Mario Benedetti is a name seldom recognized in the United States, but lasting memory and love of the writer’s prolific career maintains his popularity in Latin America. His multifaceted talent over language produced a dizzying eighty published books, writing as a poet, short story writer, novelist, critic, journalist and political activist. Born in Uruguay in 1920 and coming of age in Montevideo, the nations largest city and capitol, he lived during a period of economic success and social liberty that his neighboring country’s failed to maintain. This milieu left its mark on his writing, manifesting a distinctly urban voice that captures the often isolated existences that modern cities have produced. He explored characters and environments of social and political repression that stemmed from the plights of Uruguay’s neighboring countries and later its own military dictatorship which forced him into exile in 1973. Whether his narrations embody embittered lovers, pets, or fragmented psyches eager for attention, Benedetti’s origins as a poet penetrates his short stories with lucid descriptions that illuminate his often bleak landscapes. From “Forgotten Memories”:
Fernando is sweet and his weight doesn’t weigh on me his bones fit into my sockets and I clearly see the juicy sadness of being happy not like with Eduardo of course because this heavenly bliss is also part of my grief this apex also part of my ruin but the body is pragmatic and saves us saves me through pleasure like this one that now penetrates me saves us though the tongues that communicate and console our loneliness purifies us in the lament that is an appeal and is a response and thus I come and go and you come and go Fernando in my ego your home your birthplace your bed tell me again Lucía because with your clamor you give me my identity you give me my body give me my nature you give me you give me oh how much you’ve giving me Fernando Eduardo Fernando Eduardo Fernando Fernando Fernando I exist again.
The Rest Is Jungle and Other Stories (recently published by the admirable Host Publications) offers a rare survey of the author’s short stories that spans over fifty decades of work. The stories collected act as vignettes that offer the reader brief perspectives of the many unremarkable lives of many of Uruguay’s urban citizens. In works such as “The Iriarte Family” Benedetti shows the life of a secretary’s febrile romanticizing of a female’s voice and the subsequent disintegration of his real life relationship. His character’s are repeatedly confronted with outcomes that contradict what they thought they originally desired.
Later stories reflect the author’s exile, evoking voices from the previous generation’s émigré writers such as Nabokov and Bunin. In “Completely Absent-Minded” an exiled politician’s dazed wayfaring across Europe brings him unexpectedly back to his home country, where he is quickly arrested. Benedetti’s voice shifts from the expository urban observer to a ruthless dissector of individual’s morals that passively accept their government’s yoke. Stories such as “Listening to Mozart,” “Nineteen” and “Answering Machine” expose cases of loyalty motivated by fear and self-preservation. From “Listening to Mozart”:
Sometimes, you too interrogate without conviction, and if you use electric shock, that’s precisely the reason why; because you don’t have any confidence in your own line of reasoning, because you know that no one is suddenly going to turn into a traitor just because you evoke the fatherland or curse at them.
Benedetti’s fearless writing chronicles a dark period in Latin American history, one where loved ones would disappear over night, never to be seen again. This collection, however, also resonates with the author’s desire to speak of love and our need for one another despite the estranged natures that society and politics cultivates in us. He explores the lines between public and private lives, illuminating our curious passions with a sense of irony, humor and gravity. The Rest Is Jungle affords a great introduction into the provocative career of one of Latin America’s most beloved authors.
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
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!. . .