Category Archives: argentine fiction

30 Great Untranslated Argentines

Chad Post blogs about a PDF from Frankfurt detailing 30 "great" Argentine writers who have yet to be translated into English.

For those who choose not to delve into the PDF, Chad also pulls a few of the most intriguing titles. Let’s hope this one gets translated soon:

The No Variations by Luis Chitarroni (Interzona,
2007): “In this book—one of the most complex and challenging texts of
Argentine literature in recent years—the Borgesian themes of erudition,
tradition, and consecraton are sent through the shredding machine. The
result is a ‘novel’ made up of diaries, notes, forgetfulness, articles,
and poems created by writers invented by the author.”

Sounds a little like what Enrique Vila-Matas does.

And also:

Neon by Liliana Heer (Paradiso, 2007): “Neon, a
wonderful example of this century’s expressionism, invites the reader
to delve into the fundamentals of power. In this novel three characters
recreate humanity in Kafka’s style. Evil is shown from different points
of view, in relation with an inheritance, with repression, with racial
prejudices, and with some humorous lines that balance on the edge
between madness and reason, justice and injustice, man and animal. And
above all towers an erotic scene that is the leitmotiv of the whole story . . .”


The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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