Let’s talk about legacy. It seems like a lot of intergenerational conflict comes from the disconnect between what parents imagine/want for their children’s future versus who those kids actually are and what they want for themselves. This tension can be compounded when the parents have sacrificed a lot for their children’s desired future. What, do you think, is the Vega family’s legacy? Both Ernesto and Julian seem to carve their own paths, while Freddy’s motivation is deeply rooted in that legacy. How does Ernesto’s death weaken or enhance that legacy? What do you think the Vega men have learned about themselves, and how did they pass that knowledge on to the next generation?
We’re in conversation with the author on August 29th. What questions do you have for Alex Espinoza?
One thing I noticed (unless I missed something) was that it seemed like Julian didn't have much of a coming-out story. I wondered how much of that was acceptance passed down from Ernesto's own experience.
Hi Roxane and friends: I'm loving this book and trying not to rush as I work my way through this compelling and beautifully written story. I'll probably have more articulate thoughts & questions about how the family legacy plays out once I finish. For now, I'm just moved by how Alex Espinoza paints these stunning portraits that show how separate everyone is, how they mis-hear each other. And how the potential for violence is never far away.
But two questions for Alex are:
--what was your approach to crafting plot? As in, so much of the early tension (for me, at least) arises from the disconnect between the character's internal feelings/take on the world, their masks and their truths. And there's plenty of writers and stories that emphasize how the art of plotting lies in external decision-making, and the suspense over how to solve insurmountable external roadblocks. Clearly that's not the only approach!
--given Roxane's question about legacy, I'd like to know Alex's thoughts on the legacy of LA-based writer John Rechy, whose 1963 book "City of Night" put gay Los Angeles on the literary map. And how Rechy's legacy influenced Alex's writing.
Can't wait for Thursday's zoom call. Thanks! --Barbara
One thing I noticed (unless I missed something) was that it seemed like Julian didn't have much of a coming-out story. I wondered how much of that was acceptance passed down from Ernesto's own experience.
Hi Roxane and friends: I'm loving this book and trying not to rush as I work my way through this compelling and beautifully written story. I'll probably have more articulate thoughts & questions about how the family legacy plays out once I finish. For now, I'm just moved by how Alex Espinoza paints these stunning portraits that show how separate everyone is, how they mis-hear each other. And how the potential for violence is never far away.
But two questions for Alex are:
--what was your approach to crafting plot? As in, so much of the early tension (for me, at least) arises from the disconnect between the character's internal feelings/take on the world, their masks and their truths. And there's plenty of writers and stories that emphasize how the art of plotting lies in external decision-making, and the suspense over how to solve insurmountable external roadblocks. Clearly that's not the only approach!
--given Roxane's question about legacy, I'd like to know Alex's thoughts on the legacy of LA-based writer John Rechy, whose 1963 book "City of Night" put gay Los Angeles on the literary map. And how Rechy's legacy influenced Alex's writing.
Can't wait for Thursday's zoom call. Thanks! --Barbara