Over the past few years, New Directions has put together what is arguably the best collection of contemporary Latin American literature available from any single publisher. Sure, there’s the heaps of Bolano titles. But there’s also Cesar Aira. And Horacio Castellanos Moya. There’s Guillermo Rosales’s The Halfway House. Ernesto Cardenal’s poetry collection. The two Luis Fernando Verissimo books. Felisberto Hernández and Julio Cortazar’s Final Exam. The reissues of the Borges titles. One could do a lot worse than spend a few months with the Latin American section of the ND catalog . . .
And now comes Evelio Rosero’s The Armies, the translation of which—as Dan mentions in his review—won Anne McLean her second Independent Foreign Fiction Prize earlier this year.
Dan Vitale—reviewer, writer, and editor—has a lot of great things to say about The Armies and its translation in his review:
Anne McLean’s translation of Colombian novelist Evelio Rosero’s The Armies is the winner of this year’s Independent Foreign Fiction Prize, given by Great Britain’s Independent newspaper to honor excellence in translated works of fiction published in the UK. (It’s McLean’s second nod from the The Independent in five years: she also won the prize in 2004 for her translation of Soldiers of Salamis by Javier Cercas.)
New Directions has now released The Armies in the U.S. The novel—to my knowledge, the first by Rosero to be translated into English—is a deceptively calm, at times even placid look at a staggeringly violent subject: the perpetual atrocities being committed against human life and dignity by the combatants in the seemingly endless civil war in Colombia. Rosero’s ability to write so plainly about such horrors gives the book an unearthly aspect, as if its setting, the town of San José, were as bleak and forbidding as the post-apocalyptic landscape of Cormac McCarthy’s The Road, or the unnamed city in José Saramago’s Blindness whose inhabitants all lose their sight. The residents of San José, too, will become crippled, although by forces entirely human and familiar: the murderous bands of warring forces referred to throughout the novel only as “soldiers,” “guerrillas,” or “paramilitaries.”
Rosero’s narrator, Ismael Pasos, is a retired schoolteacher married to Otilia, also retired from teaching. Two years before the present action of the novel begins, the church in San José is dynamited, leaving fourteen dead and sixty-four wounded. As the novel opens, the town is again relatively quiet, but the small compass of Ismael and Otilia’s world soon starts to be affected by random violence: the mutilated corpse of a newborn has been discovered in a rubbish dump. Shortly afterward, Ismael and Otilia’s next-door neighbor Eusebio is kidnapped. The next day, while out for a walk, Ismael is detained by soldiers, and when he returns home, Otilia is gone. Ismael sets off to find her.
Click here for the full review.
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .