The Mambo Kings Play Songs of Love

The Mambo Kings Play Songs of Love

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by Oscar Hijuelos
     
 

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When it was first published in 1989, The Mambo Kings Play Songs of Love became an international bestselling sensation, winning rave reviews and the Pulitzer Prize for Fiction. To celebrate its 20th anniversary, the Pulitzer Prize-winning novel that changed the landscape of American literature returns with a new afterword by Oscar Hijuelos. Here is the story

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Overview

When it was first published in 1989, The Mambo Kings Play Songs of Love became an international bestselling sensation, winning rave reviews and the Pulitzer Prize for Fiction. To celebrate its 20th anniversary, the Pulitzer Prize-winning novel that changed the landscape of American literature returns with a new afterword by Oscar Hijuelos. Here is the story of the memorable Castillo brothers, from Havana to New York's Upper West Side. The lovelorn songwriter Nestor and his macho brother Cesar find success in the city's dance halls and beyond playing the rhythms that earn them their band's name, as they struggle with elusive fame and lost love in a richly sensual tale that has become a cultural touchstone and an enduring favorite.

Editorial Reviews

New York Times Book Review
"A rich and sorrowful novel... that alternates crisp narrative with opulent musings--the language of everyday and the language of longing. You finish feeling... ready to throw up your arms and cry, ¡Que bueno es! Mr. Hijuelos is writing music of the heart."
Alice Metcalf Miller
"Brilliant... memorable... a heady and powerful triumph... one of the most spectacularly vibrant and moving works by an American in years."
From the Publisher
"A rich and sorrowful novel... that alternates crisp narrative with opulent musings—the language of everyday and the language of longing. You finish feeling... ready to throw up your arms and cry, ¡Que bueno es! Mr. Hijuelos is writing music of the heart."—New York Times Book Review"

Brilliant... memorable... a heady and powerful triumph... one of the most spectacularly vibrant and moving works by an American in years."—Alice Metcalf Miller, Cleveland Plain Dealer

Michiko Kakutani
By turns street-smart and lyrical, impassioned and reflective, The Mambo Kings Play Songs of Loveis a rich and provocative book—a moving portrait of a man, his family, a community and a time.
New York Times
People
One lush, tipsy, all-night mambo of a novel about Cuban musicians in strange places like New York City.
Margo Jefferson
The novel alternates crisp narrative with opulent musings—the language of everyday and the language of longing.
The New York Times
Howard Frank Moser
By turns street-smart and lyrical, impassioned and reflective.... A moving potrait of a man, his family, a community, and a time.
Chicago Sun-Times
Publishers Weekly - Publisher's Weekly
The Mambo Kings are two brothers, Cesar and Nestor Castillo, Cuban-born musicians who emigrate to New York City in 1949. They form a band and enjoy modest success, playing dance halls, nightclubs and quince parties in New York's Latin neighborhoods. Their popularity peaks in 1956 with a guest appearance on the I Love Lucy show, playing Ricky Ricardo's Cuban cousins and performing their only hit song in a bittersweet event that both frames the novel and serves as its emblematic heart. Hijuelos's first novel, Our House in the Last World, was justly praised for its tender vignettes of emigré Cuban life; here, he tells of the triumphs and tragedies that befall two men blessed with gigantic appetites and profoundly melancholic hearts—Cesar, the elder, and the bandleader, committed to the pursuit of life's pleasures, and Nestor, he of the "dark, soulful countenance,'' forever plunging through a dark, Latin gloom. In a performance that deepens the canon of American ethnic literature, Hijuelos evokes, by day, a New York of crowded Harlem apartments made cheery by Cuban hospitality, and by night, a raucous club scene of stiletto heels and waxy pompadours—all set against a backdrop of a square, 1950s America that thinks worldliness means knowing the cha-cha. With an unerring ear for period idioms ("Hello you big lug'') and a comic generosity that renders even Cesar's sexual bravado forgivable if not quite believable, Hijuelos has depicted a world as enchanting (yet much closer to home) as that in García Márquez's Love in the Time of Cholera. The lyricism of Hijuelos's language is wonderfully restrained, conveying with equal facility ribald comedy and heartfelt pathos. Despite a questionable choice of narrative conceit (Cesar recollects the novel from a seedy "Hotel Splendour'' in 1980), Hijuelos's pure storytelling skills commission every incident with a life and breath of its own. (Aug.)

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Product Details

ISBN-13:
9781401310028
Publisher:
Hyperion
Publication date:
05/04/2010
Pages:
448
Sales rank:
351,210
Product dimensions:
5.20(w) x 7.90(h) x 1.30(d)
Age Range:
18 Years

Read an Excerpt

It was a Saturday afternoon on La Salle Street, years and years ago when I was a little kid, and around three o'clock Mrs. Shannon, the heavy Irish woman in her perpetually soup-stained dress, opened her back window and shouted out into the courtyard, "Hey, Cesar, yoo-hoo, I think you're on television, I swear it's you!" When I heard the opening strains of the I Love Lucy show I got excited because I knew she was referring to an item of eternity, that episode in which my dead father and my Uncle Cesar had appeared, playing Ricky Ricardo's singing cousins fresh off the farm in Oriente Province, Cuba, and north in New York for an engagement at Ricky's nightclub, the Tropicana.

This was close enough to the truth about their real lives--they were musicians and songwriters who had left Havana for New York in 1949, the year they formed the Mambo Kings, an orchestra that packed clubs, dance halls, and theaters around the East Coast--and, excitement of excitements, they even made a fabled journey in a flamingo-pink bus out to Sweet's Ballroom in San Francisco, playing on an all-star mambo night, a beautiful night of glory, beyond death, beyond pain, beyond all stillness.

Desi Arnaz had caught their act one night in a supper club on the West Side, and because they had perhaps already known each other from Havana or Oriente Province, where Arnaz, like the brothers, was born, it was natural that he ask them to sing on his show.He liked one of their songs in particular, a romantic bolero written by them, "Beautiful Mania of My Soul."

Some months later (I don't know how many, I wasn't five years old yet) they began to rehearse for the immortal appearance of myfather on this show.For me, my father's gentle rapping on Ricky Ricardo's door has always been a call from the beyond, as in Dracula films, or films of the walking dead, in which spirits ooze out from behind tombstones and through the cracked windows and rotted floors of gloomy antique halls: Lucille Ball, the lovely redheaded actress and comedienne who played Ricky's wife, was housecleaning when she heard the rapping of my father's knuckles against that door.

"I'm commmmmming," in her singsong voice.

Standing in her entrance, two men in white silk suits and butterfly-looking lace bow ties, black instrument cases by their side and black-brimmed white hats in their hands--my father, Nestor Castillo, thin and broad-shouldered, and Uncle Cesar, thickset and immense.

My uncle: "Mrs.Ricardo? My name is Alfonso and this is my brother Manny..."

And her face fights up and she says, "Oh, yes, the fellows from Cuba.Ricky told me all about you."

Then, just like that, they're sitting on the couch when Ricky Ricardo walks in and says something like "Manny, Alfonso! Gee, it's really swell that you fellas could make it up here from Havana for the show."

That's when my father smiled.The first time I saw a rerun of this, I could remember other things about him--his lifting me up, his smell of cologne, his patting my head, his handing me a dime, his touching my face, his whistling, his taking me and my little sister, Leticia, for a walk in the park, and so many other moments happening in my thoughts simultaneously that it was like watching something momentous, say the Resurrection, as if Christ had stepped out of his sepulcher, flooding the world with fight-what we were taught in the local church with the big red doors--because my father was now newly alive and could take off his hat and sit down on the couch in Ricky's living room, resting his black instrument case on his lap.He could play the trumpet, move his head, blink his eyes, nod, walk across the room, and say "Thank you" when offered a cup of coffee.For me, the room was suddenly bursting with a silvery radiance.And now I knew that we could see it again.Mrs. Shannon had called out into the courtyard alerting my uncle: I was already in his apartment.

With my heart racing, I turned on the big black-and-white television set in his living room and tried to wake him.My uncle had fallen asleep in the kitchen--having worked really late the night before, some job in a Bronx social club, singing and playing the horn with a pickup group of musicians.He was snoring, his shirt was open, a few buttons had popped out on his belly.Between the delicate-looking index and middle fingers of his right hand, a Chesterfield cigarette burning down to the filter, that hand still holding a half glass of rye whiskey, which he used to drink Eke crazy because in recent years he had been suffering from bad dreams, saw apparitions, felt cursed, and, despite all the women he took to bed, found his life of bachelorhood solitary and wearisome.But I didn't know this at the time, 1 thought he was sleeping because he had worked so hard the night before, singing and playing the trumpet for seven or eight hours. I'm talking about a wedding party in a crowded, smoke-filled room (with boltedshut fire doors), lasting from nine at night to four, five o'clock in the morning, the band playing one-, two-hour sets. I thought he just needed the rest.How could I have known that he would come home and, in the name of unwinding, throw back a glass of rye, then a second, and then a third, and so on, until he'd plant his elbow on the table and use it to steady his chin, as he couldn't hold his head up otherwise.But that day I ran into the kitchen to wake him up so that he could see the episode, too, shaking him gently and tugging at his elbow, which was a mistake, because it was as if I had pulled loose the support columns of a five-hundred-year-old church: he simply fell over and crashed to the floor.

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