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Peel My Love Like an Onion: A Novel, by Ana Castillo
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The seductive world of flamenco forms the backdrop for a classic tale of independence found, lost, and reclaimed. Like Bizet's legendary gypsy, Carmen "La Coja" (The Cripple) Santos is hilarious, passionate, triumphant, and mesmerizing. A renowned flamenco dancer in Chicago despite the legacy of childhood polio, Carmen has long enjoyed an affair with Agustín, the married director of her troupe--a romance that's now growing stale. When she begins a new, passionate liaison with Manolo, Agustín's grandson and a dancer of natural genius, an angry rivalry is sparked. Carmen finally makes her way back to happiness in this funny, fiery story that's equal parts soap opera, tragicomedy, and rhapsody.
- Sales Rank: #127162 in Books
- Brand: Anchor
- Published on: 2000-09-12
- Released on: 2000-09-12
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .56" w x 5.20" l, .61 pounds
- Binding: Paperback
- 213 pages
- Great product!
Amazon.com Review
Ana Castillo's voice is one of self-confident, hypnotic melancholy. Peel My Love Like an Onion, her fifth book, often reads like a diary rather than a novel--full of dashed-off midnight eloquence but unformed. It's the story of Carmen Santos, a flamenco dancer whose right leg is shriveled from polio. Her family moved from Mexico to Chicago before she was born: "My first language was Spanish but I am not really Mexican. I guess I am Chicago-Mexican." Castillo sees the immigrant experience as a minefield of ironies. Carmen works at the Domino's in the airport as a way of being a productive American, thus gaining her father's respect. One morning on a "power walk" she realizes that the shoes she is wearing may have been made in a sweatshop by some distant relative from "somewhere... very foreign, like seaweed-and-black-fungus-in-French-Vietnamese-soup foreign."
As the book moves back and forth between Carmen's dreams of economic and emotional freedom and her erotic life (in which passion often feels as much like a trap as a release), Castillo's fluid style often lapses into carelessness. And there is a blurred quality to many of the images, like photographs taken from a moving car. Carmen's story is most engaging when she experiences isolated moments of independence: flamenco dancing, for instance, for the customers at a hair salon where she is working, dragging her bad leg around in front of the ladies under the hair dryers. The scene--a moment to relish--is almost heroic in its defiance of the exhausted world. --Emily White
From Publishers Weekly
Confirming her reputation as a talented writer, Castillo's (So Far from God) sardonic and seductive novel flowers at the exotic intersection of Chicago's flamenco, Gypsy and Chicano communities, where Carmen Santos, a defiant ex-flamenco dancer, struggles with the end of her career and the dissolution of a passionate love triangle. Left with a crippled leg after a childhood bout of polio, Carmen has always been defined by those around herAher parents, the school for the disabled she attended, her lovers and her public, who know her as "La Coja" (the cripple). It is only when she is dancing that she is sure of her identity, and as polio belatedly reasserts itself in her 40-year-old body, she feels she is losing the core of her existence. Then, like her legs, her two Gypsy loversAAgust!n, the married leader of her troupe, and Manolo, a fiery young dancer and Agust!n's godsonAabandon her. After 17 years as a dancer and a sensual being, Carmen is reduced to working in a sweatshop, at an airport pizza joint and as a corn-on-the-cob peddler. Most difficult of all, she is forced to move back into the family home, where her crotchety mother erodes her spirit. Dependent, stubborn, naive and heartbreakingly vulnerable, Carmen is a realistically flawed and lively survivor. In the person of her indomitable protagonist, Castillo's trademark feminist and border-crossing concerns acquire a new depth and complexity. Her writing has matured, and she keeps her own voice unobtrusive, stitching a seamless narrative. The pace here does not match the breakneck velocity of her previous works, nor does the novel strain for elaborate effects or call upon magic realism, yet its verve is unflinching. As careful an achievement as the patient peeling of an onion, this compulsively readable narrative should delight, and expand, Castillo's audience. Agent, Susan Bergholz. Author tour. (Sept.) FYI: Castillo's first and second novels, The Mixquiahuala Letters and Sapogonia, will be reissued in trade paperback by Anchor.
Copyright 1999 Reed Business Information, Inc.
From Library Journal
Carmen "La Coja" ("The Cripple") is a flamenco dancer despite her bad leg (she had polio as a child). This is not, however, a sentimental story about her triumph over tragedy, though in an inspired early passage we do see her struggle to learn to dance. The tale spun by Castillo (So Far from God) instead focuses on an older Carmen, past her prime and piecing herself together after a tangle of romances has unraveled. Peel her love like an onion, and you get layer after layer of confusion and betrayal: just as her long affair with August!n, the double-dealing manager of her troupe, begins to stall, she falls passionately in love with August!n's "godson," the talented and charismatic Manolo. Yes, Manolo loves her ("I will never be alone as long as I love you'), but that doesn't stop him from heading off to Spain with August!n. Carmen feels pretty wind-whipped by his desertion but keeps standingAthroughout, this tough little dancer never really hits the groundAand in the end she finds her voice, literally: she can't dance any more (except for herself), but she has a new recording contract. Lyrical and sharply told, though this tale has been heard before: of course Carmen will triumph, and what makes Manolo so special, anyway? For most fiction collections.ABarbara Hoffert, "Library Journal"
Copyright 1999 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
a hispanic love story with a twist
By Mary Ann Van Car
I like the author's run of descriptive language which almost feels like stream of consciousness at some points...however I expected more at the end...it was too easy, too predictable...
2 of 2 people found the following review helpful.
transparency of ethnic belonging
By A Customer
This novel is a product of a mixed and multicultural writer. I'm European and for our culture American multiculturalism is becoming a model for openness, but at the same tgime for closure. Carmen could be no one and everyone.She is a Chicago Mexican and a Gypsy. Her homelands are Central America and Eastern and Mediterranean Europe. Historically, these two geographical places share a common culture based on spirituality and music, but also on strict patriarchal principles embued with severe moral issues. Flamenco is a way-out, rejection of consumist and materialist society. Carmen lives a fake romantic existence and dreams of the sea, Spain, other beautiful places her lovers have described her. When she travels to Germany there is only tears and disappointment with their own history based on wars. The novel could be discussed in thousands of aspects, but here is neither place nor time. I was wondering about postmodern elements in the novel, as I'm writing my final thesis about this. If someone could help me? I hope to meet Ana Castillo in Europe-actually, in Italy!
2 of 3 people found the following review helpful.
A Healing Book.
By A Customer
My son gave me this book last year. Actually, he gave me the Spanish version, Carmen la Coja, which he picked up after spending a year in Spain and wanting to keep up with his Spanish. He is second generation madrileno growing up in New York. Our other connection with this book is that I suffered from polio as a child in Madrid. My parents moved to the United States when I recovered with my bout of illness in hopes of my getting better treatment here. This is not to review my life but Carmen la Coja's--brave, fierce and in touch (finally) with herself, with no advantages whatsoever. As I read, I asked myself, What would I have done if I had had such an insensitive mother as Carmen? What would I have done if I had no way to make my living but by my own wits and with the illness I personally knew and understood? Despite the many adjustments I had to make here in the States, I came to understand how fortunate I was all along. It is a courageous testimony to woman's strength. I am in the medical profession and I have recommended this book to many patients and colleagues. They have all thanked me for it later.
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