José Eduardo Agualusa takes on the herculean task of depersonalizing dreams in order to shed light on his home country’s simmering revolution.
The idea that communism is a Jewish plot for control, or a thoroughly Judaized ideology, is such a deep part of 20th and 21st Century antisemitism that it feels almost redundant to discuss it.
Koestenbaum’s THE CHEERFUL SCAPEGOAT overturns the classical idea of the fable as containing a moral; his prose is amoral, and delights in playing with the language, destabilizing meaning, or common sense.
Alejandro Albarrán Polanco and Agustín Guambo display a radical political sensibility refracted through shards of shattered subjectivities, while Enriqueta Lunez’s fierce feminist lyricism offers an unsentimental portrayal of generational conflict among indigenous women.
The gargantuan complexity of the human issues at the novel’s heart is a good reminder of the importance of storytelling that is honored and not coerced, believed and not picked apart.
His diaries offer a further, and perhaps more fundamental, opportunity to see Piglia exploring his obsession with impressions, and distorted impressions, a replaying of events and conversations.
It expertly weaves its politics into a psychologically complex story that centers a character, and her desires, frustrations, and emotions, who is not commonly represented in either Colombian or international literature.