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The Iliac Crest (Paperback)
Cristina Rivera Garza; Translated by Sarah Booker
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R365
R295
Discovery Miles 2 950
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Ships in 9 - 15 working days
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On a dark and stormy night, an unnamed narrator is visited by two
women: one a former lover, the other a stranger. They ruthlessly
question their host and claim to know his greatest secret: that he
is, in fact, a woman. In increasingly desperate attempts to defend
his masculinity, perplexed by the stranger's dubious claims to be
the writer Amparo Davila, he finds himself spiralling deeper into a
haunted past that may or may not be his own. This surreal novel
enfolds a masterful exploration of gender in taut, atmospheric
mystery.
A fairy tale run amok, The Taiga Syndrome follows an unnamed
Ex-Detective as she searches for a couple that 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 serves to betray both sense and the senses.
The stories of Hansel and Gretel and Little Red Riding Hood haunt
the Ex-Detective's quest. As she enters a territory overrun with
the primitive excesses of capitalism - accumulation and expulsion,
corruption and cruelty -the lessons of her journey unfold: that
sometimes leaving everything behind is the only thing left to do.
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New and Selected Stories (Paperback)
Cristina Rivera Garza; Translated by Sarah Booker, Lisa Dillman, Francisca Gonz alez-Arias, Alex Ross
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R440
R368
Discovery Miles 3 680
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Ships in 10 - 15 working days
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The Taiga Syndrome (Paperback)
Cristina Rivera Garza; Translated by Suzanne Jill Levine, Aviva Kana
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R429
R349
Discovery Miles 3 490
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Ships in 10 - 15 working days
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The Iliac Crest (Paperback, 1st ed)
Cristina Rivera Garza; Translated by Sarah Booker; Foreword by Elena Poniatowska
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R465
R388
Discovery Miles 3 880
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Based on comparative readings of contemporary books from Latin
America, Spain, and the United States, the essays of 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 center of analysis, Cristina Rivera Garza
argues for the communality-a term used by anthropologist Floriberto
DIaz 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 in which it grew. In an increasingly violent world,
where the experiences of many are erased by pillage and extraction,
writing among and for the dead is a form of necrowriting that may
as well become a life-affirming act of decolonization and
resistance.
The stories in Victoria Lancelotta’s Ways to Disappear
excavate the unexamined places between dread and desire, promise
and threat, where the body is both prison and salvation. Populated
by the grieving and the exultant and those who see no difference
between the two, by men and women who are only a little bit broken
and boys and girls who can’t wait to be, by souls untethered,
rootless, yet bound by blood and flesh, Lancelotta’s characters
are driven by the irresistible need to be a bigger part of the
worlds they each inhabit, by turns strange and commonplace. In
language lush and jagged, never sentimental, these stories
scrutinize the exhaustion and enchantment of the everyday: houses
seething with resentment and devotion, cars dream-full and hurtling
the children in them into a world they think they know but can’t
imagine; front porches, back yards, luxury hotels, and truck stops.
Lancelotta understands that sometimes people check their wounds not
to see if they’ve healed, but to be sure they’re still there.
Based on comparative readings of contemporary books from Latin
America, Spain, and the United States, the essays of 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 center of analysis, Cristina Rivera Garza
argues for the communality-a term used by anthropologist Floriberto
DIaz 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 in which it grew. In an increasingly violent world,
where the experiences of many are erased by pillage and extraction,
writing among and for the dead is a form of necrowriting that may
as well become a life-affirming act of decolonization and
resistance.
La CastaNeda Insane Asylum is the first inside view of the workings
of La CastaNeda General Insane Asylum - a public mental health
institution founded in Mexico City in 1910 only months before the
outbreak of the Mexican Revolution. It links life within the
asylum's walls to the radical transformations brought about as
Mexico entered the Revolution's armed phase and then endured under
succeeding modernizing regimes. Author Cristina Rivera Garza brings
the history of La CastaNeda asylum to life as inmates, doctors,
relatives, and others engage in dialogues on insanity. They discuss
faith, sex, poverty, loss, resentment, envy, love, and politics.
Doctors translated what they heard into the emerging language of
psychiatry, while inmates conveyed their personal experiences and
private histories through expressions of mental suffering. The
language of pain - physical and spiritual, mild to excruciating -
allowed patients to detail the sources and consequences of their
misfortune. Available now for the first time in English, this
edition contains updated sources and features a note by the
translator, Laura Kanost.
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