This is a rarity in contemporary writing, a truly bilingual
enterprise, as in Susana Chavez-Silverman's previous memoir, Killer
Cronicas. Chavez-Silverman switches between English and Spanish,
creating a linguistic mestizaje that is still a surprise encounter
in the world of letters today, and the author is one of a small but
growing band of writers to embrace bilingualism as a literary
force. Also like Killer Cronicas, each chapter in Scenes from la
Cuenca de Los Angeles is a "cronica," a vignette that began as
intimate diary entries and e-mails and letters to lovers, friends,
and ghosts from the past. These episodic chapters follow
Chavez-Silverman's personal history, from California to South
Africa and Australia and back, from unfathomable loss to deeply
felt joy. Readers drawn into this witty book will confront their
own conceptions of boundaries, borders, languages, memories, and
spaces. Por su white, insouciant, papery look, por su semejanza a
la amapola (scentless, a fin de cuentas, no obstante esa famosa
escena de la Wicked Witch of the West, purring evilly, "Poppies,
poppies will put them to sleep. Sleeeep, sleep . . ."), when I
leaned in to sniff, I hadn't been expecting any scent at all. Y por
eso, el cool, familiar mounds of damp masa harina, Mercado Libertad
en verano scent, es-por lo utterly inesperado-lo mas disturbingly,
comfortingly, hechizante que tienen las paper flowers. Stay with me
a while. Busquemos, together, mas strange familiars. -excerpt from
chapter 1, "Diary Inside/Color Local Cronica"
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