At the intersection of translation studies and Latin American literary studies, The Translator’s Visibility examines contemporary novels by a cohort of writers – including prominent figures such as Cristina Rivera Garza, César Aira, Mario Bellatin, Valeria Luiselli, and Luis Fernando Verissimo – who foreground translation in their narratives. Drawing on Latin America’s long tradition of critical and creative engagement of translation, these novels explicitly, visibly, use major tropes of translation theory – such as gendered and spatialized metaphors for the practice, and the concept of untranslatability – to challenge the strictures of intellectual property and propriety while shifting asymmetries of discursive authority, above all between the original as a privileged repository of meaning and translation as its hollow emulation. In this way, The Translator’s Visibility show that translation not only serves to renew national literatures through an exchange of ideas and forms; when rendered visible, it can help us reimagine the terms according to which those exchanges take place. Ultimately, it is a book about language and power: not only the ways in which power wields language, but also the ways in which language can be used to unseat power.

From the groundbreaking author of Beauty Salon, The Large Glass, Jacob the Mutant, Mario Bellatin delivers a rousing, allegorical novel following the widowed keeper of a mysterious garden. When art student Izu's teacher asks her to visit the famous collection of Mr. Murakami, she publishes a firm rebuttal to his curation. Instead of responding with fury, the rich man pursues her hand in marriage. When we meet her in the opening pages, Mrs. Murakami is watching the demolition of her now-dead husband's most prized part of the estate: his garden. The novel that follows takes place in a strange, not-quite-real Japan of the author's imagination. But who, in fact, holds the role of author? As Mr. Murakami's garden is demolished, so too is the narrative's authenticity, leaving the reader to wonder: did this book's creator exist at all? Mario Bellatin has revolutionized the state of Latin American literature with his experimental, shocking novels. With this brand-new, highly anticipated edition of Mrs. Murakami's Garden from lauded translator Heather Cleary, readers have access to a playful modern classic that transcends reality.

Recital of the Dark Verses is a road novel, a coming-of-age tale, and a raunchy slapstick comedy that tells—in careening, charismatic prose—the (true) story of the theft of the body of Saint John of the Cross.In August 1592, a bailiff and his two assistants arrive at the monastery of Úbeda, with the secret task of transferring the body of Saint John of the Cross, the great Carmelite poet and mystic who had died the previous year, to his final abode. When they exhume him, they find a body uncorrupted and as fresh as when he died.   Recital of the Dark Verses follows the three hapless thieves as they sneak the corpse of Saint John of the Cross from Úbeda to Segovia, trying not to lose too many pieces of the body to his frenzied disciples along the way. It is the (true) story of a heist, a road novel, a coming-of-age tale, and a raunchy slapstick comedy told in careening, charismatic prose. It is also a witty and wise commentary on the verse of one of Spain's most important poets woven from the lines for which he is best known——a revival of words written more than four centuries ago, and a centering and celebration of their intrinsic queerness.

The great ideological cliche of our time, Cesar Rendueles argues in Sociophobia, is the idea that communication technologies can support positive social dynamics and improve economic and political conditions. We would like to believe that the Internet has given us the tools to overcome modernity's practical dilemmas and bring us into closer relation, but recent events show how technology has in fact driven us farther apart. Named one of the ten best books of the year by Babelia El Pais, Sociophobia looks at the root causes of neoliberal utopia's modern collapse. It begins by questioning the cyber-fetishist dogma that lulls us into thinking our passive relationship with technology plays a positive role in resolving longstanding differences. Rendueles claims that the World Wide Web has produced a diminished rather than augmented social reality. In other words, it has lowered our expectations with respect to political interventions and personal relations. In an effort to correct this trend, Rendueles embarks on an ambitious reassessment of our antagonistic political traditions to prove that post-capitalism is not only a feasible, intimate, and friendly system to strive for but also essential for moving past consumerism and political malaise.

In the outskirts of Buenos Aires in 1907, a doctor becomes involved in a misguided experiment that investigates the threshold between life and death. One hundred years later, a celebrated artist goes to extremes in search of aesthetic transformation, turning himself into an art object. How far are we willing to go, Larraquy asks, in pursuit of transcendence? The world of Comemadre is full of vulgarity, excess, and discomfort: strange ants that form almost perfect circles, missing body parts, obsessive love affairs, and man-eating plants. Darkly funny, smart, and engrossing, here the monstrous is not alien, but the consquence of our relentless pursuit of collective and personal progress.

Virtually unknown in the English-speaking world, Girondo is one of the pioneers of Latin American literature. This selection offers a glimpse of a precise and playful writer who insisted that a poem should be constructed like a watch and sold like a sausage. "

The great ideological cliche of our time, Cesar Rendueles argues in Sociophobia, is the idea that communication technologies can support positive social dynamics and improve economic and political conditions. We would like to believe that the Internet has given us the tools to overcome modernity's practical dilemmas and bring us into closer relation, but recent events show how technology has in fact driven us farther apart. Named one of the ten best books of the year by Babelia El Pais, Sociophobia looks at the root causes of neoliberal utopia's modern collapse. It begins by questioning the cyber-fetishist dogma that lulls us into thinking our passive relationship with technology plays a positive role in resolving longstanding differences. Rendueles claims that the World Wide Web has produced a diminished rather than augmented social reality. In other words, it has lowered our expectations with respect to political interventions and personal relations. In an effort to correct this trend, Rendueles embarks on an ambitious reassessment of our antagonistic political traditions to prove that post-capitalism is not only a feasible, intimate, and friendly system to strive for but also essential for moving past consumerism and political malaise.

At the intersection of translation studies and Latin American literary studies, The Translator’s Visibility examines contemporary novels by a cohort of writers – including prominent figures such as Cristina Rivera Garza, César Aira, Mario Bellatin, Valeria Luiselli, and Luis Fernando Verissimo – who foreground translation in their narratives. Drawing on Latin America’s long tradition of critical and creative engagement of translation, these novels explicitly, visibly, use major tropes of translation theory – such as gendered and spatialized metaphors for the practice, and the concept of untranslatability – to challenge the strictures of intellectual property and propriety while shifting asymmetries of discursive authority, above all between the original as a privileged repository of meaning and translation as its hollow emulation. In this way, The Translator’s Visibility show that translation not only serves to renew national literatures through an exchange of ideas and forms; when rendered visible, it can help us reimagine the terms according to which those exchanges take place. Ultimately, it is a book about language and power: not only the ways in which power wields language, but also the ways in which language can be used to unseat power.