How the Garcia Girls Lost Their Accents

April 3, 2006
Alvarez's novel inches backward in time, unfolding as 15 separate but tightly linked tales of the four Garcia girls, daughters in a wealthy Dominican family who fled to the U.S. with their parents to escape the island's dictator. One central voice reads third-person narratives about the girls' experiences, acting as an axis that spools off the girls' individual voices in first-person chapters. Carla, Sandra, Yolanda and Sofia take turns describing their trials both with their Old World parents' strict ideas of proper behavior and their New World neighbors' resistance to the presence of immigrants. While the narrators (Blanca Camacho, Anne Henk, Annie Kosuch, Melanie Martinez and Noemi de la Puente) are never distinct enough for listeners to affix specific voices to characters, the book's title is illustrated perfectly by their flawless, accent-free English that switches smoothly to Spanish trills and rhythms when necessary, giving the reading both flair and authenticity. The audiobook enriches Alvarez's silvery prose and already delightful stories, making them dance even more gracefully.

January 1, 1991
The chronicle of a family in exile that is forced to find a new identity in a new land, these 15 short tales, grouped into three sections, form a rich, novel-like mosaic. Alvarez, whose first fiction this is, has an ear for the dialogue of non-natives, and the strong flavors of Dominican syntax and cultural values permeate these pages. Many parallels may be drawn between these stories and Amy Tan's The Joy Luck Club. Central to both are young, first generation American females in rebellion against their immigrant elders, and in both books the stories pile up with layers of multiple points of view and overlapping experiences, building to a sense of family myths in the making. The four Garcia daughters, whom we meet as adults but then re-encounter as children as the narrative flows backward in time, are accustomed to a prestigious perch in Spanish Caribbean society. But political upheavals force Papi and Mami to seek refuge in a more modest way of life in the Bronx, and their little girls become transplants who thrive and desire a far bigger embrace of this new world than the elder Garcias can contemplate or accept. This is an account of parallel odysseys, as each of the four daughters adapts in her own way, and a large part of Alvarez's Gar cia's accomplishment is the complexity with which these vivid characters are rendered.

June 1, 1992
Fifteen tales vividly chronicle a Dominican family's exile in the Bronx, focusing on the four Garcia daughters' rebellion against their immigrant elders.