As we mentioned a couple Fridays ago, we’re going to spend the next 16 days highlighting all of the authors selected for Granta’s _“Best of Young Spanish-Language Novelists” special issue. All past and future posts related to this issue can be found by clicking here.
Today’s featured author is Oliverio Coehlo, one of the eight (!) Argentine authors included in this issue.
At the Frankfurt Book Fair a couple of years back, the Fundacion TyPA gave away special “30 Great Authors from Argentina” brochure/booklets as a way of promoting contemporary Argentine writing. We wrote abou this at the time, in part because the product was so damn slick, and also because it’s a great way to find out about new Argentine authors.
Oliverio Coelho was one of those 30 great authors, and Natural Promises, the title of his that’s featured is the third part of his dystopian trilogy and sounds pretty strange and interesting:
Oliverio Coelho’s literature explores a possible future world, a sort of nightmare where humanity is menaced by mutations that bring us fully back to the animal world. The government establishes the right to live and reproduce, thus setting strict limits to this humanity. Huge sections of the population are driven away; they join with the unstable masses of subhuman hordes — the ilots — that fight for survival. Bernina, the protagonist, moves in this parallel territory, carrying along a puppet in a suitcase and a mutant child in her belly. Natural Promises is written in a strange language, still recognizable, but where words seem slightly out of focus, aloof from what they are naming. In this way, the author joins an area of contemporary narrative which is highlighted by the creative power of books like Emma, la cautiva (Cesar Aira), Lost acuaticos (Marcelo Cohen) and Riddley Walker (Russel Hoben).
There’s a lot of literary post-apocalyptic books coming out these days (The Passage, Super Sad True Love Story, Oryx and Crake, etc.), and to be honest, I’ve been going on a bit of a bender reading these . . . So hopefully these books will eventually make their way into English—with comparisons to Aira, Cohen, and Hoben, this definitely sounds like something more experimental and weird (in a good way) that your run-of-the-mill science fiction.
And it does seem like Coelho’s work is striking a nerve—in Flavorwire’s piece on the 10 authors from this issue you should know, Coelho is the first one featured:
An active author, anthologist, and critic, Oliverio Coelho has received several literary awards and grants in his native Argentina and has participated in writing residencies as far as Mexico and South Korea. Three of his six novels comprise a futuristic trilogy — Los Invertebrables (2003), Borneo (2004), Promesas Naturales (2006) — in which humanity is plagued by subhuman animalistic mutations and reproductive regulations, but this imaginative approach to social engagement permeates all of his work. Coelho’s literary criticism also appears in publications like El País, La Nación, and Perfil, and he covers news within the publishing industry for the magazine Los Inrockuptibles.
(Digression: I’m not going to complain much about the 10 authors Flavorwire chose for this particular post—although leaving off Zambra personally irks me—but their lists have become so incredibly unimaginative that I only tend to read them when I want to get all fired up about something. This is a good case in point. It’s not that the lists are bad, it’s just that they’re predictable, and thus seem really uninspired. Flavorwire/Boldtype brands itself as being some sort of cutting-edge, in-the-know publication, but it reads as if they’re raiding the B&N front window for a sense of cool. OK, that’s going to far. But you get the point. Rant. Over.)
Anyway, the piece included in Granta is an excerpt from his forthcoming novel, Un hombre llamado Lobo, which doesn’t seem to have any obvious futuristic elements. Here’s the opening section:
A dilapidated bus, which thirty years earlier had probably been a luxurious long-distance vehicle with reclining seats, pulled up to the stand. A handwritten piece of paper taped to the inside of the windscreen said ‘Balcarce’. Iván hurried up the steps and stretched out on the back seat. He turned his head and observed a luminous burr, a sun enlarged or deformed by the dirty rear window. His heart beat loudly, his throat contracted, he felt as if he hadn’t slept for days and would never be able to fall asleep again. A sudden certainty calmed him: if he found his father, perhaps some woman would be able to love him in the future; perhaps he’d lose what his grandmother attributed to a curse but was simply an orphan’s foreboding shyness. He felt the kind of momentary relief some prisoners on death row must get by cherishing the hope that their sentence will be reprieved at the last moment.
And so, wooed by faith, he slept until the bus arrived at San Manuel. He woke up automatically and walked up the aisle to the driver. The main street of the town was full of speed bumps and he hit his head on the handrail a couple of times.
‘Is this San Manuel?’ he asked, looking out of the window at the old-fashioned buildings of a ghost town beside the railway tracks.
‘This is it.’
‘Where’s the centre?’
‘It’s nothing but centre . . . San Manuel ends at the end of the boulevard, where the tracks are. I turn round here. Where are you going?’ and he began turning the bus around.
‘I don’t know, I’m looking for someone . . .’ and he immediately thought how simple his adventure would be if he hadn’t lost his father’s address.
Over at Granta‘s website (where you can subscribe and receive a free copy of this special issue), there’s a post by Christopher Coake, Best Young American Novelist 2007, about this story. It’s a nice piece that calls attention to a pretty great phrase:
Oliverio Coelho’s novel excerpt ‘After Effects’ is as subversive and heartbreaking an examination of love as any reader could hope for. A young man, Iván, takes a bus to the dusty village of San Manuel, in order to surprise the father he has never known. A momentous journey, for certain, but for Iván the stakes are greater even than we might expect – while he waits for the bus to leave the station, ‘A sudden certainty calmed him: if he found his father, perhaps some woman would be able to love him in the future . . .’ Thus assuaged, he sleeps peacefully, ‘wooed by faith.’
‘Wooed by faith.’ It’s such a small phrase, almost a throwaway—and yet its mystery ripples across these pages. Coelho, here, is less concerned with the physical search for Iván’s father (though he is easily found) than in presenting the quest as a spiritual crisis.
Tomorrow: Alejandro Zambra.
And don’t forget, get this issue for free by subscribing to Granta.
Today Granta announced the twenty-two young Spanish Novelists that will be in the ‘Best of Young Spanish-Language Novelists issue, which is coming in November. The list (which you can see in full below) has two exciting surprises for us. First, our own Alejandro Zambra was named to the list! The issue will feature an excerpt from his forthcoming novel Formas de volver a casa, which I can’t wait to read.
The other surprise was that Samanta Schweblin, Santiago Roncagliolo, Oliverio Coelho, Federico Falco, and Antonio Ortuño are also on the list. Next year (I hope it’s ready by next year, that is), we’re publishing an anthology of short fiction by young Latin American writers called The Future is Not Ours, which was edited and collected by Diego Trelles Paz (here’s a piece he had in n+1 recently). Schweblin, Roncagliolo, Coehlo, Falco, and Ortuño are all in the anthology.
(Excuse us for a moment while we feel fancy for being the publisher of six of the twenty-two Best Young Spanish-Language Novelists.)
To celebrate, we’re knocking 30% off the cover price of Alejandro Zambra’s The Private Lives of Trees. For a limited time (saying that makes me feel so marketing-y), you can get it for $8.99 from our online shop.
Here’s Granta’s blog post that announces the list (followed by the whole list):
Granta’s Best Young Novelists issues have been some of the magazine’s most important – ever since the first ‘Best of Young British Novelists’ in 1983, which featured stories by Salman Rushdie, A. N. Wilson, Adam Mars-Jones and Martin Amis. There have since been two more Best of Young British Novelists lists, in 1993 and 2003, and lists for American novelists in 1996 and 2007. The titles have become milestones on the literary landscape, predicting talent as much as spotting it.
Today, Granta takes a new step in this tradition: our first-ever Best of Young Spanish-Language Novelists issue. It will be published first in Spanish as Los mejores narradores jovenes en español and the English edition will follow, coming out on 25 November. The twenty-two writers on the list have been chosen by a distinguished panel of six judges: Valerie Miles and Aurelio Major, editors of Granta en español; Guatemalan-American novelist Francisco Goldman; Catalan critic, editor and author Mercedes Monmany; British journalist and ex-Latin American correspondent Isabel Hilton; and Argentinian writer and film-maker Edgardo Cozarinsky. To be eligible, the writers had to be born on or after January 1, 1975.
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .