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We slipped into this country like thieves, onto the land that was previously ours.
With these words, spoken by an illegal Mexican day laborer, The Madonnas of Echo Park can take us in to the unseen world of Los Angeles, following the men and women who cook the meals, clean the homes, and battle to lose their ethnic identity in the pursuit of the American desire.
When a dozen or so young girls and mothers accumulate by using an Echo Park street corner to do something out a picture from a Madonna music training video, they end up found in the crossfire of a drive-by shooting. Inside the aftermath, Aurora Esperanza develops faraway from her mom, Felicia, who as a housekeeper in the Hollywood Hillsides establishes a distinctive romantic relationship with a detached housewife.
The Esperanzas’ shifting lives connect with those of various members of these neighborhood. Per day laborer trolls the roadways for use men half his age and witnesses a murder that pits his morality against his illegal status; a religious hypocrite gets her comeuppance when she matches the Virgin Mary at a bus stop on Sunset Boulevard; an average bus route converts violent when civilizations and egos collide in the night, with disastrous results; and Aurora goes on a trip through her gentrified youth area in a goal to discover her own background and her devote the land that Mexican Americans dream of, "the land that belongs to us again."
Like the Academy Honor–earning film Crash, The Madonnas of Echo Park comes after the intersections of its characters and civilizations in Los Angeles. In the footsteps of Junot DÍaz and Sherman Alexie, Brando Skyhorse in his debut novel gives voice to one neighborhood in Los Angeles with an amazing— and remarkable—lyrical electric power.
