8 August 11 | Chad W. Post

The latest addition to our Reviews Section is a piece by Sara Cohen on Lucia Puenzo’s The Fish Child, which is translated from the Spanish by David William Foster and available from Texas Tech as part of The Americas series.

We’ve written about The Americas series before, but if you’re not already familiar with this, it’s a special literature series edited by Irene Vilar that was once housed at the University of Wisconsin Press and is now published by Texas Tech University Press. The focus is on Spanish and Portuguese literature from south of our border, and includes works from Moacyr Scliar (who will be featured in the Read This Next program in the near future), Ernesto Cardenal, and David Toscana. It’s a really great—and attractively produced—series.

Lucia Puenzo was selected by Granta as one of the “Best of Young Spanish-Language Novelist” for their special issue that came out last fall. As a result, we did a special piece on Puenzo as part of our 22 Days of Awesome series.

Anyway, as mentioned in that post—and in Sara’s review—Puenzo is not just a novelist, but also a filmmaker. In the Granta-related post, we included the trailer for XXY, so this time, here’s the trailer for The Fish Child, a “gripping tale of forbidden lesbian romance and a crime heist gone awry that boasts beautiful cinematography and electrifying performances from its two female leads.”


http://www.rochester.edu/College/translation/threepercent/index.php?id=2995

Sara Cohen is interning here this summer, and along with mailing her other internish duties, she’s been writing reviews of some of these Texas Tech books.

Here are four things you should know about The Fish Child:

1.) The novel is sensual, crude, vibrant and unyielding.
2.) The protagonists, Lala and Guayi, are the sort of characters who make dangerous, fascinating mistakes.
3.) Puenzo, born in Buenos Aires, directed a film adaptation of The Fish Child that premiered in Berlin. So this story has traveled all around the world before it’s finally been brought to print in the U.S.
4.) The Fish Child is narrated by the family’s pet dog.

If that last item threw you off, that’s okay. The canine mindset is a bit alienating in both theory and practice. Just look at the novel’s opening paragraph:

“It could have been worse, believe me. It took them a day to make up their minds. Prodan. Saumerio. Violeta. I imagined myself going out into the world like Violeta and I peed my pants hiding in corners. Let’s see if you get me: I’m black, macho and bad. No matter how I look right now, with tubes coming out of me, on the verge of being dead meat. It was an accident, something that could happen to anyone. And what they’re saying is not true: I’m not stupid, just curious. If I see something moving beneath the leaves…I bite. Sorry, I digress, I know…it isn’t easy when Lala caresses me this way. And it doesn’t look good, a dying dog with an erection.”

Puenzo’s narrating mutt (ultimately christened Serafín) allows the reader a unique view of the world. Characters, setting and plot are presented free of the standard censorship of “polite” society. The result is a gritty, sensual narrative voice that, along with a tight sense of storytelling, makes this novel impossible to put down.

Click here to read the entire review.


Comments are disabled for this article.
....
Fear: A Novel of World War I
Fear: A Novel of World War I by Gabriel Chevallier
Reviewed by Paul Doyle

One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .

Read More >

Little Grey Lies
Little Grey Lies by Hédi Kaddour
Reviewed by P. T. Smith

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. . .

Read More >

Autobiography of a Corpse
Autobiography of a Corpse by Sigizmund Krzhizhanovsky
Reviewed by Simon Collinson

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. . .

Read More >

A Musical Hell
A Musical Hell by Alejandra Pizarnik
Reviewed by Vincent Francone

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. . .

Read More >

Astragal
Astragal by Albertine Sarrazin
Reviewed by Tiffany Nichols

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. . .

Read More >

Live Bait
Live Bait by Fabio Genovesi
Reviewed by Megan Berkobien

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. . .

Read More >

The Skin
The Skin by Curzio Malaparte
Reviewed by Peter Biello

“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. . .

Read More >

Love Sonnets & Elegies
Love Sonnets & Elegies by Louise Labé
Reviewed by Brandy Harrison

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”. . .

Read More >

Conversations
Conversations by César Aira
Reviewed by Tiffany Nichols

In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .

Read More >

Nothing Ever Happens
Nothing Ever Happens by José Ovejero
Reviewed by Juan Carlos Postigo

You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .

The narrative history of. . .

Read More >