This is the controversy behind one of the most-anticipated books of the winter.
,” pointing out myriad inconsistencies and errors in Cummins’ descriptions of Mexico that a largely American, non-Spanish-speaking industry of agents, editors, and publicists seemed to not have been able to notice.
Over the long weekend, the slowly brewing clash spilled onto the pages of the New York Times books section. Here’s what’s going on.follows the journey of a mother and son fleeing Mexico for America after their entire family is murdered on the orders of a local cartel kingpin. Before the slaughter, Lydia Quixano Pérez is a bookseller in Acapulco, mother to Luca and wife to journalist Sebastián.
In her afterword Cummins describes a four-year writing process that included extensive travel and interviews in Mexico. Cummins writes of her desire to humanize “the faceless brown mass” that she believes is so many people’s perception of immigrants. “I wish someone slightly browner than me would write it,” she continues. “But then I thought,.” I’m sure you can see where this bridge is going.reads as the increasingly pro forma conversation about who’s allowed to tell whose story.
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