A Cuban-American cop gets caught in a web of allegiances.
Dec 3, 2012, Vol. 18, No. 12 • By BRIAN MURRAY
It’s been almost 25 years since Tom Wolfe issued a call for “the new social novel.” His 1989 manifesto, “Stalking the Billion-Footed Beast,” argued that, since the end of the Second World War, American novelists had lost their way, having convinced themselves that the high calling of Art required “highly refined forms of fiction” designed to appeal to an ever-narrowing band of sophisticated readers.
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Some sought critical approval by offering up strenuously clever “fictions” based on the theory that the novel was “first and foremost a literary game.” For them, realism was passé, a method for middlebrows like John O’Hara and Irwin Shaw. As the once-faddish John Hawkes declared: “I began to write fiction on the assumption that the true enemies of the novel were plot, character, setting, and theme.” Others did write about real situations, but only “very tiny ones, tiny domestic ones, for the most part, usually in lonely Rustic Septic Tank Rural settings,” claimed Wolfe. These novelists, the so-called Minimalists, specialized “in a deadpan prose composed of disingenuously short, simple sentences—with the emotions anesthetized, given a shot of Novocain.”
Wolfe insisted, instead, that the new American novel should be old again. His models were Balzac and Zola, Dickens and Thackeray. He praised Sinclair Lewis, John Steinbeck, and other American realists who were not only eager to tackle big themes in a spirited way but who “assumed that the novelist had to go beyond his personal experience
Set in Miami, Back to Blood continues his commitment to research techniques “as thorough as Zola’s.” The acknowledgments page lists journalists, teachers, and painters, as well as a neurosurgeon, a social geographer, and “the great Haitian social anthropologist Louis Herns Marcelin.” Wolfe also thanks the city’s former police chief, John Timoney, for taking “the covers off an otherwise invisible Miami.”
Nestor Camacho, the main character in Back to Blood, is himself a cop looking for a chance to boost his career. In the opening chapter, Nestor dramatically retrieves a panicked Cuban defector who has scrambled up the towering mast of a schooner filled with revelers in Biscayne Bay. The rescue is widely publicized and, initially at least, Nestor basks in his new status as a “high--wattage hero.” But his bravery plays less well in nearby Hialeah, where many Cuban Americans (including Nestor’s family) have come to reside. The defector, they know, never reached dry land. And under federal law he must be hauled back to Cuba, where prison awaits. Nestor’s own parents fled Castro in a crude dinghy, risking sunstroke and starvation along the way. Thus, Nestor, his father tells him, has sullied the honor of the entire Camacho family.
Nestor has other problems. His girlfriend, Magdalena, dumps him for a more prosperous Americano, a psychiatrist named Norman Lewis whose specialty, pornography addiction, is now much in demand, and who is as erratic and sex-obsessed as any of his patients. But Magdalena is beautiful and naïve and yearns for the sort of glamour that one finds in South Beach, not among the tidy casitas of Hialeah.
In one of this novel’s most memorable (and representative) episodes, Lewis takes a reluctant Magdalena to the infamous bacchanal that always springs up in waters close to the Columbus Day Regatta, held annually along the coast of Miami Beach. For days, as the boats race, the party rages on, offering an epic display of drunkenness and nudity. To Magdalena’s dismay, this year’s orgy includes the late-night projection of a porn film on a huge mainsail—a Technicolor display of genitalia on a Brobdingnagian scale. Stuck within this “flotilla of depraved lunatics,” Magdalena “felt more than depressed. Something about it made her afraid.”
Nestor also abandons his Hialeah comfort zone. He wants vindication and a fresh start. Wolfe, however, sends him on a wild ride through some of the darker quarters of the beautiful city long known as a sunny place for shady people. Nestor encounters a fine mix of dodgy Wolfeian characters, including an art forger, a crooked Russian tycoon, some strippers, and a mammoth drug dealer conducting business in Overtown, where the demand for crack is always high. When Nestor’s arrest of the drug thug turns up on YouTube, the muscular young cop is assailed once more. Nestor is earnest and well-intentioned, but now finds he has “a proven ability to piss people off in gross numbers.”