What is the advantage of reading from three different perspectives in Cristina Garcia’s Dreaming in Cuban?
Students who have read a section of a text and do not understand it should
Which sentence from Cristina Garcia’s Dreaming in Cuban is an example of magic realism?
My grandfather came running and said, “Celia, let the girl go. She belongs with Lourdes.”
Lourdes buys a round box of sticky dates and considers the centuries of fratricide converging on this street corner in Brooklyn. She ponders the transmigrations from the southern latitudes, the millions moving north.
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Lourdes considers herself lucky. Immigration has redefined her, and she is grateful. Unlike her husband, she welcomes her adopted language, its possibilities for reinvention. Lourdes relishes winter most of all—the cold scraping sounds on sidewalks and windshields, the ritual of scarves and gloves, hats and zip-in coat linings. Its layers protect her. She wants no part of Cuba, no part of its wretched carnival floats creaking with lies, no part of Cuba at all, which Lourdes claims never possessed her.
Which complex narrative structure is underutilized by Cristina Garcia in Dreaming in Cuban?
My father knew I understood more than I could say. He told me stories about Cuba after Columbus came. He said that the Spaniards wiped out more Indians with smallpox than with muskets.
I was only two years old when I left Cuba but I remember everything that’s happened to me since I was a baby, even word-for-word conversations. I was sitting in my grandmother’s lap, playing with her drop pearl earrings, when my mother told her we were leaving the country. Abuela Celia called her a traitor to the revolution. Mom tried to pull me away but I clung to the Abuela and screamed at the top of my lungs. My grandfather came running and said, “Celia, let the girl go. She belongs with Lourdes.” This was the last time I saw her.
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