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The following version of this book was used to create this study guide: Urrea, Luis Alberto. The House of Broken Angels. Little Brown and Company, 2018.

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The House of Broken Angels, a novel by Luis Alberto Urrea, is broken into five sections. The first section, Delirious Funerals, opens with Miguel “Big Angel” de la Cruz late in arriving to his mother’s funeral. Big Angel, who turns 70 years old the following day, is dying of bone cancer. He has arranged to throw his birthday party the day after the funeral service for his mother, Mamá América. Big Angel and his wife Perla moved to San Diego from Tijuana, after illegally crossing the border.

Meanwhile, Gabriel “Little Angel” de la Cruz, Big Angel’s much younger half-brother, also arrives in San Diego. Big Angel’s daughter Minnie and his wife Perla help him into his wheelchair and out the door. Big Angel’s son, Lalo, is also present at the funeral. Lalo remembers his brother Braulio, who was killed nearly ten years ago in a neighborhood shooting, joining the U.S. army. Little Angel and Minnie discuss one of Perla’s sons, Yndio, who identifies as queer and is absent from the funeral service.

On the night before the party, Big Angel tries to recount the story of the second time that he met Perla. In the second section. Then (En Aquel Entonces), the narrative shifts to the first meeting between Big Angel and Perla. Perla was involved in a car accident in their hometown of La Paz, Mexico. Big Angel, who has accompanied his father to the police station where Don Antonio works as a police officer, meets her there in the station. They begin spending every day together and, after Big Angel’s brief stint as an assistant on a fisherman’s boat, reunite in Tijuana. By this time, Perla already has two children from a previous relationship: Yndio, the oldest, and Braulio. Eventually, Big Angel buys the family a house in San Diego and they cross illegally into the U.S.

In the third part, Celebration Day, the day of Big Angel’s party arrives. Little Angel makes two trips to Target to order and buy the cake, first with La Gloriosa and later with César. Ookie, a neighborhood boy, shows Little Angel the Lego reconstruction of the city of San Diego that he has been building, with Big Angel’s help. Meanwhile, Lalo and his son Giovanni get high together and plan to confront a gangster. Though their plan is to kill him, Lalo cannot go through with it and they flee.

In the chapter, “The Confessions,” Little Angel and Big Angel both confront one another with their failings. Big Angel tells Little Angel that he was conceived out of wedlock. Little Angel tells Big Angel about the time he refused to come pick him and his mother up for Christmas, despite having promised to do so. Big Angel, mortified, apologizes for his behavior. Big Angel tells the story of Yndio’s flamboyant and defiant performance as Cher in a drag nightclub; Big Angel believes his father, Don Antonio, died out of shock They laugh and bond over the story of Mamá América trying to smuggle a parrot into the U.S. in her brassiere.

In the final chapter of the third section, the gangster that Lalo does not kill in the earlier chapter arrives at the de la Cruz home, planning to kill Lalo. Yndio, seeing the gunman arrive, leaves his car and enters the home, where he disarms the gunman. He accepts Big Angel as his father and joins the family in Big Angel’s bed. In the final section, The Coda, Big Angel flatlines at the hospital, surrounded by family. Then the narrative shifts to the last events on the night of the birthday party, when Little Angel and La Gloriosa have sex. Perla and Big Angel reminisce about their life together and Little Angel promises to take Big Angel to see the ocean tomorrow, where they will watch “great waves traveling forever across the open copper sea” (321).

On Sale March 6, 2018

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THE HOUSE OF BROKEN ANGELS is, as Urrea describes it, “the story of an American family—one that happens to speak Spanish and admire the Virgin of Guadalupe. Imperfect and glorious, messy and hilarious, sometimes heroic.” Inspired by the death of his brother, Urrea’s novel mines his own family history to tell a once-in-a-lifetime tale, simultaneously intimate in its detail and grand in its scope. Miguel Angel De La Cruz, aka “Big Angel,” is dying. The beloved and rapidly declining patriarch of the De La Cruz clan, he assembles his relatives for a final, epic birthday bash. Days before the party, however, his mother, nearly a hundred herself, passes away, resulting in a hefty farewell fete. Over the course of one weekend, the family members reminisce under the San Diego sun and stars, sharing stories about growing up in Mexico, leaving Mexico, and making a home in the U.S.

No matter where you live, whether you were born in the U.S. or grew up elsewhere, this affectionate, passionate, flawed family will likely remind you in some way of your own. And novels like THE HOUSE OF BROKEN ANGELS—offering clarifying insight into the daily lives, the trials and triumphs, of Mexican-Americans—are especially needed today. We believe it’s a beautiful masterwork worthy of your close attention, and look forward to touching base with you about it in the near future.

PRAISE

“The House of Broken Angels has everything we demand of a great novel—sweep, ambition, generosity, myth, intimacy, and, above all, humanity. Luis Alberto Urrea just gets better and better.”
—Richard Russo, Pulitzer Prize–winning and New York Times bestselling author of Everybody’s Fool

The House Of Broken Angels PDF Free Download

“Luis Alberto Urrea is a master storyteller, and he delivers a masterwork with The House of the Broken Angels . . . Through the magical power of Urrea’s writing, we become healed and whole. And we laugh and tear up and shake our heads in wonder all the way to the ending of a book we don’t want to end. Urrea delivers on every page”
—Julia Alvarez, author of How the Garcia Girls Lost Their Accents

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From Luis

Dear Literary Companion,

When my eldest brother was in the last month of a terminal disease, he had to bury his own mother. Her funeral happened to be on the day before his birthday. He knew it was to be his last, though I believe he kept that certainty to himself. One of his army of grand-daughters had urged the family to give “Pops” a blow-out party, the kind of ruckus he would have delighted in during better days. And we did. And he did. Everyone was aware that this was a farewell, but hey–we’re Mexican: some curandera or angel or UFO pilot could descend during the cutting of the cake and heal him.

His name was Juan. He was whittled down in size, but not in ferocity or presence; he burned with light and good humor. The party, a living wake, was astonishing. Around every corner, there seemed to be a remarkable scene of comedy or tragedy. Avalanches of food. Storms of music. Generations come to bend a knee and thank this man for his 74 years of life. Juan sat in his wheelchair in the middle of this swirl of bodies and stories and behaviors–some of them glorious in their inappropriateness–like some king. Which, of course, he was.

Within a month, he was gone, and we were back to bury him.

This book, then, is inspired by a deeply personal experience. But it was also always my intention to take the story of the American borderlands, and of Mexican-American families, out to the larger world. Let me explain. I first read Mario Puzo on a Mexican bus. I had been born on the border and spent much of my boyhood in Tijuana (the rest in San Diego), but this was my first foray into deep Mexico. I was traveling with my father, who handed me a paperback of The Godfather and told me it would change my life forever. It was his favorite American book,