{"id":424542,"date":"2019-08-28T09:00:27","date_gmt":"2019-08-28T13:00:27","guid":{"rendered":"http:\/\/www.rochester.edu\/College\/translation\/threepercent\/?p=424542"},"modified":"2019-08-28T15:59:31","modified_gmt":"2019-08-28T19:59:31","slug":"cars-on-fire-by-monica-ramon-rios-excerpt","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2019\/08\/28\/cars-on-fire-by-monica-ramon-rios-excerpt\/","title":{"rendered":"“Cars on Fire” by M\u00f3nica Ram\u00f3n R\u00edos [Excerpt]"},"content":{"rendered":"

Now you’re really getting to preview our books . . . Although\u00a0<\/em>Cars on Fire<\/a>\u00a0by M\u00f3nica Ram\u00f3n R\u00edos<\/a>, translated from the Spanish by Robin Myers, is available for preorder from various online retailers, we don’t even have this book up on our website yet<\/span><\/em> and, as of yesterday, on our website<\/a> as well.<\/em> We haven’t even presented it at sales conference. But it’s coming out on April 14, 2020 and is an incredible collection of stories that are bold, feminist, edgy, sometimes rather experimental in form and content, and very thought provoking.<\/em><\/p>\n

\u201cWhen you live in an adopted country, when you\u2019re an exile in your own body, names are simply lists that dull the reality of death.\u201d<\/p>\n

Cars on Fire<\/i>, M\u00f3nica Ram\u00f3n R\u00edos\u2019s electric, uncompromising English-language debut, unfolds through a series of female characters\u2015the writer, the patient, the immigrant, the professor, the student\u2015whose identities are messy and ever-shifting. A speechwriter is employed writing for would-be dictators, but plays in a rock band as a means of protest. A failed Marxist cuts off her own head as a final poetic act. With incredible formal range, from the linear to the more free-wheeling, the real to the fantastical to the dystopic, Rios offers striking, jarring glimpses into life as a woman and an immigrant. Set in New York City, New Jersey, and Chile\u2019s La Zona Central, the stories in\u00a0Cars on Fire<\/i>\u00a0offer powerful remembrances to those lost to violence, and ultimately make the case for the power of art, love, and feminine desire to subvert the oppressive forces\u2015xenophobia, neoliberalism, social hierarchies within the academic world\u2015that shape life in Chile and the United States.<\/p><\/blockquote>\n

\u00a0 Here’s one of the stories from the opening section of the collection.<\/em><\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

“The Writer”<\/p>\n

I move in slender fog<\/em>
\nbut I still wear<\/em>
\nthe features of my face<\/em>
\n. . .<\/em>
\nand I answer to my name<\/em>
\nalthough I\u2019m someone else by now.<\/em>
\n\u00a0<\/em><\/p>\n

Gabriela Mistral, <\/em>\u201cDiscovery,\u201d Poem of Chile<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Before the writer died, she\u2019d held long meetings with her lawyers to discuss the possibility of being buried far from her country of origin with all the papers she\u2019d written and never published.<\/p>\n

One of the envelopes I\u2019d found on her nightstand, even before I realized that the body in the bed was no longer breathing, contained the signed papers. My name was written in trembling letters on another, smaller envelope with the unmistakable green ink she used to draft her manuscripts. Inside it was a long letter dated two days before. It explained why she felt it would do no one any good to read her old notebooks. They\u2019d only find her sorrows, her regrets\u2014not because her life had been dissatisfying, but because her papers were crammed with experiences that had plagued her repeatedly in the form of dreams, night terrors, or when she forgot to take her pills\u2014an empty medicine bottle on her nightstand\u2014even when the people involved were long dead. No one could possibly benefit from reading a compendium of humanity\u2019s most hideous features, which had pervaded the writer like fog.<\/p>\n

As she once read in a mediocre book\u2014her steady, uniform handwriting informed me that this was how she judged most of her contemporaries\u2014the passing of time was supposed to imply that one had acquired a certain wisdom in focusing on pleasurable things\u2014I could almost hear her say the words, her voice dense with sarcasm. Ever since she was a young woman, she had devoted her mind to resolving things that any reasonable person would dismiss as unimportant. But they reminded her that there was essentially nothing, deep down, to distinguish her from the gargoyles trapped in limbo between the St. Vitus Cathedral and the rest of Prague. Maybe this was only obvious to me because I\u2019d spent so many years helping her with her work and her personal affairs, years in which my own writing was starved of attention, withered by the emotional paroxysms that periodically disfigured the writer\u2019s face\u2014the scratch on my left cheek smarted at the sight of her lifeless nails peeking out from under the sheets. It wasn\u2019t that she\u2019d killed anyone\u2014with reference to the legal scandal that hounded Mario Vargas Llosa and Rub\u00e9n Santos Babel\u2014or that she\u2019d destroyed young female writers who wrote like her\u2014an allusion to the article she\u2019d written under a critic\u2019s pseudonym for several journals in her home country. What she meant is that she\u2019d let her nightmares ruin every moment of her life, every relationship, every place she\u2019d ever visited\u2014her complaints filled interminable paragraphs. I skimmed them. She hated people, she mistrusted them, and perhaps, the writer mused, her sole raison d’\u00eatre was to work out their basest inclinations, to fix a clinical eye on everyone who entered her field of vision. Where could this destructive instinct have originated, if she\u2019d had an idyllic childhood and the world rose up sweetly to meet her? Even at a very young age\u2014I remembered the time she\u2019d shoved that academic out of an elevator\u2014she couldn\u2019t stand places where people congregate: museums, concerts, parties, gatherings, offices, conferences, readings, houses, living rooms, hallways, public restrooms, and assembly halls. She didn\u2019t know how to behave among people she actually knew. She felt more comfortable as the eternal, ever-inaccessible foreigner. This was the source of her countless woes and afflictions, and it explained why she was always on the move.<\/p>\n

I thought I heard a sigh leave her body as it lay prone. Out of habit, I got up to check on her. I looked at her face for the first time since I\u2019d entered the room. Her eyes were half-open, her eyelashes metallic. Her skin had taken on the texture of drying wall sealant. Gum, I heard myself say, my voice a wispy thread.<\/p>\n

I opened the windows to air out the medicinal smell that had thickened during her dragged-out death throes, real or imagined. I sat down in an armchair to watch the sun shifting along the rug until it reached the foot of the bed and illuminated a delicate curtain of dust spilling down from the books on the nightstand.<\/p>\n

Sometime in her thirties, the writer had decided that the only way she could keep on living was to document her regrets in curt, precise, objective sentences. Attaining this literary distance from her own memories, the writer continued, her penmanship listing forward into dramatic peaks, was the only way she could forget. The bookshelves in her house soon filled with notebooks, and the notebooks filled with endlessly repetitive phrases. And so on for decades. The letter piqued my interest at last.<\/p>\n

I daydreamed about where the notebooks might be. I knew she\u2019d stashed some of them away in the walls, but what if there were more?<\/p>\n

They were nothing but pages and pages of useless drivel\u2014I sensed, in the letter, the writer\u2019s desperation to dissuade me from the search, and I felt a rush of pleasure\u2014that no one in their right mind would waste more than an instant thinking about. They overflowed with events that were of little interest to anyone, not even the writer herself, but would soon lodge themselves in her mind like inflection points with hundreds of possible interpretations. Later, much too late, the writer realized things she\u2019d done, emotions she never knew she\u2019d felt. As she stood in the kitchen, knife poised over the butter, or just before bed, or subsumed in a deep sleep, they\u2019d reappear. Then she\u2019d take out whatever notebook she was keeping at the time.<\/p>\n

The sentences soon turned into verses. The verses into songs. The songs into elaborate precepts on the meaning of life that seeped into her work, the speech of her characters, her narrative style, her own voice. I could almost hear her declare \u201cTell me what it feels like to be alive,\u201d the edict that would become, thanks to an erroneous attribution, her most frequently quoted line. She never dared correct the misunderstanding. It hounded her when she won those prizes. It plagued her on the death of the stepdaughter she\u2019d cared for as her own, and even when her own death started nipping at her heels. As soon as anything receded into the past, she realized that she actually enjoyed her friends\u2019 mistakes, enjoyed contributing to the demolition of the young man who approached her as she prattled on in a corner of the hall, enjoyed pronouncing stark truths that caused the ruin of her loved ones.<\/p>\n

I put down the letter, half-read\u2014I couldn\u2019t take any more of her whining\u2014and glanced at her motionless body. Then I opened all the little wooden doors in the room that had been her workplace for so many years. I stared at the spines of the notebooks. They covered more than an entire wall, spilling out of the shelves she\u2019d built herself, hidden behind the books. She always used the same kind of notebook at first, but they soon started changing size and color. There was a thick-notebook period and a small-and-thin-notebook period. Later, she\u2019d settled on a specific kind of notebook that was bound in bluish leather and ruled with lines that were far too wide for her tiny script.<\/p>\n

I sat down in her reading chair, switched on the lamp, and started paging through them. The same stories were repeated over and over in different syntax, in different words intentionally overlaid with contradictory meanings. She omitted information that appeared later on, or rearranged events out of order, or included explanations where there hadn\u2019t previously been any. The stories grew longer and more complex. Then they shrank down until they all seemed like the very same story endlessly written and rewritten. In the last notebooks, the stories morphed into mere lines, as if marking her mental activity in waves, peaks, and valleys, grounded in nothing but the green strokes of a pen on paper.<\/p>\n

I was supposed to organize the funeral. She\u2019d made the request in writing, the lawyers told me that night. This information and her other wishes lured journalists like wayward men to siren songs. Disputes with the leaders of the writer\u2019s sect were made public. Under the dark tunics and demonic masks they used to conceal their identities, they declared that her body must be buried without pollutants: naked and alone. No one but they must know the location of her grave, and no mark or fire must inscribe it. After a long discussion among the lawyers, trying to avert a scandal, and after various intrusions by the literary milieu and the fans amassing outside what had been the writer\u2019s home, but now served as storage for my furniture, I managed to orchestrate her cremation behind everyone else\u2019s backs and attended it as a spectator.<\/p>\n

\u201cOne cold winter evening, I stood before the snow-white body of the writer and watched it blaze inside a concrete grid.\u201d So begins my prologue to the edition of her Dirty Notebooks<\/em>, which is how I chose to title the anthology of her posthumous work.<\/p>\n","protected":false},"excerpt":{"rendered":"

Now you’re really getting to preview our books . . . Although\u00a0Cars on Fire\u00a0by M\u00f3nica Ram\u00f3n R\u00edos, translated from the Spanish by Robin Myers, is available for preorder from various online retailers, we don’t even have this book up on our website yet and, as of yesterday, on our website as well. We haven’t even […]<\/p>\n","protected":false},"author":292,"featured_media":424812,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67486],"tags":[69492,69482,28906,66386],"class_list":["post-424542","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","tag-cars-on-fire","tag-monica-ramon-rios","tag-robin-myers","tag-women-in-translation-month"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/424542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=424542"}],"version-history":[{"count":3,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/424542\/revisions"}],"predecessor-version":[{"id":425002,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/424542\/revisions\/425002"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media\/424812"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=424542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=424542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=424542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}