![]() Like Cleeton, memory and imagination constitute a great part of Marisol’s identity-she has made several imaginary trips to Cuba and has a multi-layered and bicultural identity. ![]() Parallelly, the novel narrates the story of Marisol, who is trying to put together the told and untold stories of her grandmother as she goes to Cuba to spread the ashes of her deceased grandmother over Elisa’s beloved Cuba, the Cuba that broke Elisa’s heart but still was so much loved. The novel starts with the story of Elisa, the nineteen-year-old daughter of Emilio Perez, a sugar baron and one of the wealthiest men of Cuba, who has to leave the country due to the revolution. Structurally, Cleeton’s novel is divided into two parts: Elisa Perez’s story from 1958-59 and Elisa’s granddaughter Marisol Ferrera’s story, in 2017. When Isabel Perez travels to Barcelona to save her sister Beatriz, she discovers a shocking family secret in New York Times bestselling author Chanel Cleeton’s new novel. As a Cuban American writer, Chanel Cleeton has grown up listening to and living with the stories told to her by the family. These constitute memories in their own right. ![]() Postmemory is the relationship of the second generation to events before their births that are transferred to them as powerful and meaningful stories. Next Year in Havana is developed on the notion of postmemory coined by Marianne Hirsch. ![]()
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