A few months ago we posted about the University of Texas Press’s decision to relaunch its Latin American literature in translation series. (And at some point soon we’ll have a full review of the first new title in the series, And Let the Earth Tremble at its Centers by Gonzalo Celorio.)
Well on Friday I found out that Texas Tech University Press is taking over The Americas series, which Irene Vilar launched at the University of Wisconsin some years ago. Irene is a successful author in her own right (The Ladies’ Gallery was translated by Gregory Rabassa to critical acclaim and her new memoir, Impossible Motherhood, will be out from Other Press later this year), and has put together a killer advisory board and is relaunching the series with a number of interesting titles.
Up first is David Toscana’s The Last Reader (translated from the Spanish by Asa Zatz), which releases in October and sounds interesting:
In tiny Icamole, an almost deserted village in Mexico’s desert north, the librarian, Lucio, is also the village’s only reader. Though it has not rained for a year in Icamole, when Lucio’s son Remigio draws the body of a thirteen-year-old girl from his well, floodgates open on dark possibility. Strangely enamored of the dead girl’s beauty and fearing implication, Remigio turns desperately to his father. Persuading his son to bury the body, Lucio baptizes the girl Babette, after the heroine of a favorite novel. Is Lucio the keeper of too many stories? As police begin to investigate, has he lost his footing? Or do revelation and resolution lie with other characters and plots from his library? Toscana displays brilliant mastery of the novel—in all its elements—as Lucio keeps every last reader guessing.
Other forthcoming novels in the series include Breathing, In Dust by Tim Z. Hernandez, Symphony in White by Brazilian author Adriana Lisboa (and translated by Sarah Green), and Chango, the Baddest Dude by Colombian author Manuel Zapata Olivella (and translated by Jonathan Tittler). All of these sound really interesting—especially the Lisboa. She was selected by the organizers of the Bogota World Book Capital as one of the thirty-nine highest-profile Latin American writers under the age of thirty-nine, and she also won the Jose Saramago Fiction Prize for Symphony in White.
More importantly, it’s great to see this series coming back to life, and to see Texas continue to be one of the hotspots for translation.
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .