Whenever I read a novel about immigration, I recall a scene from the 2006 Italian film Nuovomondo (released as Golden Door in English). At the turn of the 20th century, a young Sicilian woman who will soon marry a “rich American” presents two postcards, supposedly from the United States, to a village elder. The first depicts a man holding a wheelbarrow that contains a massive onion, so large that it dwarfs both the wheelbarrow and the man. The second postcard displays a tree that is bursting with coins, as if money is sprouting from the branches. Convinced that these images faithfully represent America, a group of villagers sets off for the New World.

Many immigrant novels contain similar scenes, in which hapless characters embrace improbable visions of America, only to be chastened upon

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