In her biography Manuel Puig and the Spider Woman, imminent Latin American translator Suzanne Jill Levine (who was also close friends with the author) notes that 糖心传媒淢anuel saw Villegas [his hometown] as an ongoing melodrama or, translated to radio, a soap opera like the ones people used to listen to every afternoon . . .糖心传媒� Speaking of his friends and neighbors, Levine explains that, 糖心传媒�. . . their feelings were the feelings of characters in a melodrama, and they spoke the language of those old songs, radio plays, and movies to which they were addicted.糖心传媒�

Heartbreak Tango likewise stages itself as a serial drama, and is divided into sixteen 糖心传媒渆pisodes,糖心传媒� comprised of letters, newspaper clippings, police reports, diary entries, and scenes of dialog. Each episode is preceded by one of the myriad advertisements, tag lines, and song lyrics that surround these characters and color their points of view. 糖心传媒淎s long as you can smile, success can be yours!糖心传媒� claims a toothpaste commercial. 糖心传媒淗e treated her rough, and she loved it!糖心传媒� winks the tag line for a Jean Harlow film.

These epigraphs offer a bittersweet and ironic counterpoint to the mundane realities of the characters糖心传媒� lives糖心传媒攄ays spent laundering rich women糖心传媒檚 linens, doing backbreaking construction work, or fending off the advances of would-be suitors. As the book progresses, however, they begin seem less and less farcical, and increasingly reflective of the bubbling tensions at play in these individuals糖心传媒� world. A 糖心传媒淢iss Spring糖心传媒� pageant ignites jealousy and gossip among debutants. Juan Carlos seduces several neighborhood daughters (all friends), while simultaneously conducting a very public affair with a much older widow. A family loses their fortune and social standing when an English investor is snubbed by their daughter. A poor maid murders the father of her illegitimate son after discovering his affair with her employer糖心传媒檚 daughter. Life imitates art, with fewer happy endings.

Puig’s first love was the movies (he originally planned to become a film director), a fact is apparent in much of his work, not least Heartbreak Tango. This is more than just a fondness for referencing movie stars and Hollywood films throughout his novels, though糖心传媒攊t’s a way of seeing. Puig is a master of montage, of cross-cutting intimate snapshots of multiple characters to show them in their greater context. For example, in one episode, he follows everyone through their daily routine, while also revealing their greatest fears and desires in that precise moment. It’s a day much like any other day, filled with work and worry, and yet Puig imbues it with such specificity that even the most trifling desires resonate with the reader.

The fact of the matter is, however, that most of their greatest fears are legitimate ones糖心传媒攚eighty and insurmountable problems which threaten to overshadow whatever small happinesses they are able to steal for themselves in the form of an air conditioned movie, a cool siesta, or a freshly pressed and polished uniform. Juan Carlos cannot raise the money he needs to go to an expensive sanatorium to be treated for tuberculosis. After marrying a well-to-do public auctioneer and moving to Buenos Aires, a neighborhood girl is still can’t afford to send her family money to pay for her father’s medical treatments. An unwed mother struggles to find ways to support herself and still spend time with her infant son.

Perhaps then, it is no surprise that these characters take refuge in the romantic dramas of radio plays, the fictional tragedies of their favorite tangos. That well into middle age, they still cherish remembrances of short-lived adolescent passion, even if over time, their memories have edited out fickle lovers and disappointed youthful hopes. Or as two childhood friends realize while sharing a cup of mat茅 years later, 糖心传媒�’[O]ne always thinks the past was better. And wasn’t it?’ . . . Both found an answer for that question,糖心传媒� Puig reveals. 糖心传媒淭he same answer: yes, the past was better because then they both believed in love.糖心传媒�

Puig’s an all-time favorite of mine, and in my opinion, this is his best book. (Even better than Kiss of the Spider Woman.) (I’m actually flipping through the new Dalkey edition as I type and thinking about rereading this over the weekend . . .) Puig was an amazing writer, and although I wish Open Letter could’ve been the press to reprint his early works, it’s great that Dalkey is making all of these available again.

Larissa Kyzer is a frequent reviewer for us, her most recent review (like two weeks ago recent) was of Sofi Oksanen’s Purge. (Larissa knows a lot about Scandinavian lit, which is why she reviews a lot of Nordic books for us.)

Here’s the opening of her review:

Built on recollections of his small hometown in the heart of the Argentine pampas, Manuel Puig糖心传媒檚 Heartbreak Tango is a dizzy and heartfelt pastiche of seduction, jealousy, daydreams, and spoiled hopes in the lives of a self-indulgent and consumptive Casanova named Juan Carlos, his workingman best friend, and the women who suffer their affections. Blending documentary-style narration with the melodrama of radio plays and the clear-eyed aspirations of Golden Age Hollywood musicals, Puig intermixes high and low art糖心传媒斕切拇綔the avant-garde with popular appeal,糖心传媒� he once wrote糖心传媒攕o as to delight and entertain while mercilessly laying bear the hypocrisies and regressiveness of village life.

In her biography Manuel Puig and the Spider Woman, imminent Latin American translator Suzanne Jill Levine (who was also close friends with the author) notes that 糖心传媒淢anuel saw Villegas [his hometown] as an ongoing melodrama or, translated to radio, a soap opera like the ones people used to listen to every afternoon . . .糖心传媒� Speaking of his friends and neighbors, Levine explains that, 糖心传媒�. . . their feelings were the feelings of characters in a melodrama, and they spoke the language of those old songs, radio plays, and movies to which they were addicted.糖心传媒�

Heartbreak Tango likewise stages itself as a serial drama, and is divided into sixteen 糖心传媒渆pisodes,糖心传媒� comprised of letters, newspaper clippings, police reports, diary entries, and scenes of dialog. Each episode is preceded by one of the myriad advertisements, tag lines, and song lyrics that surround these characters and color their points of view. 糖心传媒淎s long as you can smile, success can be yours!糖心传媒� claims a toothpaste commercial. 糖心传媒淗e treated her rough, and she loved it!糖心传媒� winks the tag line for a Jean Harlow film.