Austral

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He is the author of three novels, Coronel Lágrimas, Museo animal, and Austral all published in Spanish by Anagrama and in English by Restless Books and Farrar, Straus and Giroux. His novels have been translated into more than ten languages. He is the author of the book of essays La lucidez del miope, a book that explores writers as diverse as Ricardo Piglia, W.G. Sebald, Marta Aponte, Joao Gilberto Noll and Enrique Vila-Matas, among others. For this book he was awarded the National Prize of Culture of Costa Rica, in the essay category. He has written articles on topics such as Simón Bolívar and Alexander Von Humboldt, Ricardo Piglia and technology, Roberto Bolaño and forensic aesthetics, Marta Aponte and the biographical archive, Enrique Vila-Matas and the avant-garde, Wifredo Lam and the postcolonial imagination, Teresa Margolles’s counter-forensic archives, Euclides da Cunha and geohistory, Antonion Artaud and his Mexican journeys, among others….

A beautifully knotted novel which unfolds with every traced layer of its deeply affecting narrative alongside a meditation on memory, mystery and vanishing. Austral is a novel of profound questions.” Cenup üç bölümden oluşuyor. Sırasıyla “Şahsi Bir Dil”, “Kaybın Lugatı” ve “Bellek Tiyatrosu”. Wittgenstein’ın dilin ve dolayısıyla bilincin hatta özbilincin de toplumsallığına vurgu yapan “şahsi bir dil tasavvur edilemeyeceği” önermesine atıfta bulunan ilk bölümde Julio’nun Humahuaca’ya yolculuğu, Aliza’nın ona miras bıraktığı son kitabından bölümlerle birlikte örülmüş. Otobiyografik öğelerin aşikar olduğu bu anlatının halkalarında Aliza’nın geçmişini, onu 30 sene evvel Güney Amerika’da bir “road trip”e sevk eden olaylar zincirinini okuruz. Roman ya da otobiyografik anlatının olay örgüsü kısaca şöyle: Suele decirse que una novela imita a la vida en su linealidad, en su fragmentación o, incluso, en sus recorridos circulares. Pero, ¿puede una novela imitar el océano? ¿Y el aire? ¿Tal vez la tierra? Jones, Sam (7 April 2021). "Granta names world's best young Spanish-language writers". The Guardian. Carlos Fonseca Suárez ( San José, 1987) es un escritor costarricense. Es el autor de las novelas Colonel Lágrimas [1 ]​, Museo animal [2 ]​ y Austral [3 ]​.

Aliza’nın sosyolog babası Yitzhak, günün birinde hocası von Mühfeld’den bir davet almıştır. Karl Heinz Von Mühfeld, 1890’larda büyük düşünürün kız kardeşi Elizabeth Nietzsche’nin kocasıyla birlikte Paraguay düzlüklerinde “Yeni Almanya” adında Aryan ırkı temsil eden saf bir komün kurma girişimi öyküsünün peşine düşerek bu Aryan kolonisinin başarısızlığı üzerinden kendi kültür kuramını oluşturmuştur. Bu kuramı anl Austral is a tender and thoughtful exploration of the painful irony of being alive and our attempts to make sense of the past as well as the present. Carlos Fonseca has written a book that is like a beautiful maze where we can discover new treasures at each turn."

El joven Fonseca, que es alguien que crea ficciones sobre archivos, máscaras y ruinas, es decir, alguien que sabe crear otras formas de pensar, y suele además ser un genial y obstinado explorador de abismos, se ha convertido en uno de mis escritores preferidos» (Enrique Vila-Matas). In a calm and lyrical tone, Carlos Fonseca’s works ambitiously seek to incorporate everything. They flirt with unified theories and take joy in connecting ideas in unexpected ways, his protagonists often losing themselves in beguiling mental labyrinths of their own making . . . It is this very bravery that makes it such a pleasure to read his intellectual thrillers about art, nature, and the quest to remake oneself.” Due to the death of a friend (who he has not seen in 30 years), a man is called down to an Argentinian artist’s commune to edit her final manuscript. From here, he is led on a path across different cultures and time periods, all connected by language, loss, and community. Dictionaries are prominent, but rather than catalog the old meaning of words, they destabilize or explode their meanings and become strange incubators of the possibility for new definitions. We come across Chilean artist Álvaro Guevara’s Dictionnaire intuitif, composed in French, and an aural dictionary of the Nataibo language based on voice recordings of Juvenal Suárez, the indigenous man who is its last speaker. Such attempts to clarify or reinvent words, too, produce cultural detonations. The evocation dissolved with the question as she refilled his mug and he, observing the tattoo that stretched over her forearm, understood the size of his error. He could not be hearing his friend’s voice, not only because she had died ten days earlier, but also because what was at stake in the story they now returned to was precisely the loss of that voice.When Abravanel’s unfinished manuscript reaches her old friend, the university professor and insomniac philosopher Julio Gamboa, he traces her steps through Paraguay, Argentina, and Guatemala. He is her mirror or photographic negative who seeks, with a certain detachment, to understand her final days. He also abandons language in the sense of leaving the vernacular of the university where he teaches, to open himself to the idioms of the South American land and its surprises, in a lone journey.

Carlos Fonseca is a writer and academic. His teaching, writing and research focuses on modern Latin American literature, art and culture, with particular emphasis on concepts of history, nature and politics. He is interested in the intersection between philosophy, literature and art history. He holds a PhD from Princeton University. iyi yazılmış (ve kusursuz çevrilmiş, çünkü Roza Hakmen...), onca karmaşıklığına rağmen okuru kolundan tutup içine çeken bir kitap bu neticede. Fakat yazar, kurduğu görkemli labirentten o labirente yakışır biçimde çıkamamış sanki. Hikaye farklı bağlansaydı (yahut belki de hiçbir yere bağlanmasaydı, çünkü bu metne bu da yakışırdı) kusursuz bir kitap bu diyebilirdim.A wonderful meditation on language and memory, and surely a strong contender for the 2024 International Booker. Still within Alicia’s novel/memoir, in italics: seventy years later, in the aftermath of the collapse of the Third Reich, Karl-Heinz von Mühfeld, a pioneering anthropologist, becomes fascinated with the idea of the lost “New Germany” colony. He wishes to use its bizarre history to reaffirm his contrary theory that great cultures are mixed, not “pure”. It was a challenging book, because I‘d never written about a living person without fictionalising them; on the other hand, it follows my old obsession with exploring the impact of history on individual lives,” he said. Vásquez will be in the UK from early October 2022 for six weeks, as Weidenfeld Visiting Professor in comparative European literature at St Anne’s College, Oxford. A dazzling novel about the traces we leave, the traces we erase and the traces we seek to rebuild, by one of the most innovative and powerful new voices in contemporary Latin American literature

Australis jammed with references to writers, artists and thinkers. If you know who they are, it helps with your reading of Austral.But you don’t have to know who any of them are to appreciate the book. Who you don’t know puts you on the threshold of new learning. There are more wonderful books in the world than any of us can ever get to. Carlos Fonseca’s new book, which itself functions as a compendium of books, both real and fictional, reminded me of that. Reina, Elena (28 de noviembre de 2016). «La FIL de Guadalajara celebra 30 años como la capital literaria de América Latina». EL PAÍS . Consultado el 30 de agosto de 2017.Moving . . . An intellectual puzzle that reminds us that it is also possible to be passionate about ideas . . . Guided by its obsessive characters and their fixations, the book elegantly takes the reader for a tour of Latin America’s labyrinthine contemporary history . . . Deftly translated by Megan McDowell, the mastery, grace, and intelligence of Fonseca’s prose come forth, halfway between the baroque rhythms of Faulkner and the steady pulse of Borges.” Each of these subscription programs along with tax-deductible donations made to The Rumpus through our fiscal sponsor, Fractured Atlas, helps keep u s going and brings us closer to sustainability. The Rumpus is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Rumpus must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law. And he continued under this assumption as, sitting in his office facing the university campus where he’d spent the past twenty years, he read the beginning of the letter, in which Walesi introduced herself as a member of an artists’ community in the northern Argentine desert. The next lines, though, finally dispelled his confusion. He recognized the name Alicia Abravanel with the kind of muted emotion we feel when we greet our childhood home after years away: a mixture of joy, wonder, and nostalgia. But he didn’t want to give in to the games of memory. He put the letter aside and let his attention wander toward the students outside as they welcomed winter. It can take a long time for cycles to close, but sooner or later they come to their end with the most terrible precision. Hasta aquí todo hubiera funcionado perfectamente para mí. La escritura cuidadísima, precisa, matizada cuando hace falta, atenta siempre a los cambios de tercio de la novela. Pero hay un momento que servidor se pierde con las sorpresivas entradas en escena de personajes que arrastran una biografía y unas experiencias que tenemos que fijar, no sea que al final no sepamos por dónde vamos. Eso, no obstante, no hace mella en el tramo para mí mejor expuesto y justificado narrativamente. Me refiero a la novela inconclusa que Julio intercala en su relato (en tercera persona). Aquí la historia adquiere sentido narrativo, además de esa unidad estructural que estábamos extrañando en el conjunto de la novela. Aquí se narra una aventura personal y a la vez casi moral, la búsqueda de su lugar en el mundo de su narradora y protagonista y también del sentido de una búsqueda casi utópica, sin perder de vista el costado tenebroso que tienen las utopías. Fonseca Suárez was born in San José, Costa Rica in 1987. Born to a Costa Rican father and a Puerto Rican mother, he spent most of his adolescence in Puerto Rico. [8]