Tomorrow They Will Kiss by Eduardo Santiago

I.

In Tomorrow They Will Kiss, Eduardo Santiago explores the inter-woven lives of six Cuban-American women by examining their relationships and their past in Cuba. Told from the perspectives of three of the six women, the narrative goes back and forth between different characters, blending the events of the past into present-day drama.

Caridad, Imperio, and Graciela all grew up together in a small Cuban town. Cardidad, who is proper and proud and always dresses impeccably, seems determined to present an impermeable outward appearance; yet the expensive face powder on her face masks a deep sense of loss. Her best friend, Imperio, is short and skinny with a sharp tongue that she uses to tell it like it is. Attractive, adventurous, and dreamy, Graciela is an acquaintance who went to school with both women. Although Imperio and Caridad consider Graciela one of them, they can’t get past Graciela’s scandalous past in Cuba and are quick to scrutinize her every move.

Every day, the six Cuban women pile into the van, carpooling together to work at a toy factory. Newly emigrated from Cuba, these women find life in 1960s New Jersey to be a far cry from the better life they envisioned in America. Poor, unable to speak English, and struggling to support themselves and their families, these women try to re-create the lives they left behind in the aftermath of the Cuban Revolution. All of the women struggle with the paradox of having had plenty of money in Cuba, but nothing to buy because of years of embargoes. Now in the U.S., goods are abundant, but the women lack the financial means to acquire them.

The women viciously gossip about one another and do not get along particularly well. Yet bonds of their common ancestry keep them together. As Imperio, puts it, “We stood up for our own no matter how misguided their decisions.” In the face of animosities and personal frustrations, what unites these women are the Spanish language telenovelas:

Many things divided the passengers of that van. Bickering was almost constant. It was the telenovas that united us. No matter how annoying we found each other, when the topic turned to the current telenovela, we all cheered up.

The telenovelas’ predictable narrative and reassuring regularity provide respite and entertainment for these women; they’re an escape to a dramatic other world away from the struggles of daily life. Unlike in the Cuban women’s own lives, in the telenovelas there is never the question of whether the dramatic conclusion will happen; it is only a matter of when: “There was only one thing none of us in the van could ever be sure of, and that was when the first kiss between our favorite new couple would take place.”

II.

For Graciela, life in the U.S. is a chance to build start over and dream of new possibilities. Graciela believes that, like the plot of a telenovela, things will work out eventually; it is just a matter of waiting for that episode to come. She aspires to make something more for herself as she starts to study English and fashion design and begins a relationship with the factory foreman.

Caridad and Imperio tell quite different stories. They are continually shocked and outraged by Graciela’s indiscretions and reminded of her past infidelities. For Caridad and Imperio, Graciela is like a wild telenovela character. But although both women disagree with Graciela’s actions, they are continually tuning into the next episode, intrigued by what she might do next. Like the escape of a telenovela, Graciela gives the other women a distraction from their own longings for the Cuba of the past and the hardships they face at present.

Through the narrative frame of the telenovela, Santiago masterfully illustrates the complexities of experience for Cuban exiles in the U.S. The multiple points of view of the different characters tell stories of loss, disappointments, but also of dreams and hopes, “burning with expectation of tomorrow and that kiss.”

Articles by Megan Keane

ISSUE 5

Fall 2006

Features

Haruki Murakami’s Meaningful Metaphors

Haruki Murakami’s plots feel like modern-day fairy tales. Scott Esposito considers how Murakami’s plots come to resemble and evoke the inner minds of his characters.

Haruki Murakami’s Supernatural War

Ever since World War II ended, American novelists have used China, Italy, the Philippines, Dunkirk, Dresden, and many other battlegrounds to represent everything from the effect of racism on American society to the strength of the American family. Katie Wadell argues that Haruki Murakami introduces us to an altogether different warfront in novels such as The Wind-Up Bird Chronicle and A Wild Sheep Chase.

A Short Guide to Murakami’s Short Fiction

One of our time’s most fecund writers, Murakami has composed a dizzying array of short fiction. Here, Matthew Tiffany runs down some of the best, making an excellent starting point for those looking for an entry into Murakami’s short works.

How Can We Read in an Age of Images?

How to reconcile the Internet’s love of the image with literature’s blocks and blocks of words? Finn Harvor has a few answers.

reviews

A Writer at War by Vasily Grossman

Blind Willow, Sleeping Woman by Haruki Murakami

Blind Willow, Sleeping Woman by Haruki Murakami

The Emperor’s Children by Claire Messud

The Obstacles by Eloy Urroz

The Secret River by Kate Grenville

Visigoth by Gary Amdahl

The Second Coming of Mavala Shikongo by Peter Orner

Tomorrow They Will Kiss by Eduardo Santiago

Interviews

The Zak Smith Interview

Contributor Notes

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