Julia Haav is a publicist for Europa Editions and is completing a master’s degree in the humanities, with a focus on contemporary Latin American literature, at NYU. I also believe she’s one of my newest GoodReads friends, and she’s the author of a very interesting piece on five Latin American books about Germans.
Ena Lucia’a Portela won the 2002 Jaen Prize for this book and is the author of several other works of fiction. I’m not usually a blurb man (jesus that sounds dirty), but the praise on this book is stunning. Esther Allen, Natasha Wimmer, and Jose Manuel Prieto all have amazing things to say about Portela and her novel. This line from Prieto might be the most laudatory: “Without doubt one of the best writers Cuba has produced in recent years.”
Anyway, here’s the opening of Julia’s review:
When Z. was a child in Havana she learned how to disassemble and reassemble the engines of classic American cars. Z., the narrator of Ena Lucía Portela’s One Hundred Bottles, describes this skill as the most useful thing she knows, and her aptitude at the art of reconstruction is made beautifully clear in this compact but panoptic portrait of modern Cuba in crisis. One Hundred Bottles is a novel about novels and novelists, and about a writer’s duty to deconstruct and rearrange prevailing systems. More specifically, it is a novel about two writers living through The Special Period of the 1990s, when the collapse of the USSR, and the cessation of Soviet petroleum imports, led to a devastating economic collapse.
Z., who narrates in a conversational and colloquial monologue, is an overweight twentysomething at work on an unnamed book. She lives in a single room in a decrepit mansion that has become overrun with migrants from the countryside and their unruly pets. Named after Tchaikovsky’s code letter for homosexuals, Z. is the unlikely product of a Parisian mother who died in childbirth and an openly, and flamboyantly, gay Cuban father who long ago left for San Francisco. Enmeshed in an abusive relationship with Moisés—a man so terrible he seems to be both misogyny and misanthropy incarnate—she is at once always and never alone. Her sharp but caustic best friend Linda tells Z. that her place in life is the same as her place in the alphabet.
Linda, it just so happens, is also at work on a book, about a double homicide, called 100 Bottles on the Wall.
Click here to read the full piece.
Though far from the most convincing reason to read literature in translation, one common side effect is learning of another culture, of its history. Within that, and a stronger motivation to read, is the discovery of stories not possible within. . .
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .
“What if even in the afterlife you have to know foreign languages? Since I have already suffered so much trying to speak Danish, make sure to assign me to the Polish zone . . .”
So reads a typical aphoristic “poem”. . .
If you somehow managed to overlook the 2012 translation of Andrés Neuman’s breathtaking Traveler of the Century (and woe betide all whom continue to do so), you now have two exceptional works of fiction from the young Argentine virtuoso demanding. . .