another contender for the true author of plays attributed to the bard of Stratford—Emilia Bassano, a clever, outspoken, educated woman who takes center stage in Picoult’s spirited novel. Of Italian heritage, from a family of court musicians, Emilia was a hidden Jew and the courtesan of a much older nobleman who vetted plays to be performed for Queen Elizabeth. She was well traveled—unlike Shakespeare, she visited Italy and Denmark, where, Picoult imagines, she may have met Rosencrantz and Guildenstern—and was familiar with court intrigue and English law. “Every gap in Shakespeare’s life or knowledge that has had to be explained away by scholars, she somehow fills,” Picoult writes. Encouraged by her lover, Emilia wrote plays and poetry, but 16th-century England was not ready for a female writer. Picoult interweaves Emilia’s story with that of her descendant Melina Green, an aspiring playwright, who encounters the same sexist barriers to making herself heard that Emilia faced. In alternating chapters, Picoult follows Melina’s frustrated efforts to get a play produced—a play about Emilia, who Melina is certain sold her work to Shakespeare. Melina’s play, By Any Other Name, “wasn’t meant to be a fiction; it was meant to be the resurrection of an erasure.” Picoult creates a richly detailed portrait of daily life in Elizabethan England, from sumptuous castles to seedy hovels. Melina’s story is less vivid: Where Emilia found support from the witty Christopher Marlowe, Melina has a fashion-loving gay roommate; where Emilia faces the ravages of repeated outbreaks of plague, for Melina, Covid-19 occurs largely offstage; where Emilia has a passionate affair with the adoring Earl of Southampton, Melina’s lover is an awkward New York Times theater critic. It’s Emilia’s story, and Picoult lovingly brings her to life.
A vibrant tale of a remarkable woman.Pub Date: Aug. 20, 2024
ISBN: 9780593497210
Page Count: 544
Publisher: Ballantine
Review Posted Online: June 15, 2024
Kirkus Reviews Issue: July 15, 2024
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
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