Hummingbird's Daughter (Urrea)

The Hummingbird's Daughter
Luis Urrea, 2005
Little, Brown & Co.
528 pp.
ISBN-13: 9780316154529


Summary 
The prizewinning writer Luis Alberto Urrea's long-awaited novel is an epic mystical drama of a young woman's sudden sainthood in late 19th-century Mexico. It is 1889, and civil war is brewing in Mexico. A 16-year-old girl, Teresita, illegitimate but beloved daughter of the wealthy and powerful rancher Don Tomas Urrea, wakes from the strangest dream—a dream that she has died.

Only it was not a dream. This passionate and rebellious young woman has arisen from death with a power to heal—but it will take all her faith to endure the trials that await her and her family now that she has become the Saint of Cabora. The Hummingbird's Daughter is a vast, hugely satisfying novel of love and loss, joy and pain. Two decades in the writing, this is the masterpiece that Luis Alberto Urrea has been building up to. (From the publisher.)

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Author Bio
• Birth—1955
• Where—Tiujana, Mexico
• Education—B.A., University of California, San Diego;
   University of Colorado, Boulder (graduate work)
• Awards—American Book Award, Christopher Award, Lannan
   Literary Award, Pulitizer Prize (nonfiction); Latino Literature
   Hall of Fame
• Currently—lives in Naperville, Illinois, USA

Luis Alberto Urrea, 2005 Pulitzer Prize finalist for nonfiction and member of the Latino Literature Hall of Fame, is a prolific and acclaimed writer who uses his dual-culture life experiences to explore greater themes of love, loss and triumph.

Born in Tijuana, Mexico to a Mexican father and an American mother, Urrea has published extensively in all the major genres and is currently published by Little, Brown and Company.

The critically acclaimed author of 11 books, Urrea is an award-winning poet and essayist. The Devil's Highway, his 2004 non-fiction account of a group of Mexican immigrants lost in the Arizona desert, won the 2004 Lannan Literary Award and was a finalist for the Pulitzer Prize and the Pacific Rim Kiriyama Prize. A national best-seller, The Devil's Highway was also named a best book of the year by the Los Angeles Times, the Miami Herald, the Chicago Tribune, the Kansas City Star and many other publications.

Urrea's first book, Across the Wire, was named a New York Times Notable Book and won the Christopher Award. Urrea also won a 1999 American Book Award for his memoir, Nobody's Son: Notes from an American Life and in 2000, he was voted into the Latino Literature Hall of Fame following the publication of Vatos. His book of short stories, Six Kinds of Sky, was named the 2002 small-press Book of the Year in fiction by the editors of ForeWord magazine. He has also won a Western States Book Award in poetry for The Fever of Being and was in The 1996 Best American Poetry collection.

Urrea's 2005 book, The Hummingbird's Daughter, is the culmination of 20 years of research and writing. The historical novel tells the story of Teresa Urrea, sometimes known as The Saint of Cabora and the Mexican Joan of Arc.

Urrea attended the University of California at San Diego, earning an undergraduate degree in writing, and did his graduate studies at the University of Colorado-Boulder.

Extras
• After serving as a relief worker in Tijuana and a film extra and columnist-editor-cartoonist for several publications, Urrea moved to Boston where he taught expository writing and fiction workshops at Harvard. He has also taught at Massachusetts Bay Community College and the University of Colorado and he was the writer in residence at the University of Louisiana-Lafayette.

• Urrea's other titles include By the Lake of Sleeping Children, In Search of Snow, Ghost Sickness and Wandering Time. His writing has won an American Book Award, a Western States Book Award, a Colorado Center for the Book Award and a Christopher Award. The Devil's Highway has been optioned for a film by CDI Producciones.

Urrea lives with his family in Naperville, IL, where he is a professor of creative writing at the University of Illinois-Chicago. (From the author's website.)

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Book Reviews
The style that Urrea has adopted to tell Teresita's—and Mexico's—story [is]...simultaneously dreamy, telegraphic and quietly lyrical. Like a vast mural, the book displays a huge cast of workers, whores, cowboys, rich men, bandits and saints while simultaneously making them seem to float on the page. Urrea's sentences are simple, short and muscular; he mixes low humor with metaphysics, bodily functions with deep and mysterious stirrings of the soul. These 500 pages—though they could have been fewer—slip past effortlessly...
Stacey D'Erasmo - New York Times Book Review

To the very end, The Hummingbird's Daughter is a book of surprises and savory treasures. Urrea's much-praised recent work, The Devil's Highway , was a journalistic re-creation of the deaths of 14 Mexicans who crossed illegally into the U.S. southern desert in 2001. He has loosened his expressive reportorial skills to write lyrical fiction, and we can only be grateful.
Joanne Omang - Washington Post

Twenty years in the making, Urrea's epic novel recounts the true story of his great-aunt Teresita. In 1873, amid the political turbulence of General Porfirio Díaz's Mexican republic, Teresita is born to a fourteen-year-old Indian girl, "mounted and forgotten" by her white master. Don Tomàs Urrea later takes his illegitimate daughter into his home, where she learns to bathe every week and read "Las Hermanas Brontë." But Teresita also continues a folk education as a curandera, discovering healing powers and a mystical relationship with God. Indian pilgrims swarm to the Urrea ranch, where "St. Teresita," a mestiza Joan of Arc, kindles in them a powerful faith in God and a perilous hunger for revolution. The novel brings to life not only the deeply pious figure whom Díaz himself dubbed "the Most Dangerous Girl in Mexico" but also the blood-soaked landscape of pre-revolutionary Mexico.
The New Yorker

"Her powers were growing now, like her body. No one knew where the strange things came from. Some said they sprang up in her after the desert sojourn with Huila. Some said they came from somewhere else, some deep inner landscape no one could touch. That they had been there all along." Teresita, the real-life "Saint of Cabora," was born in 1873 to a 14-year-old Indian girl impregnated by a prosperous rancher near the Mexico-Arizona border. Raised in dire poverty by an abusive aunt, the little girl still learned music and horsemanship and even to read: she was a "chosen child," showing such remarkable healing powers that the ranch's medicine woman took her as an apprentice, and the rancher, Don Tomas Urrea, took her-barefoot and dirty-into his own household. At 16, Teresita was raped, lapsed into a coma and apparently died. At her wake, though, she sat up in her coffin and declared that it was not for her. Pilgrims came to her by the thousands, even as the Catholic Church denounced her as a heretic; she was also accused of fomenting an Indian uprising against Mexico and, at 19, sentenced to be shot. From this already tumultuous tale of his great-aunt Teresa, American Book Award-winner Urrea (The Devil's Highway) fashions an astonishing novel set against the guerrilla violence of post-Civil War southwestern border disputes and incipient revolution. His brilliant prose is saturated with the cadences and insights of Latin-American magical realism and tempered by his exacting reporter's eye and extensive historical investigation. The book is wildly romantic, sweeping in its effect, employing the techniques of Catholic hagiography, Western fairy tale, Indian legend and everyday family folklore against the gritty historical realities of war, poverty, prejudice, lawlessness, torture and genocide. Urrea effortlessly links Teresita's supernatural calling to the turmoil of the times, concealing substantial intellectual content behind effervescent storytelling and considerable humor.
Publishers Weekly

More than 20 years in the making, this narrative is based on the first 19 years in the life of the author's Mexican great aunt, Teresa Urrea, or Saint Teresa of Cabora (1873-1906). The illegitimate daughter of a poor Indian woman and a wealthy landowner, Teresa is raised on a farm and taught the healing arts by a curandera (female healer) until a near-death experience endows her with the divine gift of healing. Teresa's popularity soars, and she serves as the battle cry for an antigovernment insurrection, after which she and her father are exiled to the United States, where she is not officially recognized as a saint owing to the somewhat unorthodox nature of her work. Urrea (creative writing, Univ. of Illinois, Chicago) has written more a novelized biography than a work of fiction; more research seems to have crept in than creativity. And though he excels at describing the atmosphere of a familiar world, the dialog is often stilted, and the telling of the insurrection and miracles lacks conviction. Appropriate for Hispanic collections.
Library Journal

The making of a young medicine woman in 19th-century Mexico. Urrea, a Mexican-American best known for his prizewinning nonfiction (The Devil's Highway, 2004, etc.), has based his leisurely account on the life of an ancestor. Cayetana Chavez is 14 when she gives birth to Teresita, the future healer. Cayetana herself is known as the hummingbird, God's messenger, and even more auspicious is the red triangle on her child's forehead. Teresita's birth takes place on one of the four ranches belonging to Tomas Urrea (the author hasn't changed the family name), who is one of the Yori, or white masters; his Indian cowboys and fieldhands are the People, or, in the author's compelling image, nails destined for the hammer. Teresita is one of Tomas's many love children, and he will eventually acknowledge her, for he has always been fond of the People and is a decent man, despite his philandering. His story is interwoven with that of Teresita, who is abandoned by her mother and abused by an evil aunt until the old medicine woman Huila offers her protection. In 1880, Tomas decides to move everybody north to another ranch that will provide greater safety from the long-time dictator Porfirio D'az (the political context is sketchy). Teresita, now 15, comes into her own as midwife and healer-until she is raped and apparently killed by a miner. After she comes back to life during her own wake, the pilgrims start arriving by the thousands, though Teresita denies she is a saint and the nonbeliever Tomas deplores the invasion of his ranch. Eventually, the dictator D'az, getting reports of an insurrection, orders the capture of Teresita and her father. The 19-year-old healer's death sentence is commuted to exile, and she makes a spectacular exit from the country. Only at the end does Urrea fully evoke Teresita's incandescent spiritual power—in a second novel (after In Search of Snow, 1994) that, otherwise, is a mildly engaging look at life on a prerevolutionary Mexican ranch, with amusingly irreverent touches.
Kirkus Reviews

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Discussion Questions
1. Many readers and reviewers have compared The Hummingbird’s Daughter to the work of Gabriel García Márquez. How apt do you consider this comparison? Is The Hummingbird’s Daughter a work of magical realism? Why or why not?

2. One reviewer noted that The Hummingbird’s Daughter employs the techniques of “Catholic hagiography, Western fairy tale, Indian legend, and everyday family folklore.” Do you agree? Are elements of each of these literary traditions present in this book? Give examples to support your answer.

3. The Hummingbird’s Daughter is a wildly romantic work of fiction, but it is, in fact, grounded in historical truth. Luis Alberto Urrea conducted two decades of research, and to this day La Santa de Cabora is revered in some parts of northern Mexico. How does the author balance grim
history with sweeping fiction?

4. Tomás Urrea likes to think of himself as a man of reason in a world filled with superstition. Indeed, he feels scorn for those who “saw the faces of Jesus Christ and the Virgin of Guadalupe in burned tortillas.” Yet he has trouble explaining Teresita’s resurrection. Have you ever had trouble finding a logical explanation for a strange occurrence?

5. In contrast to Tomás, Teresita believes that the “world of reason must be a lonely place.” What does she mean? Do you agree with her?

6. Despite his position as a powerful Patrón and his comfortable life on his ranch, Tomás can’t help feeling that his existence is a bit monotonous. Urrea writes, “Perhaps, deep in his heart, Tomás wanted no one to be wild if he himself could not run free.” How does the dichotomy between his quotidian routine and Teresita’s wildness inform their relationship?

7. Teresita’s healing powers are obviously a tremendous gift. But at the same time, they bring a lot of chaos into her life: pilgrims hound her, and Porfirio Díaz dubs her the “most dangerous girl in Mexico.” In what sense might Teresita be considered the Joan of Arc of Mexico?

8. Huila seems to think that all men are silly and that women will someday rule the world. And many of the novel’s strongest and most interesting characters are female. How are women presented in The Hummingbird’s Daughter? Does the novel have feminist undercurrents?

9. There are many journeys depicted in this novel. In what ways do these journeys mirror the modern immigrant experience?

10. Luis Alberto Urrea first heard the stories of his great aunt Teresita at family gatherings. Do you have any family members or relatives who have lived remarkable lives? What are their stories?
(Questions issued by publisher.)

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