It’s always sad to find out that one of your authors has passed away, especially someone as nice as Juan Gelman.
As Kaija pointed out upon hearing about his death, the one really great thing is that he was able to finally—after post office issues, bad addresses, and a host of other nineteenth century problems—able to get copies of his collection Dark Times Filled with Light before he passed on.
Below you’ll find more information about his life, but if you want to check out his poetry (in Hardie St. Martin’s wonderful translation), you can get 50% off the list price on our site by entering the code “darktimes” when you check out.
Here’s a bit from the BBC obituary:
Argentine poet Juan Gelman has died aged 83 in Mexico City. He is considered to be one of the greatest authors in Spanish and was awarded the prestigious Cervantes Prize in 2007.
Mr Gelman, a left-wing activist and a guerrilla in Argentina in the 1960s and 1970s, lived in Mexico for 20 years.
He wrote more than 20 books and regular columns for newspapers.
His son and his pregnant daughter-in-law died after being abducted by the military government in the 1970s. [. . .]
But in 2000, he was also able to trace his granddaughter, born before Maria Claudia’s presumed murder. The child had been handed over to a pro-government family in Uruguay.
The reunion was one of the most high profile involving disappeared people in Argentina’s history – fewer than 600 victims of the 1976-83 “dirty war” have been found.
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. . .