“Extraordinary.” –Stephen King “This book is not simply the great American novel; it’s the great novel of las Americas. It’s the great world novel! This is the international story of our times. Masterful.” –Sandra Cisneros También de este lado hay sueños. On this side, too, there are dreams. Lydia Quixano Pérez lives in the Mexican city of Acapulco. She runs a bookstore. She has a son, Luca, … Quixano Pérez lives in the Mexican city of Acapulco. She runs a bookstore. She has a son, Luca, the love of her life, and a wonderful husband who is a journalist. And while there are cracks beginning to show in Acapulco because of the drug cartels, her life is, by and large, fairly comfortable.
Even though she knows they’ll never sell, Lydia stocks some of her all-time favorite books in her store. And then one day a man enters the shop to browse and comes up to the register with a few books he would like to buy–two of them her favorites. Javier is erudite. He is charming. And, unbeknownst to Lydia, he is the jefe of the newest drug cartel that has gruesomely taken over the city. When Lydia’s husband’s tell-all profile of Javier is published, none of their lives will ever be the same.
Forced to flee, Lydia and eight-year-old Luca soon find themselves miles and worlds away from their comfortable middle-class existence. Instantly transformed into migrants, Lydia and Luca ride la bestia–trains that make their way north toward the United States, which is the only place Javier’s reach doesn’t extend. As they join the countless people trying to reach el norte, Lydia soon sees that everyone is running from something. But what exactly are they running to?
American Dirt will leave readers utterly changed. It is a literary achievement filled with poignancy, drama, and humanity on every page. It is one of the most important books for our times.
Already being hailed as “a Grapes of Wrath for our times” and “a new American classic,” Jeanine Cummins’s American Dirt is a rare exploration into the inner hearts of people willing to sacrifice everything for a glimmer of hope.
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A harrowing read of escape. I was engrossed with Lydia & Luca’s journey to reach “American Dirt”. I read the 400 pages in one week which is a sign that the story kept me interested, wanting to know if they and their two friends, Soledad & Rebeca made it. I found some of the detail (back stories) slightly repetitive, but this is a minor criticism. The writing was first class and I will seek out this author again. In relation to “Cultural Appropriation” here’s a similar situation in Australia.
Lionel Shriver American author knew she was going to annoy people. “Inviting a renowned iconoclast to speak about ‘community and belonging’ is like expecting a great white shark to balance a beach ball on its nose,” she said. She then used her keynote speech at the Brisbane writers’ festival to tear into the argument that most particularly white writers – are guilty of “cultural appropriation” by writing from the point of view of characters from other cultural backgrounds.
Shriver took aim at the suggestion that an author should not “use” a character they created for the service of a plot they imagined. “Of course he’s using them for his plot!” she said. “How could he not? They are his characters, to be manipulated at his whim, to fulfil whatever purpose he cares to put them to.
“What boundaries around our own lives are we mandated to remain within?” asked Shriver. “I would argue that any story you can make yours is yours to tell, and trying to push the boundaries of the author’s personal experience is part of a fiction writer’s job.”
While it seems obvious that writers of fiction will endeavour to write from perspectives that are not their own, many writers of colour argue there is a direct relationship between the difficulties they face trying to make headway in the literary industry and the success of white writers who depict people of colour in their fiction and who go on to build a successful literary career off that. The difference between cultural representation and cultural appropriation, by this logic, lies in the white writer telling stories (and therefore taking publishing opportunities) that would be better suited to a writer of colour.
Some writers argue that it works in reverse, too. In an event for the Guardian in November last year, Booker Prize-winning author Marlon James said publishers too often “pander to the white woman” (the majority of the book-buying public), causing writers of colour to do the same. In a Facebook post responding to novelist Claire Vaye Watkins’ widely circulated essay On Pandering, James said that the kind of story favoured by publishers and awards committees – “bored suburban white woman in the middle of ennui experiences keenly observed epiphany” – pushed writers of colour into literary conformity for fear of losing out on a book deal.
Speaking to Guardian Australia, Indigenous Australian author and Miles Franklin winner Kim Scott says it’s crucial to listen to the voices of marginalised people who may not be given enough space to tell their own stories. “Stories are offerings; they’re about opening up interior worlds in the interests of expanding the shared world and the shared sense of community. So if there’s many voices saying we need more of ‘us’ speaking ‘our’ stories, from wherever they’re saying that, then that needs to be listened to.”
If there’s many voices saying we need more of ‘us’ speaking ‘our’ stories, then that needs to be listened to. Kim Scott, author Omar Musa, the Malaysian-Australian poet, rapper and novelist, told Guardian Australia: “There is a history of stereotypes being perpetuated by white writers and very, very reductive narratives. People are just generally a lot more wary of that.”
Musa says white writers should read, support and promote the work of writers of colour before attempting to encroach on that space themselves, if that is something they want to do. But he admits he finds the issue difficult; the suggestion that writers shouldn’t move outside the boundaries of their own experiences comes into direct conflict with what he sees as the purpose of fiction: to empathise with and understand other people’s lives.
Very well written
I think every one should read this book, it’s a page turny
Good read
If you are looking for a book to relax with; is not the one. If you are looking for a book to open your eyes; don’t miss this one.
A great story.
Jeanine Cummins does a spectacular job of opening with action, then maintaining the suspense throughout the entire novel. If you’re a fan of thrillers, this will keep you turning pages as well as anything I’ve ever read.
The controversies surrounding this book intrigued me, and I was not disappointed with the story. I journeyed along with Lydia and Luca after they experienced the most horrific event in their lives, moving along the migrant trail with them. The characters were deeply developed – but more than that, the setting and scenery became a character in itself. I highly recommend this book.
After reading this book I will NEVER feel the same about “illegal” emigration. Jeanine Cummings pulled up the blinds, threw off the curtains and held my face up to the window on Lydia’s world and by the end, held up a mirror to my face to really challenge my own beliefs. I am changed and grateful for it.
5 Stars Riveting
Summary
American Dirt is a crime thriller and #1 New York Times bestselling novel by Jeanine Cummins. The book has been featured on Oprah’s Book Club and has received a lot of backlash, making it one of the most controversial books since then. The story revolves around Lydia and Luca, a mother and son whose 16 members of their family were shot dead by a cartel. They have been on the run ever since, surviving dangerous encounters throughout their long journey from Mexico to America, where they want to start a new life.
Review
The negative reviews that this book has been receiving are very good examples of crab mentality. Instead of celebrating the success of a well-written Hispanic American literary piece, haters are blinded by the fact that a white author got recognized instead of the many Mexican authors who are struggling to get their books out into the world. What a sad world it is, that the effort and success of a person can be someone’s excuse to voice out their frustrations in life. It’s okay to have frustrations, nobody’s life is perfect. But to blame it on an American author and her book because she wrote something of Hispanic theme is utterly ridiculous. That’s like telling fantasy writers never to write about wolves, banshees, or mythical creatures because there’s not an ounce of folklore in their blood.
For me, this book is one of my ultimate favorites. Not because of the controversy surrounding it, but because it has all the qualities of a great book. It was gripping, easy to read, has great world building, well-developed and relatable characters, and a satisfying ending. Hence, I’m giving it 5 out of 5 stars. I highly recommend it to open-minded readers who can truly identify what a great book is, not based from who wrote it, but rather, how it was written.
Great perspective on immigration (legal/illegal).
This book has great characters and the author develops them well. I really enjoyed this book even though I probably wouldn’t have chosen it for myself. It was a book club pick.
Running for their lives
American Dirt is a page turner I couldn’t read fast enough. It has opened my eyes to the struggle’s migrants face trying to escape their own horror and the near impossible-ness of entering the US. The plot is important, the characters varied, the violence carries over the pages. The writing is powerful. In order to save herself and her young son, Lydia has no other choice but to flee. The cartel is after them. They won’t live if they stay. The journey the characters take stay with you, their struggles, their bravery, their fear, and their hope. It’s a tense on-the-road journey to escape the drug cartel.
This was a page turner from start to finish. Whenever I had to put it down to do something else, I was eager to get back to it to learn what was coming next. I found myself feeling the stress, anxiety and fear of the characters in the book.
Once you start reading you won’t put it down.
This book landed in pre-COVID-19 January with huge controversy involving a debate over cultural appropriation, and the author’s book tour ended up canceled (though it probably would have suffered the same fate in a few weeks anyway). Nevertheless, I found its tale of a Mexican woman and her son fleeing north to escape the cartel chief who slaughtered her entire family compelling and eye-opening. I couldn’t put it down, despite the brutal situations the main character endures.
I don’t think I’ll ever forget this novel. Highly recommend.
I decided to read this book because of the huge controversy it stirred up when first released. The author also supposedly has ties to this area, and was featured at a local book festival.
After finishing the book, I Googled a map of Mexico to trace their journey from Acapulco to Tuscon. I was astounded. I read this book with my breath held in several places. In addition to the horror, the danger and violence, I was struck by the generosity of the Mexican citizens towards the migrants. Most of all, I was touched by the overwhelming feelings of perseverance and HOPE.
I don’t know why I did not want to read this book! A friend read it for her book group and said it was a really good book so I thought I will get it and give it a try. WOW, what a great book! I would give it more then 5 stars if I could. It’s a story that we hear about all the time, migrants trying to cross into the USA. This is the story of a woman trying to save herself and her son. Well written and these people will stay with me for a long time. (I know its a work of fiction, but all fiction has truth in it).
This was an interesting look at the migration of Lydia Quixano Pérez. After her whole family is murdered she takes her son and tries to get to America. It was an interesting story but fell flat at times and the ending was lackluster.
All the kudos that this book has received are well-earned. Breathtaking, heartbreaking, and utterly unforgettable.