A Rainmaker Translation Grant Winner from the Black Mountain Institute: Senselessness, acclaimed Salvadoran author Horacio Castallanos Moya's astounding debut in English, explores horror with hilarity and electrifying panache. A boozing, sex-obsessed writer finds himself employed by the Catholic Church (an institution he loathes) to proofread a 1,100 page report on the army's massacre and torture of thousands of indigenous villagers a decade earlier, including the testimonies of the survivors. The writer's job is to tidy it up: he rants, "that was what my work was all about, cleaning up and giving a manicure to the Catholic hands that were piously getting ready to squeeze the balls of the military tiger." Mesmerized by the strange Vallejo-like poetry of the Indians' phrases ("the houses they were sad because no people were inside them"), the increasingly agitated and frightened writer is endangered twice over: by the spell the strangely beautiful heart-rending voices exert over his tenuous sanity, and by real danger—after all, the murderers are the very generals who still run this unnamed Latin American country.
A high-octane paranoia deranges a writer and fuels a dangerous plan to return home to El Salvador. High-octane paranoia deranges a writer and fuels a dangerous plan to return home at the tail end of El Salvador's long civil war. Is the plan a dream or a nightmare? Is he courageous, foolhardy, or just plain dumb? Is the bubbling brew of horrors and threats actual or imagined? After he seeks relief for liver pain through hypnosis (while drinking more than ever, despite the treatments), his few impulse-control mechanisms rapidly dissolve, and reality only rarely intrudes on his cogitations. Harebrained murder plots, half-mad arguments, hysterical rants: the narrative escalates at a maniacal pace, infused with Horacio Castellanos Moya's uniquely outlandish and acerbic sense of humor.
Laura Rivera can't believe what has happened. Her best friend has been killed in cold blood in her own living room! Nobody knows who pulled the trigger or who might have masterminded the murder, but Laura - an upper-crust young woman used to getting her own way - will not rest easy until she finds out. Laura's dizzying, delirious, hilarious, and blood-curdling monologue carries the reader on a rough-and-tumble ride through the chaos of post-civil war San Salvador." "A detective story of pulse-quickening suspense, The She-Devil in the Mirror is also a sober reminder that justice and truth are more often than not illusory. Castellanos Moya's relentless, obsessive narrator - female, rich, paranoid, wonderfully perceptive and, in the end, fabulously unreliable - paints with frivolous profundity a society in a state of collapse. As her anger and panic grow, Laura talks faster and faster: she sends the story screeching around corners, her voice leaving black tire marks along the way. Nothing can stop her as she rattles on and on about her disbelief and horror at the evils all around her - but who's that in the mirror?" --Book Jacket.
With pitch-perfect, pitch-black humor, this saga refracts through one family's struggles a whole country's nightmare. The tyrant of the book is the actual pro-Nazi mystic Maximiliano Hernández Martínez, known as the Warlock, who came to power in El Salvador in 1932. An attempted coup in April of 1944 failed, but a general strike in May finally forced him out of office. The book takes place during that tumultuous month between the coup and the strike. With her husband a political prisoner and her son fleeing for his life, wealthy Haydée Aragon takes matters into her own hands. Events ricochet from one near-disaster to the next.--Publisher's description.
The 1997 novel that put Horacio Castellanos Moya on the map, now published for the first time in English An expatriate professor, Vega, returns from exile in Canada to El Salvador for his mother’s funeral. A sensitive idealist and an aggrieved motor mouth, he sits at a bar with the author, Castellanos Moya, from five to seven in the evening, telling his tale and ranting against everything his country has to offer. Written in a single paragraph and alive with a fury as astringent as the wrath of Thomas Bernhard, Revulsion was first published in 1997 and earned its author death threats. Roberto Bolano called Revulsion Castellanos Moya’s darkest book and perhaps his best: “A parody of certain works by Bernhard and the kind of book that makes you laugh out loud.”
Castellanos Moya’s most thrilling book to date, about the senselessness of tyranny. The tyrant of Horacio Castellanos Moya’s ambitious new novel is the actual pro-Nazi mystic Maximiliano Herna´ndez Marti´nez — known as the Warlock — who came to power in El Salvador in 1932. An attempted coup in April, 1944, failed, but a general strike in May finally forced him out of office. Tyrant Memory takes place during the month between the coup and the strike. Its protagonist, Hayde´e Aragon, is a well-off woman, whose husband is a political prisoner and whose son, Clemente, after prematurely announcing the dictator’s death over national radio during the failed coup, is forced to flee when the very much alive Warlock starts to ruthlessly hunt down his enemies. The novel moves between Hayde´e’s political awakening in diary entries and Clemente’s frantic and often hysterically comic efforts to escape capture. Tyrant Memory — sharp, grotesque, moving, and often hilariously funny — is an unforgettable incarnation of a coun- try’s history in the destiny of one family.
Salvadorean society is shocked by the gruesome murder of a young upper-class woman, and no one more so than her best friend Laura. In her first-person solo narration, Laura rattles on and on about her disbelief and horror at the evils all around her—but who’s that in the mirror? Laura Rivera can’t believe what has happened. Her best friend has been killed in cold blood in the living room of her home, in front of her two young daughters! Nobody knows who pulled the trigger, but Laura will not rest easy until she finds out. Her dizzying, delirious, hilarious, and blood-curdling one-sided dialogue carries the reader on a rough and tumble ride through the social, political, economic, and sexual chaos of post-civil war San Salvador. A detective story of pulse-quickening suspense, The She-Devil in the Mirror is also a sober reminder that justice and truth are more often than not illusive. Castellanos Moya’s relentless, obsessive narrator—female, rich, paranoid, wonderfully perceptive, and, in the end, fabulously unreliable—paints with frivolous profundity a society in a state of collapse. Castellanos Moya’s Senselessness was acclaimed “an innovative and invigoratingly twisted piece of art” (Village Voice) and “a brilliantly crafted moral fable, as if Kafka had gone to Latin America for his source materials” (Russell Banks).
A Rainmaker Translation Grant Winner from the Black Mountain Institute: Senselessness, acclaimed Salvadoran author Horacio Castallanos Moya's astounding debut in English, explores horror with hilarity and electrifying panache. A boozing, sex-obsessed writer finds himself employed by the Catholic Church (an institution he loathes) to proofread a 1,100 page report on the army's massacre and torture of thousands of indigenous villagers a decade earlier, including the testimonies of the survivors. The writer's job is to tidy it up: he rants, "that was what my work was all about, cleaning up and giving a manicure to the Catholic hands that were piously getting ready to squeeze the balls of the military tiger." Mesmerized by the strange Vallejo-like poetry of the Indians' phrases ("the houses they were sad because no people were inside them"), the increasingly agitated and frightened writer is endangered twice over: by the spell the strangely beautiful heart-rending voices exert over his tenuous sanity, and by real danger—after all, the murderers are the very generals who still run this unnamed Latin American country.
For most of the 20th century, Latin American literature and art have contested political and cultural projects of homogenization of a manifestly diverse continent. Cultural Antagonism and the Crisis of Reality in Twentieth-Century Latin America explores literary and humanist experimentations and questions of gender, race, and ethnicity as well as the contradictions of capitalist development that belie such homogenization by reconfiguring the sense of the real in Latin America. Covering four key geographical areas, Mexico, the Caribbean, Central America and the Andes, every chapter delves into a question that has been central to the humanities in the last 20 years: Indigenous world-views, gender, race, neo-liberalism and visual culture. Legrás illuminates these issues with a thorough consideration of the theoretical questions inherent to how new identities disrupt the imaginary stability of social formations.
The 1997 novel that put Horacio Castellanos Moya on the map, now published for the first time in English An expatriate professor, Vega, returns from exile in Canada to El Salvador for his mother’s funeral. A sensitive idealist and an aggrieved motor mouth, he sits at a bar with the author, Castellanos Moya, from five to seven in the evening, telling his tale and ranting against everything his country has to offer. Written in a single paragraph and alive with a fury as astringent as the wrath of Thomas Bernhard, Revulsion was first published in 1997 and earned its author death threats. Roberto Bolano called Revulsion Castellanos Moya’s darkest book and perhaps his best: “A parody of certain works by Bernhard and the kind of book that makes you laugh out loud.”
A high-octane paranoia deranges a writer and fuels a dangerous plan to return home to El Salvador. High-octane paranoia deranges a writer and fuels a dangerous plan to return home at the tail end of El Salvador's long civil war. Is the plan a dream or a nightmare? Is he courageous, foolhardy, or just plain dumb? Is the bubbling brew of horrors and threats actual or imagined? After he seeks relief for liver pain through hypnosis (while drinking more than ever, despite the treatments), his few impulse-control mechanisms rapidly dissolve, and reality only rarely intrudes on his cogitations. Harebrained murder plots, half-mad arguments, hysterical rants: the narrative escalates at a maniacal pace, infused with Horacio Castellanos Moya's uniquely outlandish and acerbic sense of humor.
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