FROM THE PUBLISHER

Miracles and passion abound in this mesmerizing novel--hailed everywhere as a masterwork--the story of a remarkable young woman's sudden sainthood in the revolutionary-era Mexico of the late 19th century.

Author Biography: Luis Alberto Urrea is the recipient of a Lannan Literary Award, an American Book Award, a Western States Book Award, and a Colorado Book Award, and has been inducted into the Latino Literary Hall of Fame. He lives in Chicago.

FROM THE CRITICS

Joanne Omang - The Washington Post

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.

Publishers Weekly

"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 Tom s 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. Agent, Sandra Dijkstra. (May 17) Copyright 2005 Reed Business Information.

Library Journal

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. [See Prepub Alert, LJ 1/05.]-Lawrence Olszewski, OCLC Lib., Dublin, OH Copyright 2005 Reed Business Information.

Kirkus Reviews

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.