Summary (Masterplots II: American Fiction Series, Revised Edition)
Although Heartbreak Tango may be classified as a realistic novel for its representation of an ordinary, familiar reality, it is not at all traditional in the development of its narrative. The portrayal of Juan Carlos Etchepare, dead from tuberculosis as the story begins, is effected primarily through his letters and through the testimonies of the other characters of the novel. The interviews, letters, newspaper reports, descriptions of photo albums, objective eyewitness accounts, and stream-of-consciousness passages included in the narrative present Juan Carlos as a childish, lovable, worthless philanderer, as if his personality were the incarnation of the less offensive characteristics of the literary and cultural stereotype of Don Juan.
Ten years after her infatuation with Etchepare, Nené writes letters to his mother, exploring the unfulfilled passion that she feels for him and gradually reconstructing the relationships of the dead man and the people who knew him. The scenario includes Francisco, who tries to emulate the romantic escapades of Juan Carlos but is murdered by Fanny, the young woman whom he impregnates, and Celina Etchepare, who fiercely defends her brother and at the same time tries to live up to his reputation for promiscuous, unbridled sexual freedom. Nené’s friend Mabel moves with no hesitation from lover to lover according to her idle whims. All of these characters recall the life of Juan Carlos with much nostalgic...
(The entire section is 409 words.)
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Summary (Magill's Survey of World Literature, Revised Edition)
Heartbreak Tango: A Serial dates from the first stage of Puig’s career, before his interest in small-town life was overshadowed by political concerns. The novel’s title indicates something of its style and tone. Like film serials, it is episodic in structure, and it is filled with the passion, intrigue, and drama (even melodrama) of tangos.
The novel’s episodic structure is not quite so simple as weekly installments of film serials. Instead, the story is told through letters, memos, quotations from newspapers, police reports, and other sources. The reader must reconstruct a coherent chronology of events from this variety of incomplete, apparently random, and sometimes contradictory information. This task is one of the great pleasures of the novel.
At the center of the novel is Juan Carlos Etchepare. The distance between the illusion—that he is a Don Juan among fainting females—and banal reality—Etchepare is a consumptive government bookkeeper—exemplifies Puig’s view of small-town Argentines, who struggle to make a living as civil servants, clerks, and policemen while dreaming of romance and adventure—dreams that are fulfilled only in the artificial world of films, fan magazines, and pop music.
The novel begins with a newspaper notice of Juan’s death. There follow letters from the woman who apparently loved him the most, Nene, to his mother, expressing her condolences and recalling Juan’s and her...
(The entire section is 489 words.)
Bibliography (Masterplots II: American Fiction Series, Revised Edition)
Bacarisse, Pamela. The Necessary Dream: A Study of the Novels of Manuel Puig. Totowa, N.J.: Barnes and Noble, 1988. Chapters on the major novels. The introduction provides a useful overview of Puig’s career and themes. Includes notes and bibliography.
Kerr, Lucille. Suspended Fictions: Reading Novels by Manuel Puig. Urbana: University of Illinois Press, 1987. Chapters on each of Puig’s major novels, exploring the themes of tradition, romance, popular culture, crime, sex, and the design of Puig’s career. Contains detailed notes but no bibliography.
Lavers, Norman. Pop Culture into Art: The Novels of Manuel Puig. Columbia: University of Missouri Press, 1988. Lavers finds a close relationship between Puig’s life and his literary themes. Biography, in this case, helps to explain the author’s methods and themes.
Magnarelli, Sharon. The Lost Rib: Female Characters in the Spanish-American Novel. Toronto: Associate University Presses, 1985. In “Betrayed by the Cross-Stitch,” Maganarelli provides a close reading and feminist analysis of Betrayed by Rita Hayworth.
Tittler, Jonathan. Manuel Puig. New York: Twayne, 1993. The best introduction to Puig. In addition to providing useful survey of Puig’s career in his introduction, Tittler devotes separate chapters to the novels. Chapter seven discusses Puig’s theatrical scripts, screenplays, and short stories. Includes detailed notes and an annotated bibliography.
Wheaton, Kathleen. “The Art of Fiction: Manuel Puig.” The Paris Review 31 (Winter 1989): 129-147. An intensive exploration of Puig’s themes and techniques.