Kosta Rikalı genç yazar ve akademisyen Carlos Fonseca “Cenup” isimli bu çok ilginç romanında konuşulan dillerin ve anıların nasıl kaybolduğunu, yazının ve sözlü belleğin öneminin siyasi ve ekonomik tercihlerle nasıl tehdit altında olduğunu imgelerle ve sözcüklerle mükemmel anlatıyor. Paraguay’da eşi Bernhardt Förster ile birlikte Yeni Almanya komününü kuran ünlü filozof F. Nietzsche ‘nin kızkardeşi Elisabeth Förster Nietzsche'nin çılgınca yolculukların ve fiyaskoyla sonuçlanan Aryan hayalinin öyküsünü okuyarak kitaba başlıyorsunuz. Kolonide bulduğu somut temelin üzerine antropoloji kuramını inşa etmiş antropolog Karl-Heinz von Mühlfeld’in anlatılarıyla, Elisabeth Förster Nietzsche'nin 1893'te Avrupa'ya dönüp ağabeyini hasta bulduğunda nasıl kar­maşık bir manipülasyon, çarpıtma ve yayım eylemine giriştiğini, sonunda sahte bir “Nazi Nietzsche” efsanesi oluşturduğunu okuyoruz. So much of the writing in Carlos Fonseca Suárez’s Colonel Lágrimas was just gorgeous, and Megan McDowell’s translation from the original Spanish managed to keep the beautiful complexity of the language intact.” Moving . . . An intellectual puzzle that reminds us that it is also possible to be passionate about ideas . . . Guided by its obsessive characters and their fixations, the book elegantly takes the reader for a tour of Latin America’s labyrinthine contemporary history . . . Deftly translated by Megan McDowell, the mastery, grace, and intelligence of Fonseca’s prose come forth, halfway between the baroque rhythms of Faulkner and the steady pulse of Borges.” Founded in 2009, The Rumpus is one of the longest running independent online literary and culture magazines. Our mostly volunteer-run magazine strives to be a platform for risk-taking voices and writing that might not find a home elsewhere. We lift up new voices alongside those of more established writers readers already know and love.

Su obra ha sido publicada y reseñada en medios escritos como The Guardian, [8 ]​ BOMB, Art Flash [10 ]​ y The White Review. [11 ]​ En 2016 fue incluido en la lista de los viente mejores escritores jóvenes de Latinoamérica en la Feria Internacional del Libro de Guadalajara. [12 ]​ Un año después apareció en la lista Bogotá39, una iniciativa que igualmente reconoce a los escritores jóvenes de América Latina. [13 ]​ En 2021 fue seleccionado por la revista Granta como uno de los 25 mejores escritores jóvenes en español. [14 ]​ Novelas [ editar ] A wonderful meditation on language and memory, and surely a strong contender for the 2024 International Booker. Yazar Aliza Abravanel beyin hasarı sonucu afazi geçiriyor ve hikayenin devamını bütünlemesi için otuz sene önce onu yarı yolda bırakan Julio'ya bir mektup bırakıyor. Aliza edebiyat profesörü Julio'yu vasi olarak tayin ediyor ve böylece adamın geçmişiyle hesaplaşması için ona bıraktığı el yazmasını okuyarak güneye doğru uzun bir yolculuk yapmasını sağlıyor. Kitap çok katmanlı ve iz sürmek beni bir hayli yordu. Suárez, Carlos Fonseca (2016-09-27). "Translation Tuesday: Colonel Lágrimas by Carlos Fonseca – extract". The Guardian. ISSN 0261-3077 . Retrieved 2017-08-30. The words, coming from the kitchen, crossed the living room on that December morning to reach Julio, who had sat in one of the armchairs farthest from the door to try and escape the freezing breeze that periodically slipped in. Recognizing the expression, he stopped rolling the cigarette he had in his hands and looked up. He saw no one. Olivia had excused herself to make more coffee, and the only thing that moved in the room was the Italian greyhound that had jumped up into the chair she’d just vacated. He had the impression that they were acting out a previously rehearsed scene. Just last night, in fact, they’d been right here, sitting in these old leather chairs with three small lamps lighting the scene, telling the story that today she was recounting with variations. It was as if she were afraid he’d already forgotten it, or maybe she thought repeating it was a way of understanding it. Two strangers who were seeing each other’s faces for the first time, united by the trust placed in them by the fragile ghost of the mutual friend under whose roof they were speaking. Just like this, they’d settled in with a couple of beers from seven in the evening until well past ten, though now the morning exposed what yesterday had been only shadow.

“With great sensitivity, Carlos Fonseca captures the sense of dislocation that comes to define anyone who has ever been displaced.”

Although throughout the years Julio has come across news about Aliza’s writing and her success as a novelist, the two of them have not been much in touch since their road trip. He’s married, living in Cincinnati, where he teaches at a university. She’s changed her name from Aliza to Alicia and switched from writing in English to Spanish, and she’s decided to take her work “in a new direction … To record the human on its true scale … To make it lighter, more playful, sporadic, like the silhouette of a solitary lion crossing an immense savannah.” Her project, titled The Human Void, includes “four ecological novels, each dedicated to one of the classic elements.”

If you’re familiar with any Anglo language philosophy from the earlier twentieth, you know that “private language” is a loaded term. It refers to Ludwig Wittgenstein’s argument that the meaning of words doesn’t depend on our subjective sense of them but on the use of words in “language games”. Broadly and roughly, you may think of yourself as having a soul, but the meaning of “soul” or your individuality is out in the world of affairs, not inside your head. Your sense of “where your self is” and what your self is, is being challenged by this kind of analysis. I was pleased that Wittgenstein makes a personal appearance later in the book in a manner typical of Austral: in a book within a book, in a reaching kind of metaphysical scrapbooking dictionary (a book)within Austral. Miles, Valerie (9 de diciembre de 2016). «Literatura». The New York Times (en inglés). ISSN 0362-4331 . Consultado el 30 de agosto de 2017. El joven Fonseca, que es alguien que crea ficciones sobre archivos, máscaras y ruinas, es decir, alguien que sabe crear otras formas de pensar, y suele además ser un genial y obstinado explorador de abismos, se ha convertido en uno de mis escritores preferidos» (Enrique Vila-Matas). Reina, Elena (28 de noviembre de 2016). «La FIL de Guadalajara celebra 30 años como la capital literaria de América Latina». EL PAÍS . Consultado el 30 de agosto de 2017. The manuscript of the final novel in the series was centered on “earth”. Olivia said it was to be called “Strata”. But the posthumous manuscript that Julio is offered from Alicia’s friend Olivia is titled “A Private Language”.Alicia’s father, Yitzhak Abravanel, with a degree in sociology, translates some chapters of von Mühfeld’s last book, The Impurity of Pureness. This, together with his Jewish sounding name, brings him to the attention of von Mühfeld, who asks to see him. They play chess in the sanatorium. Yitzhak learns von Mühfeld’s story. Swainson says the book is “not only an almost unbelievable series of adventures, but a devastating portrait of the forces that, over a half a century, turned the world upside down and created the one we now inhabit.” A] wonderfully enigmatic novel . . . [ Natural History] reaches across continents and decades, touching on political movements and popular culture . . . With lush prose that owes a debt to translator Megan McDowell, Fonseca weaves the fictional threads of Giovanna’s life into a fabric of real history, grounding his story in events ranging from Sherman’s March to the Sea to the legal battle between sculptor Constantin Brâncuși and the American government that redefined ‘art’ at the turn of the 20th century . . . No detail in this book is superfluous.” Haklarında ne söylesem değerini azaltacak gibi hissettiğim birkaç anlamı birden sırtına yükleyen cümleler diziyor Forseca.

Each of these subscription programs along with tax-deductible donations made to The Rumpus through our fiscal sponsor, Fractured Atlas, helps keep u s going and brings us closer to sustainability. The Rumpus is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Rumpus must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law. Julio is from a hard-scrabble family in Costa Rica. His older brother, the family’s first hope, ends up a street tough and criminal. Julio, made of less stern stuff, is however, bookish. It turns out being bibliophilic is his secret power. Fast forward to an adult Julio, professor of literature at a snowy midwestern campus. Julio, otuz küsur yıl önce Alicia ile birlikte çıktığı yolculuğu yarıda bırakmış olmanın suç­luluğundan kurtulmak isteği ile doludur. Aliza'nın rehberinin oğlundan yazara ait iki elyazmasına ulaşır. Bunlar “Şahsi Bir Dil” ile “Kaybın Lügatı”dır ve sembollerle, şifrelerle yazılmıştır. Üç bölümden oluşan “Cenup”un ilk iki bölümüne de adını verir bu belgeler. Kitabın üçüncü bölümünün adı “Bellek Tiyatrosu”dur. Juan de Paz Raymundo tarafından yaratılan bir projedir. Köyün hafızasını adeta bir müzeymiş gibi yeniden oluşturmayı amaçlayan bu projede askeri diktatörlükte şiddet ve çatışmalar görüp yakılıp yıkılan bir köy ele alınmaktadır. Tanıklıklar yeralmaktadır bu tiyatroda. Ve tanıklıklarda Aliza’dan bahsedilmektedir.Illingworth, Dustin (August 11, 2020). "Boundary-Pushing Books for Fans of Narrative Experiments". The New York Times. Natural History is more than a story I wish I had written. It is a story I wish I had lived. A fantastic and even phantasmal tale of a quest, a work of art masquerading as a scam, and a contemplation on human lives, the novel is an incisive discussion about the nature and meaning of truth. It is also about the 1960s and their aftermath, the literal and figurative existence of fire, and love faded and otherwise. Reminiscent of Roberto Bolaño’s novels in tone and approach, Natural History is a dream that is real and reality that is a dream.” And he continued under this assumption as, sitting in his office facing the university campus where he’d spent the past twenty years, he read the beginning of the letter, in which Walesi introduced herself as a member of an artists’ community in the northern Argentine desert. The next lines, though, finally dispelled his confusion. He recognized the name Alicia Abravanel with the kind of muted emotion we feel when we greet our childhood home after years away: a mixture of joy, wonder, and nostalgia. But he didn’t want to give in to the games of memory. He put the letter aside and let his attention wander toward the students outside as they welcomed winter. It can take a long time for cycles to close, but sooner or later they come to their end with the most terrible precision. As a study of the confusions of history and the challenge of language to get the story right, it’s an admirably complex, intellectually searching work." His third novel was published in Spain and Latin America by Anagrama as Austral, and in English (translated by Megan McDowell) by Farrar, Straus and Giroux (US) and MacLehose Press (UK). It was described by the Spanish Newspaper El Mundo as “a brilliant inquiry in the archive of memory.” [16]