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Fairy tale meets detective drama in this David Lynch–like novel by a writer Jonathan Lethem calls “one of Mexico's greatest . . . we are just barely beginning to catch up to what she has to offer.” A fairy tale run amok, The Taiga Syndrome follows an unnamed Ex-Detective as she searches for a couple who has fled to the far reaches of the earth. A betrayed husband is convinced by a brief telegram that his second ex-wife wants him to track her down—that she wants to be found. He hires the Ex-Detective, who sets out with a translator into a snowy, hostile forest where strange things happen and translation betrays both sense and one’s senses. Tales of Hansel and Gretel and Little Red Riding Hood haunt the Ex-Detective’s quest into a territory overrun with the primitive excesses of Capitalism—accumulation and expulsion, corruption and cruelty—though the lessons of her journey are more experiential than moral: that just as love can fly away, sometimes unloving flies away as well. That sometimes leaving everything behind is the only thing left to do.
Surreal and gothic, The Iliac Crest is a masterful excavation of forgotten Mexican women writers, illustrating the myriad ways that gendered language can wield destructive power. On a dark and stormy night, two mysterious women invade an unnamed narrator’s house, where they proceed to ruthlessly question their host’s identity. The women are strangely intimate―even inventing together an incomprehensible, fluid language―and harass the narrator by repeatedly claiming that they know his greatest secret: that he is, in fact, a woman. As the increasingly frantic protagonist fails to defend his supposed masculinity, he eventually finds himself in a sanatorium. Published for the first time in English, this Gothic tale is “utterly weird yet deeply resonant in its portrayal of gendered violence” (The Millions). Through layered and haunting prose, Cristina Rivera Garza unravels the cultural and political histories of Mexico, probing at the misogyny that fuels the disappearance of women in literature and in real life. "Astounding and thought-provoking." —Publishers Weekly (starred review) “An intelligent, beautiful story about bodies disguised as a story about language disguised as a story about night terrors. Cristina Rivera Garza does not respect what is expected of a writer, of a novel, of language. She is an agitator.” —Yuri Herrera, author of Kingdom Cons
This is the first biography, now available in paperback, of Manuel Puig (1932-1990), Argentinian author of Kiss of the Spider Woman and pioneer of high camp. Suzanne Jill Levine, his principal English translator, draws upon years of friendship as well as copious research and interviews
A lyrical collection of the finest poems by a leading Mexican poet, superbly translated for English readers The poetry of María Baranda is a haunting homage to the natural world, transcendent in scope, attentive to the particular, and acutely attuned to the mystery of being. Absorbed by nature's otherness, Baranda seeks to inhabit the voices of the wind, of wings, night, day, and perhaps most keenly, water. These lyrical verses turn repeatedly to the longings and griefs of embodiment: "What is that God / To be praised with all our sadness / If not love / Or at least the wonder / Of being a body full of blood," Baranda asks. Drawing on epics such as the Aeneid and Beowulf, the mystical verses of Sor Juana Inés de la Cruz, and writers who engage the landscape of shore and sea, from Daniel Defoe to Dylan Thomas, this sweeping collection brings together the finest poems of one of today's most powerful and innovative Mexican writers.
To most of us, "subversion" means political subversion, but "The Subversive Scribe" is about collaboration not with an enemy, but with texts and between writers. Though Suzanne Jill Levine is the translator of some of the most inventive Latin American authors of the twentieth century-including Julio Cort'zar, G. Cabrera Infante, Manuel Puig, and Severo Sarduy-each of whom were revolutionaries not only on the page, but in confronting the sexual and cultural taboos of their respective countries, she considers the act of translation itself to be a form of subversion. Rather than regret translation's shortcomings, Levine stresses how translation is itself a creative act, unearthing a version lying dormant beneath an original text, and animating it, like some mad scientist, in order to create a text illuminated and motivated by the original. In "The Subversive Scribe," one of our most versatile and creative translators gives us an intimate and entertaining overview of the tricky relationships lying behind the art of literary translation.
Winner of the Mexico National Novel Prize, Sor Juana In s de la Cruz Prize, and IMPACT Prize Joaquin Buitrago, a photographer in the Castaneda Insane Asylum, believes a patient is a prostitute he knew years earlier. His obsession in confirming Matilde's identity leads him to explore the clinics records, and her tragic history. He discovers that she was a peasant adopted by a doctor uncle. She led a calm life until C stulo, a young revolutionary chased by the authorities, finds shelter in her home. Matilde's eyes are opened to the social upheaval will lead her to break with her uncle and hide out with Diamantina Vicari. Diamantina's death devastates Matilde so much that she wanders about, completely lost, doing all kinds of jobs, including prostitution. As the photographer discovers more details, he becomes convinced that he and Matilde should live together. Ultimately, as they face defeat in a repressive society, they search to establish in the rubble an uncertain future that will somehow restore their freedom.
Finalist for the 2020 National Book Critics’ Circle Award for Criticism By one of Mexico's greatest contemporary writers, this investigation into state violence and mourning gives voice to the political experience of collective pain. Grieving is a hybrid collection of short crónicas, journalism, and personal essays on systemic violence in contemporary Mexico and along the US-Mexico border. Drawing together literary theory and historical analysis, she outlines how neoliberalism, corruption, and drug trafficking—culminating in the misnamed “war on drugs”—has shaped her country. Working from and against this political context, Cristina Rivera Garza posits that collective grief is an act of resistance against state violence, and that writing is a powerful mode of seeking social justice and embodying resilience. She states: “As we write, as we work with language—the humblest and most powerful force available to us—we activate the potential of words, phrases, sentences. Writing as we grieve, grieving as we write: a practice able to create refuge from the open. Writing with others. Grieving like someone who takes refuge from the open. Grieving, which is always a radically different mode of writing.” “A lucid, poignant collection of essays and poetry. . . . deeply hopeful, ultimately love letters to writing itself, and to the power of language to overcome the silence that impunity imposes.” —New York Times Book Review "For all the losses tallied, the pieces are imbued with optimism and an activist’s passion for reshaping the world." —The New Yorker
A brilliant, lost feminist classic that is equal parts domestic drama and international intrigue. Shirley and Coenraad’s affair has been going on for decades, but her longing for him is as desperate as ever. She is a Toronto housewife; he works for an international organization known only as the Agency. Their rendezvous take place in Tangier, in Hong Kong, in Rome and are arranged by an intricate code based on notes slipped into issues of National Geographic. He recognizes her by her costume: a respectable black dress and string of pearls; his appearance, however, is changeable. But something has happened, the code has been discovered, and Coenraad sends Shirley (who prefers to be known as “Lola Montez”) to Toronto, the last place she wants to go. There the trail leads her through the sites of her impoverished immigrant childhood and sends her, finally, to her own house, where she discards her pearls and trades in her basic black for a dress of vibrant multicolored silk. Helen Weinzweig published her first novel when she was fifty-eight. Basic Black with Pearls, her second, won the Toronto Book Award and has since come to be recognized as a feminist landmark. Here Weinzweig imbues the formal inventiveness of the nouveau roman with psychological poignancy and surprising humor to tell a story of simultaneous dissolution and discovery.
Based on comparative readings of contemporary books from Latin America, Spain, and the United States, the essays in this book present a radical critique against strategies of literary appropriation that were once thought of as neutral, and even concomitant, components of the writing process. Debunking the position of the author as the center of analysis, Cristina Rivera Garza argues for the communality—a term used by anthropologist Floriberto Díaz to describe modes of life of Indigenous peoples of Oaxaca based on notions of collaborative labor—permeating all writing processes. Disappropriating is a political operation at the core of projects acknowledging, both at ethical and aesthetic levels, that writers always work with materials that are not their own. Writers borrow from the practitioners of a language, entering in a debt relationship that can only be covered by ushering the text back to the communities from which it grew. In a world rife with violence, where the experiences of many are erased by pillage and extraction, writing among and for the dead is a form of necrowriting that may well become a life-affirming act of decolonization and resistance.
"[A] future cult classic." —The New York Times Book Review "There’s Borges and Bolaño, Kafka and Cortázar, Modiano and Murakami, and now Laura van den Berg." —The Washington Post Finalist for the NYPL Young Lions Award. Named a Best Book of 2018 by The Boston Globe, Huffington Post, Electric Literature and Lit Hub. An August 2018 IndieNext Selection. Named a Summer 2018 Read by The Washington Post, Vulture, Nylon, Elle, BBC, InStyle, Refinery29, Bustle, O, the Oprah Magazine, Entertainment Weekly, Harper's Bazaar, Conde Nast Traveler, Southern Living, Lit Hub, and Vol. 1 Brooklyn. In Havana, Cuba, a widow tries to come to terms with her husband’s death—and the truth about their marriage—in Laura van den Berg’s surreal, mystifying story of psychological reflection and metaphysical mystery. Shortly after Clare arrives in Havana, Cuba, to attend the annual Festival of New Latin American Cinema, she finds her husband, Richard, standing outside a museum. He’s wearing a white linen suit she’s never seen before, and he’s supposed to be dead. Grief-stricken and baffled, Clare tails Richard, a horror film scholar, through the newly tourist-filled streets of Havana, clocking his every move. As the distinction between reality and fantasy blurs, Clare finds grounding in memories of her childhood in Florida and of her marriage to Richard, revealing her role in his death and reappearance along the way. The Third Hotel is a propulsive, brilliantly shape-shifting novel from an inventive author at the height of her narrative powers.