I recently came across this website and it is unlike anything I imagine exists in the US. The Buenos Aires government, along with other European and Latin American cities, has a specific department for the development and preservation of the arts. Part of their work is the creation of The Buenos Aires Audiovisual Archive of Writers, a center in both the physical space of the city and in cyberspace.
The site offers a ton of information about Argentinean writers and the literary scene in Buenos Aires. I suggest browsing the section of probably fifty writers’ top ten books as well as their Quicktime snippets about why they choose each book. The writers appear to be in their own personal libraries or living rooms as they discuss their favorite works.
For Spanish speakers these are interesting little videos but for English speakers, click the British flag in the corner of the home page for an English translation of the entire website. While they don’t dub the video clips into English or add subtitles, the rest of the website has a lot of useful information about writers in Latin America.
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. . .
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. . .
“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. . .
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”. . .
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. . .
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. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .