Review:
American Book Award winner!"Energetic and darkly humorous memoirs about a childhood divided between Mexico and the United States. . . . The essential tone is of self-deprecating humor about the challenge of explaining a dual identity, a task he accomplishes with passion and understanding." —Library Journal"A candid personal statement, simple, warm, and at times outright moving . . . The book has insight, affords a happy offering of lyrical phrases and images, and yet manages to be a smooth and effortless read. Young readers of mixed background, searching for self-definition in environments that define them as 'other,' will likely find comforting company in these pages. But I suspect it will take mature readers to appreciate some historical and political comments, the pervasive but subtle sense of humor that accompanies the reflective hindsight, and above all, the simple beauty of the writing. . . . Highly recommended." —Multicultural Review"Urrea's staccato phrases build up to a vivid, often brutal image." —Publishers Weekly"A bruising, powerful memoir. . . . He cuts through the thicket of language and cultural contradictions, offering up both humorous looks at his life and troubling memories. . . . Urrea's honest personal account will trigger anyone's memories of growing up where culture, ethnic identity and language clash. In today's America, that's nearly everyone." —San Diego Union Tribune"Urrea ia not simply a great writer and a wonderful storyteller; he is completely enamored with words and language." —Booklist"Lyrical and often painfully funny snapshots of a family damaged as much by alcohol and poverty as by the push and pull of cultures in conflict." —Dallas Morning News"Nobody's Son is an engaging reflection of life, conflict and spirit. It shows how Urrea applies lessons learned to his own development in his continued search for self." —Rocky Mountain News"Colorful narratives of family history, boyhood vignettes and social commentary that are at once funny, sad, tough and tender." —Arizona Republic"The cross-cultural conflicts of Urrea's youth are grist for his literary mill, and he writes about them in a compelling, vivid style laced with self-deprecating humor. His love of the English language—his second language—is as obvious as his mastery of it." —Christian Century
From Publishers Weekly:
Urrea's elegant, painful memoir completes the poet/novelist's Border Trilogy, following Across the Wire and By the Lake of Sleeping Children. The son of an Anglo-American mother and a Mexican father, Urrea muses on the frustrations and logical fallacies of anti-Mexican racism as he traces the often-forgotten multicultural origins of Anglo-American culture and language. Particularly moving is his account of his mother's horrifying experiences in the Red Cross during WWII. After being seriously wounded and witnessing the horrors of Buchenwald, she took refuge in San Francisco, where she met Urrea's father, the then blonde-haired, blue-eyed top security man to the Mexican president. By the time Urrea was born in 1955, though, the family was barely making ends meet in Tijuana, where they stayed until Urrea was three. In meandering, discursive portraits, Urrea chronicles his growth, from childhood in San Diego to a cross-country trip in writer Edward Abbey's car, during which he reminisces about the betrayal he felt discovering the anti-Mexican-immigrant sentiments of his favorite writer. Over time, Urrea's mother rejects her son's Mexican origins, even after he begins teaching at Harvard, declaring, "You are not a Mexican! Why can't you be called Louis instead of Luis?" Urrea's interests are not only in the personal but include, for example, the etymology of racist slang: Mexicans came to be called "greasers" because they had been the only people with the skills to grease the wheel axles of covered wagons traveling west; "gringos" because of "Green Grow the Lilacs," a favorite of American soldiers during the Mexican-American War. This is not, however, just a book about race. In fact, it's just as much about writing, and at its best Urrea's staccato phrases build up to a vivid, often brutal image.
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