In one of my Frankfurt posts I mentioned the 30 Great Authors from Argentina (warning—pdf file) “brochure” that the Fundacion TyPA put together to help promote writers who had yet to be translated out of Spanish.
It’s hard to describe this elegant, unique brochure (more like oversized trading cards in a box than a printed brochure), but some (poor quality) pictures might help:
It’s really cool that TyPA decided to feature only authors who hadn’t been translated. Sure that leaves out some great contemporary writers (in the intro they mention Cesar Aira, Martin Kohan, and Alan Pauls), but brings attention to authors most editors otherwise wouldn’t hear about, such as Eduardo Muslip, Oliverio Coelho, and Carlos Gamerro. (Descriptions of their novels can be found in the pdf version of the brochures.)
There were three books that really caught my eye:
The No Variations by Luis Chitarroni (Interzona, 2007): “In this book—one of the most complex and challenging texts of Argentine literature in recent years—the Borgesian themes of erudition, tradition, and consecraton are sent through the shredding machine. The result is a ‘novel’ made up of diaries, notes, forgetfulness, articles, and poems created by writers invented by the author.”
Apex by Gustavo Ferreyra (Sudamericana, 2004): “The city—Buenos Aires—emerges slowly in this novel, and it is the city we deserve, the novel-city of the present. Action and geography seem to walk together and, sometimes, join efforts to keep the characters of the story apart, missing each other in the places where they should have met. And the other way around. In this way, we—the readers—can discover details that a more general view would never show us. Up close, Apex seems to say, every act is a criminal act; up close, every fictional character is a monster.”
Neon by Liliana Heer (Paradiso, 2007): “Neon, a wonderful example of this century’s expressionism, invites the reader to delve into the fundamentals of power. In this novel three characters recreate humanity in Kafka’s style. Evil is shown from different points of view, in relation with an inheritance, with repression, with racial prejudices, and with some humorous lines that balance on the edge between madness and reason, justice and injustice, man and animal. And above all towers an erotic scene that is the leitmotiv of the whole story . . .”
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. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .