As we mentioned a couple Fridays ago, we’re going to spend the next 11 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.
This post marks the half-way point in our “22 Days of Awesome” series . . . It’s an interview of Argentine writer Patricio Pron conducted by Emily Davis. Enjoy!
If you flip through Granta’s new “Best of Young Spanish-Language Novelists” issue, you’ll see a photo of Argentine writer Patricio Pron above a paragraph that begins “At the age of twenty-eight, Pron learned how to ride a bicycle through the snow in Germany, the country where the majority of his favourite childhood authors were born.” Even his biography reads as literature. And when his new story published in this issue is called “A Few Words on the Life Cycle of Frogs,” how can you not turn the page and keep reading?
Here is a taste of the story, translated by Janet Hendrickson.
My situation was relatively different from that of the other writers from the provinces who regularly arrived in the capital, like insects that assault a cadaver and eat it and lay their larvae inside and so obtain some life from death. I hadn’t left any cadaver behind; I had some money and a few assignments — I was a journalist, a relatively bad one but for some reason in demand — and besides, I had a place to sleep. An apartment, I supposed, where I would write my first truly cosmopolitan works, insufflated with an air that I believed only blew in the capital, which for its part bragged about the quality of that air. Naturally, I was an imbecile or a saint.
At that time I wrote stories that were more like farces, stories that were dumb and sadly ridiculous. In one, a boat caught fire along the coast of a city, and its residents gathered to contemplate the spectacle and did nothing to help the crew because the spectacle was so beautiful, and so the boat sank and the crew members died, and when the only survivor of this disaster made it to the coast and asked for help, the city’s inhabitants beat him for ruining the spectacle. In another story, a horse appeared which had been dressed like a man so that he’d be allowed to travel on a train; part of its education took place on this long train trip, and when the train finally reached its destination, the horse — which had somehow learned to talk — demanded to be called ‘Gombrowicz’ from this point forward, and he wouldn’t let himself be saddled; I still don’t understand what I wanted to say by that. I’d also written a story about this guy who invited a girl he liked on an outing to the countryside, but then the girl constantly changed the radio station in the car and ate with her mouth open and did things that made this guy think he could never declare his love to her and maybe it was better that way, and I think everyone died at the end in an accident or something like that. In that story I’d tested my talents for comparison and simile; I’d written things like, ‘He and she had never seen each other before. They were like two little doves that had never seen each other, either’; and ‘The boat peacefully steered itself towards the still pool, just like a car driven by a madman heading towards a group of children.’ Those were the things I was writing: occasionally, certain people have inferred an unambiguous relationship between a person’s imaginative capacity and the quality of his or her fiction, but they leave out the fact that imaginative excess can have catastrophic results for the quality of what one writes, and still, that imaginative capacity is indispensable to every writer’s beginnings; it gives him breath and sustains him and makes him believe that his errors are correct and that he is or can be a writer. Well, I had too much imagination during that time.
The dry and self-deprecating humor here is perfectly tuned (and the backhand pun on Buenos Aires? golden), and the whole story is worth reading for Pron’s narrative voice that feels very genuine, in this piece falling somewhere between storyteller and essayist.
Today we also have a special interview with the author, so allow me to introduce him with a few biographical essentials. Born in Rosario, Argentina in 1975, Patricio Pron is a writer, translator, and critic currently living in Madrid. He earned his doctorate in Romance Philology from the Georg-Autust University in Göttingen, Germany. His three volumes of short stories and four novels include El vuelo magnífico de la noche (2001), Una puta mierda (2007), El comienzo de la primavera (2008) and El mundo sin las personas que lo afean y lo arruinan (2010). He was kind enough to answer our questions about his latest work, the Granta honor, and what it’s like to be a critic and a translator well as a creative writer.
Emily Davis: What does it mean to you to be named one of the best young Spanish-language novelists by Granta?
Patricio Pron: Naturally it is a pleasure, besides being a bit of good news in a year that, at least for me, has been especially generous with good news.
ED: Where did the desire to become a writer come from?
PP: Perhaps from the same place it always does, from the perception that there was something that existed that had not yet been said and that I could say, and from the conviction that I knew how to say it.
ED: Do you have a favorite writer from among the others on the new Granta list?
PP: Yes, I am especially interested in the work of Alejandro Zambra.
ED: What writers have influenced you?
PP: A good hundred living writers and a similar or greater number of dead writers.
ED: You’ve said before that you were influenced by German writers. And the experience itself of having lived and studied in Germany, does that figure in your work in some way?
PP: Yes. My last two books (El comienzo de la primavera and El mundo sin las personas que lo afean y lo arruinan) feature that German experience as a theme, but perhaps the more visible influence of that experience is in the separation that formed there between literary language and everyday language. There was an acceptance of literature as a labor of exploration in language aimed at creating for me and for my books a personal idiom, halfway between Spanish and the other languages that I speak.
ED: Many people are either critics who do not write, or writers who do not practice criticism. What is it like to practice both professions? Does one influence the other, do they complement one another, or do they oppose each other?
PP: Both experiences complement one another well, contrary to what people usually say, since a great number of writers are also readers and we have opinions about what we read. Not all writers read, however (and we may blame that for the worst calamities of recent literature, including literature written in Spanish by writers under thirty-five years old), but those who do, do not see any obstacle to talking about what we read, in particular if we are talking about books that contribute beauty and sense to a world that tends to be lacking in both.
ED: How did you come into a translation career as well? Do you work with a certain metaphor that describes your own way of approaching the act of translation?
PP: My wish when I began working as a writer was basically to act as a bridge between literature in German and literature in Spanish, as a way to enrich as much as possible both literary traditions. I don’t have any specific metaphor to describe what I do when I translate, except maybe that I act as a ventriloquist, making others speak with a voice that is mine.
ED: Your new story, “A Few Words on the Life Cycle of Frogs,” is it autobiographical at all?
PP: Yes. Not exactly in its plot, which is imaginary, but yes with regard to the narrator’s opinions about literature, and to the question that permeates the entire story of why and from where the young writers in Spanish come from, and about what it’s like to become a writer based on interpretation, and the undesirable but at the same time also inevitable misinterpretations of the works of writers that we love.
ED: What are you working on now?
PP: Right now I am taking notes for an extended essay, to be published probably in 2012. In May 2011 my new novel El espíritu de mis padres sigue subiendo en la lluvia will be published in Spain. Faber & Faber will publish it in the UK, and Knopf in the US. Around that same time, a personal anthology of short stories called Trayéndolo todo de regreso a casa. Relatos 1990-2010 will appear in South America.
Don’t forget that if you subscribe now, the good folks at Granta will throw in a copy of this special issue for free . . .
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.
E.J. mentioned this earlier, but now that we actually have a physical issue in hand, I thought I’d add a bit of information.
As noted in the earlier post, this issue of Zoetrope: All-Story is dedicated to contemporary Latin American writers. All of the writers included in this issue are under 40 (born post-One Hundred Years of Solitude) and the vast majority have never been published in English translation.
From the introduction by Daniel Alarcon and Diego Trelles Paz:
The view of Latin American letters, at least in the United States, has sorely needed an update for quite some time. Magical realism has been one of Latin America’s most profitable exports for many years, operating as the prevailing commercial literary mode long after outliving its usefulness. Gabriel Garcia Marquez’s One Hundred Years of Solidtude (1967) and Love in the Time of Cholera (1985), two books we would describe—without exaggeration—as perfect, served as precursors to an unfortunate string of imitatons, novels that combined a little magic, a little folklore, and a few miraculous recipes in entirely predictable formulas, creating an exotic, unrealistic, and ultimately damaging vision of Latin America. Perhaps the most dispiriting consequence of this stylistic hegemony is that so many other worthy writers have received less attention than they deserve. Giants like Jorge Luis Borges and Mario Vargas Llosa are widely celebrated, though not widely read in English—to say nothing of Juan Carlos Onetti, Juan Rulfo, Clarice Lispector, Julio Cortazar, or Manuel Puig. In this context, the recent canonization of Roberto Bolano in the United States and around the world is a truly welcome development, which we hope will lead to greater interest in not-yet-famous and emerging Latin American writers.
To that end, they included a diverse list of authors from a range of countries, including: Carolina Sanin (Colombia), Ronaldo Menendez (Cuba), Ines Bortagaray (Uruguay), Rodrigo Hasbun (Bolivia), Alejandro Zambra (Chile), the late Aura Estrada (Mexico), Slavko Zupcic (Venezuela), and several others.
A quick word about the design: Zoetrope is always beautiful, but this time they outdid themselves. The paper so supple, and I really like the inclusion of the original Spanish version of the stories in the back on blue-tinted paper. Filmmaker Guillermo del Toro was the guest designer and interspersed throughout the issue are wonderful full-color sketches from his notebook.
You can order a copy (and find out more about this issue) by visiting the Zoetrope: All-Story website.
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In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
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They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .