In One-Way Tickets, Borinsky offers up a splendid tour across 20th-century literatures, providing a literary travelogue to writers and artists in exile. She describes their challenges in adjusting to new homelands, issues of identity and language, and the brilliant works produced under the discomforts and stresses of belonging nowhere. Speaking with the authority of first-hand experience, Borinsky relates the story of her own family—Eastern European Jews, with one-way tickets to Buenos Aires, refugees from the countries that “spat them out and massacred those who stayed on.” Borinksy herself becomes an exile, fleeing Argentina after the take-over of a bloody military dictatorship. She understood, then, her grandfather’s lessons: “There’s nothing like languages to save your life, open your mind, speed you away from persecution.” As a writer of poetry, fiction, and essays, the author also knows intimately the struggles of writing from between worlds, between languages. In these pages, we encounter Russian Vladimir Nabokov, writing in English in the United States; Argentine writer Julio Cortázar in Paris; Polish writer, Witold Gombrowicz in Buenos Aires; Alejandra Pizarnik, Argentine writer for whom exile is a state of mind; Jorge Luis Borges, labyrinthine traveler in time and space; Isaac Bashevis Singer, a Jewish writer in New York driven from Poland by the Nazis; Latino writers Oscar Hijuelos, Cristina Garcia, and Junot Diaz; and Clarice Lispector, transplanted from Ukraine, to Brazil, to Europe, and the United States. Not surprisingly, these charismatic and artistic people, as well as many others in Borinsky’s nearly encyclopedic associations, inhabit equally intriguing circles. She introduces us to a wide range of friends and lovers, mentors and detractors, compatriots and hosts. We come away with a terrific breadth of knowledge of 20th-century literature and culture in exile—its uneasy obsessions, its difficult peace, its hard-won success.
Alicia Borinsky argues that the contemporary Latin American novel does not just ingeniously dismantle the referential claims of the more traditional novel; it offers a postmodern version of the lessons taught by fiction. Latin American fiction, perhaps the most inventive literature of recent decades, seems marked by its self-reflexivity, by its playful relationship to history and the everyday, and by its concerns with the ways in which language works. But is it, Borinsky asks, really a literature whose primary goal is to raise metafictional questions about writing and reading? While the effects of this literature include dismantling the illusions of realism, naturalism, and historicism, the haunting and disturbing energy of its major works lies in their capacity of invoke a region beyond literature through literature. Theoretical Fables progresses by way of close readings of the works of eight canonical—and not quite canonical—Latin American Authors. Borinsky argues that the Latin American "theoretical fable" has its origins in the work of the early twentieth-century Argentinean writer Macedonio Fernández. In this light she studies the works of Jorge Luis Borges, Gabriel Garcia Márquez, Julio Cortázar, José Donoso, Adolfo Bioy Cesares, Manuel Puig, and Maria Luisa Bombal.
In these short, bilingual stories set in Buenos Aires (with each piece appearing in Spanish and English on facing pages), Alicia Borinsky provides unique glimpses into the lives of the city's inhabitants: its businessmen and tango dancers, politicians and torturers, triumphant divas and discarded children—a gallery of characters from a broad spectrum of contemporary Argentine society. She portrays a world of violence, corruption, love, and betrayal. The brevity of the pieces suggests a breathlessness and ephemeral quality, the fast-paced rhythm of the present. Yet within these small moments flicker the larger forces that shape ordinary lives. Civil wars are fought, shady deals are made, unwanted children are born. And in Borinsky's ironic but life-affirming prose, human foibles are exposed. Best Books for General Audiences, selected by the Public Library Association
In One-Way Tickets, Borinsky offers up a splendid tour across 20th-century literatures, providing a literary travelogue to writers and artists in exile. She describes their challenges in adjusting to new homelands, issues of identity and language, and the brilliant works produced under the discomforts and stresses of belonging nowhere. Speaking with the authority of first-hand experience, Borinsky relates the story of her own family—Eastern European Jews, with one-way tickets to Buenos Aires, refugees from the countries that “spat them out and massacred those who stayed on.” Borinksy herself becomes an exile, fleeing Argentina after the take-over of a bloody military dictatorship. She understood, then, her grandfather’s lessons: “There’s nothing like languages to save your life, open your mind, speed you away from persecution.” As a writer of poetry, fiction, and essays, the author also knows intimately the struggles of writing from between worlds, between languages. In these pages, we encounter Russian Vladimir Nabokov, writing in English in the United States; Argentine writer Julio Cortázar in Paris; Polish writer, Witold Gombrowicz in Buenos Aires; Alejandra Pizarnik, Argentine writer for whom exile is a state of mind; Jorge Luis Borges, labyrinthine traveler in time and space; Isaac Bashevis Singer, a Jewish writer in New York driven from Poland by the Nazis; Latino writers Oscar Hijuelos, Cristina Garcia, and Junot Diaz; and Clarice Lispector, transplanted from Ukraine, to Brazil, to Europe, and the United States. Not surprisingly, these charismatic and artistic people, as well as many others in Borinsky’s nearly encyclopedic associations, inhabit equally intriguing circles. She introduces us to a wide range of friends and lovers, mentors and detractors, compatriots and hosts. We come away with a terrific breadth of knowledge of 20th-century literature and culture in exile—its uneasy obsessions, its difficult peace, its hard-won success.
The granddaughter of Russian Jews who emigrated to Argentina, and the daughter of parents indifferent to Judaism who embrace Argentine society, a young Argentine woman is in a cultural limbo, caught between one world she cannot forget and another she wants to embrace in this 1992 Planeta Prize-winning novel.
Alicia Borinsky argues that the contemporary Latin American novel does not just ingeniously dismantle the referential claims of the more traditional novel; it offers a postmodern version of the lessons taught by fiction. Latin American fiction, perhaps the most inventive literature of recent decades, seems marked by its self-reflexivity, by its playful relationship to history and the everyday, and by its concerns with the ways in which language works. But is it, Borinsky asks, really a literature whose primary goal is to raise metafictional questions about writing and reading? While the effects of this literature include dismantling the illusions of realism, naturalism, and historicism, the haunting and disturbing energy of its major works lies in their capacity of invoke a region beyond literature through literature. Theoretical Fables progresses by way of close readings of the works of eight canonical—and not quite canonical—Latin American Authors. Borinsky argues that the Latin American "theoretical fable" has its origins in the work of the early twentieth-century Argentinean writer Macedonio Fernández. In this light she studies the works of Jorge Luis Borges, Gabriel Garcia Márquez, Julio Cortázar, José Donoso, Adolfo Bioy Cesares, Manuel Puig, and Maria Luisa Bombal.
The sports issue of Point of Contact features conversations, essays, and artwork by and about coach Jim Boeheim, writers Tim Green and Mary Karr, Chief Oren Lyons and Lacrosse coach Roy Simmons, Jr., film maker Owen Shapiro, and novelist and teacher Tom Friedmann.
In these short, bilingual stories set in Buenos Aires (with each piece appearing in Spanish and English on facing pages), Alicia Borinsky provides unique glimpses into the lives of the city's inhabitants: its businessmen and tango dancers, politicians and torturers, triumphant divas and discarded children—a gallery of characters from a broad spectrum of contemporary Argentine society. She portrays a world of violence, corruption, love, and betrayal. The brevity of the pieces suggests a breathlessness and ephemeral quality, the fast-paced rhythm of the present. Yet within these small moments flicker the larger forces that shape ordinary lives. Civil wars are fought, shady deals are made, unwanted children are born. And in Borinsky's ironic but life-affirming prose, human foibles are exposed. Best Books for General Audiences, selected by the Public Library Association
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