#latin american literature

[papenathys]

Hey Mimi do you have any recommendations for books set in Latin America (any genre) ?

So I am going to assume that you are not asking for picks like Gabriel Garcia Marquez or Isabel Allende. Most of the Latinx authors I read are unfortunately fantasy or genre fiction set in the USA (I'm trying to remember if Tehlor Kay Mejia or Anna-Marie McLemore wrote a book that is explicitly set in a Latin American country.)

Here are a couple of books I enjoyed, or at least feel confident recommending based on what I remember:

Certain Dark Things by Silvia Moreno-Garcia (adult, urban fantasy, horror): Described by the author as a "violent neo-noir", this story is set in an alternate, gritty Mexico City, and follows a Tlāhuihpochtli vampire who strikes a bond with an impoverished street kid, while fleeing from narco-vampire clans, criminal gangs, and other dangers lurking in the dark underbelly of the city.

Gods of Jade and Shadow by Silvia Moreno-Garcia (adult, historical fiction, fantasy): In 1920s Mexico, a young woman accidentally frees the spirit of the Mayan God of Death, and embarks on a cross-country mission with him: from the dazzling Jazz Age opulence of Mexico City, into the darkness of the Mayan underworld– where she must face great dangers to reinstate the God on his rightful throne.

Mexican Gothic by Silvia Moreno-Garcia** (adult, historical fiction, horror): A glamorous, fun-loving socialite in 1950s Mexico receives a disturbing letter from her married cousin, prompting her to travel down to their ancestral mansion, where the in-laws' live. There, on that ancient, colonial estate, she begins to be haunted by an equally ancient evil, and soon realises something is terribly wrong about the family her cousin has married into.

Tender is The Flesh by Agustina Bazterrica** (adult, dystopia, horror): In a near-dystopian future, an infectious virus turns all animal meat poisonous and unfit for consumption, forcing governments to legalize the factory-farming, breeding and eating of human meat. At one such processing plant, a worker is faced with a moral dilemma when he is gifted a "live" specimen.

Elena Knows by Claudia Piñeiro (adult, psychological thriller): Set in Argentina, this is a claustrophobic, uneasy novella about a mother's journey to uncover the truth behind the hushed-up murder of her dead daughter; the investigative mission, however, is made difficult by her advanced locomotive disability and age, as well as by this slowly unfurling realization: that she may not have known her daughter as truly as she thought.

And a couple I have not read/read and did not enjoy at all, but would recommend because my opinion seems to be in the minority:

Jawbone by Mónica Ojeda** (adult, horror, thriller, LGBTQ): A group of wealthy teenage girls attending an elite academy in Ecuador begin to convene regularly in an abandoned building, after school hours– but what started out as a place to exchange ghost stories, soon devolves into a site of dangerous thrill-seeking and dark, bloody rituals. (Note: I absolutely despised it, but you may enjoy; it's sapphic dark academia with cosmic horror and yellowjackets vibes).

Our Share of Night by Mariana Enríquez (adult, horror, historical fiction, fantasy): Set partially during the years of Argentina's brutal military dictatorship, this novel follows a father and son on a road trip, trying to escape a death cult, who have committed unspeakable atrocities. I have not read this gigantic tome, but I really want to, I am a sucker for horror rooted in political/historical allegories.

Cantoras by Carolina De Robertis (adult, historical fiction, LGBTQ): In 1977 Uruguay, a time when oppressive militia rule criminalized homosexuality as a dangerous transgression, five queer women discover an uninhabited cape, and claim the coastal sanctuary for themselves. Over years, it becomes their one safe haven, to be their true selves. Not read this, but it sounds strikingly similar to Last Summer at Bluefish Cove, one of my favourite queer stories of all time.

[ Note: All the stories are adult and given my inclination towards horror and psychological fiction, they are likely to be dealing with sensitive issues, but for the stories marked ** I very highly recommend checking trigger warnings ]

[sunshinesere]

Eduardo Galeano / The Book of Embraces

[lionofchaeronea]

And I, the least of beings, drunk on the vast void littered with stars – semblance, image of mystery -- I felt myself a pure part of the abyss, I spun with the stars, my heart loosed its strings in the wind.

Y yo, mínimo ser, ebrio del gran vacío constelado, a semajanza, a imagen del misterio, me sentí parte pura del abismo, rodé con las estrellas, mi corazón se desató en el viento.

--Pablo Neruda (1904-1973)

[starrynightsoversunflowers]

I made a rec list for Latin American books that have queer themes

*DISCLAIMER: "Queer" is not a theme per se. Sometimes it's about identity, sexuality, love, horror, violence, etc. All happening around queer characters.

Most of these deal with pretty heavy themes: prostitution, rape, violence, aids, death. Some representations can be considered "problematic" if you're boring. There are different ways to approach queerness.

Feel free to yell at me about these books/ask where to read them/make recommendations/etc. I definetly have favourites. Also some have movie adaptations.

Descriptions and warnings under the cut

La condesa sangrienta (The bloody countess):

The story of countess Erzebeth Báthory, a medieval hungarian countess know for committing more than 650 murders and inspiring the figure of the vampire. There´s no explicit queer relationships here but there´s absolutely some homoerotism in the narrations of torture. Pizarnik was a lesbian also. TW: disturbing, torture, blood, murder, you should not read this in one go.

El lugar sin límites (Hell has no limits):

The story about la Manuela, a homosexual transvestite that owns half a brothel in a small town. Her daughter owns the other half. The novel shows crudely the misery of forgotten towns and the day to day life of prostitution. There's also a movie. TW: prostitution, murder, homo/transphobia.

El mundo alucinante (A Hallucinations):

A fantasy and free version parody of the Memoires of Fray Servando Teresa de Mier. Known for the uses of magical realism and innovative prose.

Cobra:

Two stories meet. The first is of Cobra, a transvestite, and her transformation. The second of her initiation in a band of black jackers. Erotism and death.

Evita vive (Evita lives):

A controversial book around Eva Perón (after her death) who lives among prostitutes and homosexuals, having orgies and living a life of debauchery.

El beso de la mujer araña (The kiss of the spider woman):

The meeting of two prisoners living in the same cell. One, Valentín, is a political prisoner and the other, Molina, is a sexual deviant. During their weeks there, Molina narrates movies to Valentín and their relationship develops. There's also a movie.

Stella Manhattan:

During Brasil's military dictatorship, the apolitical Eduardo, a.k.a. Stella Manhattan, is expelled form his country for his shameful homosexuality. He returns to the surface as a brazilian counsil in New York and is immediately accosted by a military called Colonel Vianna, a sadomasichist known as the "Black Widow", and by the guerrillas seeking his befall.

Antes que anochezca (Before night falls):

Th 7th of december of 1990 the Cuban author Reinaldo Arenas, in a terminal phase of AIDS, would commit suicide, leaving behing this moving and political testimony, which he finished mere days before taking his own life.

Salón de belleza (Beauty salon):

In a large, unnamed city, a strange, highly infectious disease begins to spread, afflicting its victims with an excruciating descent toward death, particularly unsparing in its assault of those on society's margins. Spurned by their loved ones and denied treatment by hospitals, the sick are left to die on the streets until a beauty salon owner, whose previous caretaking experience extended only to the exotic fish tanks scattered among his workstations, opens his doors as a refuge. In the ramshackle Morgue, victim to persecution and violence, he accompanies his male guests as they suffer through the lifeless anticipation of certain death, eventually leaving the wistful narrator in complete, ill-fated isolation.

Bajar es lo peor (Going down is the worst):

With gothic resonances, Enríquez shows crudely the Buenos Aires of the 90's. The confinement and the paranoia of cocaine, sex as a means to escape or survive, political unbelief, mix with a romantic love that never reaches satisfaction. There's also a movie. TW: drugs, prostitution, rape, suicide.

Loco afán (Mad eagerness):

These "chronicles of aids" narrate stories of homosexuality in Latin America, focused on drag, transvestites and AIDS.

Sirena Selena vestida de pena:

Discovered by Martha Divine in the backstreets of San Juan, picking over garbage, drugged out of his mind and singing boleros that transfix the listener, a fifteen year old hustler is transformed into Sirena Selena, a diva whose uncanny beauty and irrisistable voice will be their ticket to fame and fortune. Auditioning for one of the luxury hotels in the Dominican Republic, Selena casts her spell over Hugo Graubel, one of the hotel's rich investors. Graubel is a powerful man in the Republic, married with children. Selena, determined to escape the poverty and abuse s/he suffered as a child, engages Graubel in a long seduction in this mordant, intensely lyrical tragi-comedy - part masque, part cabaret - about identity (class, race, gender) and "the hunger and desire to be other things."

Tengo miedo torero (My tender matador):

It is the spring of 1986, and Chilean dictator Augusto Pinochet is losing his grip on power. In one of Santiago’s many poor neighborhoods, a man known as the Queen of the Corner embroiders linens for the wealthy. A hopeless and lonely romantic, he listens to boleros to drown out the gunshots. Then he meets Carlos, a young, handsome man who befriends the aging homosexual and uses his house to store mysterious boxes and hold clandestine meetings. And as the relationship between these two very different men blossoms, they find themselves caught in a revolution that could doom them both. There's also a movie.

Adiós mariquita linda (Goodbye pretty pansy):

Chronicles of ire, delation, passion, resentment and loves. Stories of different cities and travels.

Sexografías (Sexographies):

In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle--all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives. Sexographies is an eye-opening, kamikaze journey across the contours of the human body and mind.

Los topos (The moles):

The son of missing persons of the Dictatorship casually meets a half-brother who poses as a transvestite to investigate ex repressors and cops.

La virgen cabeza (Slum virgin):

When the Virgin Mary appears to Cleopatra, she renounces sex work and takes charge of the shantytown she lives in, transforming it into a tiny utopia. Ambitious journalist Quity knows she’s found the story of the year when she hears about it, but her life is changed forever once she finds herself irrevocably seduced by the captivating subject of her article.

Falsa liebre (False hare):

The darkness at the port engulfs everything. Pachi and Vinicio go deeper into the beach, approaching an improvised party. They are looking for something to numb their bodies, something to finally erase themselves. Summer has been long, and that day was much worse. Not far from there, Zahir fantasizes about his next travel to the capital city or the northern part of Mexico, away from the aunt who keeps asking him for money, controls him through physical violence, and has driven his little brother, Andrik, to run away from the family home and end up in another: a man’s house, who caresses Andrik and then strikes him with the same hand. Now Zahir must not only convince Andrik to start a new life, but make sure they find a way out of that seemingly endless beach. TW: rape, prostitution, violence.

Ladrilleros (Brickmakers):

Oscar Tamai and Elvio Miranda, the patriarchs of two families of brickmakers, have for years nursed a mutual hatred, but their teenage sons, Pájaro and Ángelito, somehow fell in love. Brickmakers begins as Pájaro and Marciano, Ángelito’s older brother, lie dying in the mud at the base of a Ferris wheel. Inhabiting a dreamlike state between life and death, they recall the events that forced them to pay the price of their fathers’ petty feud. The Tamai and Miranda families are caught, like the Capulets and the Montagues, in an almost mythic conflict, one that emerges from stubborn pride and intractable machismo. Like her heralded debut, The Wind That Lays Waste, Selva Almada’s fierce and tender second novel is an unforgettable portrayal of characters who initially seem to stand in opposition, but are ultimately revealed to be bound by their similarities. TW: violence.

Cuerpo a tierra (Body to the ground):

We aren't always owners of our own decisions, sometimes we´re pulled by an irrecognizable impulse and, sometimes, the only truth is that of the body. Betrayal and deception, love and heartbreak, love and search are the protagonists of these stories.

Temporada de huracanes (Hurricane season):

The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters—inners whom most people would write off as irredeemable—forming a lasting portrait of a damned Mexican village. There will be a movie by the end of the year. TW: rape, paedophilia, prostitution.

Pelea de gallos (Cockfight):

Ampuero sheds light on the hidden aspects of the home: the grotesque realities of family, coming of age, religion, and class struggle. A family’s maids witness a horrible cycle of abuse, a girl is auctioned off by a gang of criminals, and two sisters find themselves at the mercy of their spiteful brother. With violence masquerading as love, characters spend their lives trapped reenacting their past traumas. Heralding a brutal and singular new voice, Cockfight explores the power of the home to both create and destroy those within it. TW: rape, incest, violence.

Las aventuras de la China Iron (The adventures of China Iron):

1872. The pampas of Argentina. China is a young woman eking out an existence in a remote gaucho encampment. After her no-good husband is conscripted into the army, China bolts for freedom, setting off on a wagon journey through the pampas in the company of her new-found friend Liz, a settler from Scotland. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentina’s richly diverse flora and fauna, cultures and languages, as well as to the ruthless violence involved in nation-building.

Mandíbula (Jawbone):

Fernanda and Annelise are so close they are practically sisters: a double image, inseparable. So how does Fernanda end up bound on the floor of a deserted cabin, held hostage by one of her teachers and estranged from Annelise? When Fernanda, Annelise, and their friends from the Delta Bilingual Academy convene after school, Annelise leads them in thrilling but increasingly dangerous rituals to a rhinestoned, Dior-scented, drag-queen god of her own invention. Even more perilous is the secret Annelise and Fernanda share, rooted in a dare in which violence meets love. Meanwhile, their literature teacher Miss Clara, who is obsessed with imitating her dead mother, struggles to preserve her deteriorating sanity. Each day she edges nearer to a total break with reality. TW: violence, cannibalism.

Las malas (Bad girls):

A trans woman's coming-of-age tale about finding a community among fellow outcasts. Born in the small Argentine town of Mina Clavero, Camila is designated male but begins to identify from an early age as a girl. She is well aware that she's different from other children and reacts to her oppressive, poverty-stricken home life, with a cowed mother and abusive, alcoholic father, by acting out-with swift consequences. Deeply intelligent, she eventually leaves for the city to attend university, slipping into prostitution to make ends meet. And in Sarmiento Park, in the heart of Córdoba, she discovers the strange, wonderful world of the trans sex workers who dwell there. Taken under the wing of Auntie Encarna, the 178-year-old eternal whose house shelters this unconventional extended family, Camila becomes a part of their stories-of a Headless Man who fled his country's wars, a mute young woman who transforms into a bird, an abandoned baby boy who brings a twinkle to your eye. TW: rape, prostitution, transphobia, murder, child death.

Nuestra parte de noche (Our share of the night):

A young father and son set out on a road trip, devastated by the death of the wife and mother they both loved. United in grief, the pair travel to her ancestral home, where they must confront the terrifying legacy she has bequeathed: a family called the Order that commits unspeakable acts in search of immortality. For Gaspar, the son, this maniacal cult is his destiny. As the Order tries to pull him into their evil, he and his father take flight, attempting to outrun a powerful clan that will do anything to ensure its own survival. But how far will Gaspar’s father go to protect his child? And can anyone escape their fate? Moving back and forth in time, from London in the swinging 1960s to the brutal years of Argentina’s military dictatorship and its turbulent aftermath.

Tesis sobre una domesticación (Thesis about a domestication):

A single transvestite is enough to undermine the foundations of a house, to untie the knots of compromise, to break a promise, to give up a life. The familiy clings to brief moments of happiness without noticing it´s been defeated since the start.

La hija única (Still born):

Alina and Laura are independent and career-driven women in their mid-thirties, neither of whom have built their future around the prospect of a family. Laura is so determined not to become a mother that she has taken the drastic decision to have her tubes tied. But when she announces this to her friend, she learns that Alina has made the opposite decision and is preparing to have a child of her own. Alina's pregnancy shakes the women's lives, first creating distance and then a remarkable closeness between them. When Alina's daughter survives childbirth – after a diagnosis that predicted the opposite – and Laura becomes attached to her neighbor's son, both women are forced to reckon with the complexity of their emotions, their needs, and the needs of the people who are dependent upon them. TW: child disease, family violence.

Huaco retrato (Undiscovered):

In an ethnographic museum in Paris, Gabriela Wiener is confronted with her unusual inheritance. She is visiting an exhibition of pre-Columbian artefacts, the spoils of European colonial plunder. As she peers through the glass, she sees sculptures of Indigenous faces that resemble her own - but the man responsible for pillaging them was her own great-great-grandfather, Austrian colonial explorer Charles Wiener. In the wake of her father's death, Gabriela begins delving into all she has inherited from her paternal line. From the brutal trail of racism and theft that Charles left behind to revelations of her father's infidelity, she traces a legacy of abandonment, jealousy and colonial violence, in turn reframing her own struggles with desire, love and race. Seeking relief from these personal and historical wounds, Gabriela turns to the body and desire as sources of both constraint and potential freedom.

Sacrificios humanos (Human sacrifices):

An undocumented woman answers a job posting only to find herself held hostage, a group of outcasts obsess over popular boys drowned while surfing, and two girls suspect sinister behavior from the missionaries lodging in their home. Simultaneously terrifying and exquisite, Human Sacrifices is "tropical gothic" at its finest. Ampuero considers the decay and oppression beneath the surface of our humid and hostile world, where those on the margins must pay the price for the comfort and safety of the elite. These twelve stories contemplate the nature of exploitation and abuse, illuminating the realities of those society consumes and leaves behind.

Soy una tonta por quererte (I'm a fool to want you):

In the 1990s, a woman makes a living as a rental girlfriend for gay men. In a Harlem den, a travesti gets to know none other than Billie Holiday. A group of rugby players haggle over the price of a night of sex, and in return they get what they deserve. Nuns, grandmothers, children, and dogs are never what they seem. These 9 stories are inhabited by extravagant and profoundly human characters who face an ominous reality in ways as strange as themselves.

Las indignas (The unworthy):

A searing, dystopian tale about climate crisis, ideological extremism, and the tidal pull of our most violent, exploitative instincts. TW: death, animal death, rape, cults.

[andreai04]

Her heart of compressed ash, which had resisted the most telling blows of daily reality without strain, fell apart with the first waves of nostalgia. The need to feel sad was becoming a vice as the years eroded her. She became human in her solitude.

[mueritos]

Hey, just wanted to ask for any recs on Latino historical literature in Spanish? Mainly looking for Puerto Rican outside of the broad history you know? I find good things in English but I want the lens in Spanish. Or if you have a tag of anything you've read I can go through? Thanks In advance!

hello! you are in luck because right now I'm back home in PA where I have access to my giant latin american literature anthology! I'm going to give some authors below who are from PR with a piece of writing of theirs to check out, and also give some authors who I enjoy who aren't from PR. Not all of these are "historical" literature, but many write poems and short stories based off real life events/lived experience, which I find just as informative as a book like Open Veins of Latin America, which is very non-fiction historical.

KEEP IN MIND: some of these authors use language that is 1, outdated and 2, offensive, but these words are justified in the context they are written in and speak upon racial tensions experienced at the time of writing (i.e, one of Martin Espada's poems is called "n word-lips"). Please be compassionate toward the authors listed here!

PR authors:

Ramon Emeterio Betances (Arriba, Puerto Ricans!; 1800s), Eugenia Maria de Hostos (League of Puerto Rican Patriots; 1800s), Lola Rodriguez de Tio (The Song of Borinquen; late 1800s), William Carlos Williams (Libertad! Igualdad! Fraternidad!; late 1800s), Jesus Colon (Grandma, Please Don't Come!;1900s), Jose Davila Semprit (The United States; 1900s), Julia de Burgos (Ay, Ay, Ay de la Grifa Negra; 1900s), Pedro Juan Soto (Spiks; 1900s), Piri Thomas (The Konk; 1900s), Esmeralda Santiago (When I was Puerto Rican; 1900s), Martin Espada (Revolutionary Spanish Lesson; 1900s), Maria Teresa "Marisposa" Fernandez (Boricua Butterful; late 1900s)

Other authors:

Jose Marti (Our America; late 1800s), Eugenio Florit (In the Big City; 1900s), Arturo Islas (The Rain God; late 1900s), Isabel Allende (Paula or Casa de espiritus; 1900s), Julio Cortazar (la noche boca arriba; 1900s)

Some of these folks I have read and some I haven't. Have fun!

[diaryofaphilosopher]

"At first glance, the term 'Tropical Gothic' sounds a lot like an oxymoron, since in popular understanding the genre is often synonymous with its early settings of bleak European wildernesses battered by howling winds and tumultuous storms. In contrast, Tropical Gothic heroes and heroines have vacated traditional eerie castles and chilling wind-swept moors to take up residence in haunted plantation houses, overgrown bayous, mysterious jungles and exuberant tropical cities, where the horrific and the uncanny not only lurk in the shadows but occupy open, sun-drenched spaces alongside humans."

— Anita Lundberg, Katarzyna Ancuta & Agnieszka Stasiewicz-Bieńkowska, "Tropical Gothic: Arts, Humanities and Social Sciences."

Follow Diary of a Philosopher for more quotes!

[desimonewayland]

The Mexican writer Juan Rulfo (1917-86) with an Aztec skull.

A Masterpiece That Inspired Gabriel García Márquez to Write His Own

For decades, Juan Rulfo’s novel, “Pedro Páramo,” has cast an uncanny spell on writers. A new translation may bring it broader appeal.

NYT

[ladyhawke]

– Isabel Allende, The House of the Spirits

[long-sleeved-sandwich]

a poem i wrote about puerto rico when i was 13 and had never been to the island myself but liked to listen to my grandfather tell stories

[sunshinesere]

Eduardo Galeano / The Book of Embraces

[zelihatrifles]

Motorcycle Diaries

Che Guevara was not very different from your average young adult. He also wanted to travel the world, had a charming wit, made pretty bad choices, took quite idiotic life risks, and he too experienced the immense joy of being young and free. He was initiated into the beauties of remote nature, and was assailed by the ever-present desire to escape the worldly woes and live in the Andean lakes, like Lacar lake (Argentina) and Lake Osorno and its volcano (Chile):

"Perhaps one day, tired of circling the world, I'll return to Argentina and settle in the Andean lakes, if not indefinitely then at least for a pause while I shift from one understanding of the world to another."

But he was not an ignorant brat. In his motorcycle trip with Alberto, he met countless underprivileged people, and wondered miserably at the absurd conditions of mine workers:

"The only thing that matters is the enthusiasm with which the workers set to ruining their health in search of a few meager crumbs that barely provide their subsistence."

He came across and was welcomed by marginalised people like lepers, Indians, drunkards, poor people. Steadily, his journey paved his life-path too, to his persona that we know today, the revolutionary. Revolution must come, "... and there is nothing that educates an honorable person more than living within a revolution."

He underscores the importance of humanity and kindness and how they form an integral part of the revolution:

"In fact, the revolution today demands that they learn, demands that they understand well that the pride of serving our fellow man is much more important than  good income; that the people's gratitude is much more permanent, much more lasting than all the gold one can accumulate."

[journalette]

July wrap up. Disclaimer: some of these books I read in June but I finished annotating them in July.

- A red star over the Third World: a set of essays about the impact of communism in the Global South. Informative and easy to read.

- Ustedes brillan en lo oscuro: blending realism and science fiction, this is collection of short stories that have as common protagonists Bolivian culture and society, and the environmental crisis.

- A room of one’s own: click here to see my review of this book.

- Yo maté un perro en Rumanía: click here to see my review of this book.

- Posthuman knowledge: Braidotti’s writing can be challenging if you are not familiar with posthumanism, but this is a recommended read that got me through writing my master’s dissertation.

[inkedwingss]

I've never read anything quite like Fever Dream. I couldn't understand a lot of it as I read, although I do understand the characters and plot overall. In each moment, did you understand what was happening? What did you find profound? What did you like best artistically about it, and were there any big philosophical statements?

What a cool, exciting ask! I love this book, I wrote a 6-page essay about it for college at the time and I was never able to read it again because of how strong the experience was for me (I want to preserve the memory).

Latin America's magical realism is not about introducing some fantasy features into the ordinary, is more about the mystical experience of reality itself, the haunting mysteries or inexplicable events of life. They exaggerate the surreal, "magical" aspect to highlight the main issue. I will share more about that in the end.

What I like about Fever Dream the most is its originality. Once you start the book, you have to feel lost. That's the whole point. Schweblin is so bold, she actually doesn't want you to "understand what is going on", she invites you into the MC's feverish dream, and for that to happen you literally have to let go of any expectations and let the story unfold at its own pace. I honestly will recommend this book to any writer who is willing to take the (eco)horror path.

But it's not just about that. Personally, this book got to me because of the "rescue distance" concept — a better translation of the original title. As someone who lost a baby, the whole paranoia that comes from sensing danger, but being blind to it at the same time, drove me almost mad. I ate that book in one afternoon — and I'm a slow reader. Couldn't stop turning pages. It was too similar to my personal experience of foreseeing death, knowing that something was just about to happen, and not being able to avoid it at all. Very cathartic, per se.

But to talk more directly about the book, I will use my own words from a few years back, and if you don't want spoilers, don't read it:

"In the end, the loose thread remains. The feeling of loss is inevitable. All the danger and sense of paranoia culminated in a whirlwind of unstoppable events, engulfing the reader in a tachycardic, spiralling route; and he lands with the certainty that something very important was left behind: the essential and irreplaceable — perhaps, life itself. It's like returning from a trip without your luggage, empty-handed. Maybe this loose thread is the sensation of the entire humanity when confronted with its impotence in the face of a scenario of constant catastrophe, of destruction that disintegrates everything around: the web being woven as one lives, without being able to deviate from the tracks or turn back. The inevitability of evil — are we like Amanda, doing our best to protect those we love, and always losing what matters most? What similarity would we have with David, tying everything in his room (p.136), trying to connect the loose thread of this unreachable distance that can no longer be calculated? He may be trying to connect with what little remains, that which seems solid, in search of connecting then with something familiar; something that sustains a world that seems to be in free fall, heading nowhere. And this world — this same world of mutations, poisoned mist, dead ducks buried in the backyard, of silence that devoured all things, this world of Schweblin's magical realism — this is our own world."

I might upload my reviews and essays one day if I ever have enough energy and time to open a substack or something (they are too long). Latin American literature is fire! I'm glad you have this book a chance :) and thanks again for the ask!

[journey-to-balance]

"You are also what you have lost" is a phrase often attributed to Jorge Luis Borges, and it encapsulates the idea that our identity is not only shaped by what we possess, but also by what we have lost, including experiences, relationships, and even parts of ourselves over time; it suggests that loss can deeply define who we are. 

Interpretation:

This quote can be interpreted in various ways, depending on the context:

Personal growth: Losses can sometimes lead to personal growth and a deeper understanding of oneself. 

Sense of incompleteness: The idea that we are always missing something can contribute to a feeling of being incomplete. 

Memory and identity: Our memories of lost things can become part of who we are.

[diaryofaphilosopher]

Why am I compelled to write? Because the writing saves me from this complacency I fear. Because I have no choice. Because I must keep the spirit of my revolt and myself alive. Because the world I create in the writing compensates for what the real world does not give me. By writing I put order in the world, give it a handle so I can grasp it. I write because life does not appease my appetites and hunger. I write to record what others erase when I speak, to rewrite the stories others have miswritten about me, about you. To become more intimate with myself and you. To discover myself, to preserve myself, to make myself, to achieve self-autonomy. To dispell the myths that I am a mad prophet or a poor suffering soul. To convince myself that I am worthy and that what I have to say is not a pile of shit. To show that I can and that I will write, never mind their admonitions to the contrary. And I will write about the unmentionables, never mind the outraged gasp of the censor and the audience. Finally I write because I'm scared of writing but I'm more scared of not writing.

— Gloria Anzaldúa, “Speaking In Tongues: A Letter To 3rd World Women Writers."

Follow Diary of a Philosopher for more quotes!