Thirteen Senses: A Memoir » (Special Value)

Victor VillaseÑor vive en California en el rancho donde fue criado. Es autor de numerosos obras editoriales y aclamadas obras, entre ellas Lluvia de oro, Jurado: La Gente vs. Juan Corona, y ¡Macho!.

Victor Villaseñor's bestselling, critically acclaimed works, as well as his inspiring lectures, have brought him the honor of many awards. Most recently he was selected as the founding chair of the John Steinbeck Foundation. He lives in Oceanside, California.

E-book exclusive special feature: The first bilingual e-book! Enjoy paragraph-by-paragraph hyperlinks between the English and Spanish texts within this PerfectBound e-book.

Publishers Weekly

Fans of Villasenor's admirable family epic, Rain of Gold (Arte Publico, 1991) will be hard-pressed to wade through this massive, workmanlike sequel. The book's humorous opening at the 50th-anniversary renewal of Villasenor's parents' wedding vows, the "bride" refuses to say "obey" as her sister catcalls from the front pew about the groom's unreliability gives way to a series of simplistic feminist diatribes followed by a nasty family squabble. The author then tracks his mother and father, Lupe and Salvador, through the passionate and turbulent first years of their marriage, always shadowed by Salvador's bootlegging and deceit, always redeemed by Lupe's fiery strength, her bottom-line common sense and a hearty helping of sex. Lupe follows Salvador around Mexico on his criminal and other exploits before putting her foot down; the book leaves them at the start of a presumably lawful, relatively calm life in California. Though the author espouses feminist views, his female characters are one-dimensional, axiom-spouting cultural stereotypes: suffering, saintly and bitter. Where the earlier book offered an enjoyable, unreconstructed representation of early 20th-century rural Mexican culture, here that culture has been infected by a feel-good mysticism that even the California setting doesn't excuse. The story meanders through linguistic anachronisms (no man in 1929 would have said "full Latina hips"), mixed metaphors, aimless digressions, countless exclamation marks and warmed-over New Age imagery like "The Father Sun was now gone, and the Mother Moon was coming up, and the Child Earth was cooling." The author's central question about his parents' relationship "Was it love?" brings a neat ifsuperficial unity to the narrative. 8 pages b&w photos not seen by PW. (Sept. 1) Copyright 2001 Cahners Business Information.