Katherine Silver

In Festival, the genius postmodern sci-fi filmmaker Alec Steryx is the star guest of a film festival in an unnamed country. But he’s brought a surprise: his nonagenarian mother. Everyone is baffled. Why? Half-blind and terminally cranky, she does nothing but complain, despite insisting on attending every screening and reception. As Steryx’s mother gums up the works for the festival organizers, larger problems are in store … A delightfully baroque comedy of errors, Festival is, all at once, a loving parody of the institutions that support artists, a meditation on postmodern art, and a propulsive, lyrical, surreal adventure.

In the far, far future, a middle-aged father is behind the times. Bemused and disturbed, he watches his children play the eponymous Game of the Worlds, a Total Reality war game that involves the annihilation of countless alien civilizations—which are at least as real as the narrator’s own. As he debates the ethics of the game, struggles with his home’s “intelligent system,” and fumblingly manipulates his Discourse Corrector (a dead ringer for ChatGPT) on virtual beachside dates, an errant thought threatens to set a world-ending chain of logic into motion: the return of the Idea of God… Epic and domestic, madcap and musing by turns, this prescient novel reads like a message in a bottle from a bewitchingly strange yet all-too-familiar future.

This landmark novella—one of the central texts of Mexican literature, is eerily relevant to our current dark times—offers a child’s-eye view of a society beset by dictators, disease, and natural disasters, set in “the year of polio, foot-and- mouth disease, floods.” A middle-class boy grows up in a world of children aping adults (mock wars at recess pit Arabs against Jews), where a child’s left to ponder “how many evils and catastrophes we have yet to witness.” When Carlos laments the cruelty and corruption, the evils of a vicious class system, his older brother answers: “So what, we are living up to our ears in shit anyway under Miguel Alemán’s regime,” with “the face of El Señor Presidente everywhere: incessant, private abuse.” Sound familiar?

Woven into this coming-of-age saga is the terribly intense love Carlos cherishes for his friend’s young mother, which has the effect of driving the general cruelties further under the reader’s skin. The acclaimed translator Katherine Silver has greatly revised her original translation, enlivening afresh this remarkable work.

Artforum is certainly one of César Aira’s most charming, quirky, and funny books to date. Consisting of a series of interrelated stories about his compulsion to collect Artforum magazines, this is not about art so much as it is about passionate obsession.

At first we follow our hapless collector from magazine shops to used bookstores hunting for copies of Artforum. A friend alerts him to a copy somewhere and he obsesses about actually going to get it—will the shop be open, will the copy already be sold? Finally he takes out a subscription, but then it never comes, so he hounds the mailman. There’s the day his stash of Artforums gets rained on, but only one absorbs the water. And interspersed is a wacky chapter about the mystery of the broken clothespins. “How weird.” “How crazy.”

“I want you to know that I’m not a critic or theorist"—so begins the first of eight classes that the great Argentine writer Julio Cortázar delivered at UC Berkeley in 1980. These classes are as much reflections on Cortázar’s own writing—“in my work I look for solutions as problems arise”—as musings about literature. He covers such topics as “the writer’s path” (“while my aesthetic world view made me admire writers like Borges, I was able to open my eyes to the language of street slang, lunfardo”) and the fantastic (“unbeknownst to me, the fantastic had become as acceptable, as possible and real, as the fact of eating soup at eight o’clock in the evening”), Literature Class provides the amazingly warm and personal experience of sitting in a room with this fantastically inventive author. As Joaquin Marco stated in El Cultural, “exploring this course is to dive into Cortázar designing his own creations…. Essential for anyone reading or studying Cortázar, cronopio or not!”

One Saturday night a bankrupt bachelor in his sixties and his mother dine with a wealthy friend. They discuss their endlessly connected neighbors. They talk about a mysterious pit that opened up one day, and the old bricklayer who sometimes walked to the cemetery to cheer himself up. Anxious to show off his valuable antiques, the host shows his guests old windup toys and takes them to admire an enormous doll. Back at home, the bachelor decides to watch some late night TV before retiring. The news quickly takes a turn for the worse as, horrified, the newscaster finds herself reporting about the dead rising from their graves, leaving the cemetery, and sucking the blood of the living—all somehow disturbingly reminiscent of the dinner party.

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.

Daily conversations in outdoor cafés with cultured friends can help make reality a little more real. Unfortunately, however, during one such conversation, one man spots a gold Rolex watch on a TV soap opera’s goatherd. This seemingly small absurdity sets off alarms: strange sensations of deception, distress, and incipient madness. The two men’s uneasiness soon becomes a nightmare as the TV adventure advances with a real-life plot — involving a mutant strain of killer algae — to take over the world! Conversations, a reality within a fiction within a parallel reality, is hilariously funny and surprisingly touching.

Only a couple of days before the state visit of the President of the United States, Filiberto García — an impeccably groomed “gun for hire,” ex–Mexican revolutionary, and classic antihero — is recruited by the Mexican police to discover how much truth there might be to KGB and CIA reports of a Chinese-Mongolian plot to assassinate the Mexican and American presidents during the unveiling of a statue in Mexico City.

García kills various criminals as he searches for clues in the opium dens, curio shops, and Cantonese restaurants of Mexico City’s Chinatown — clues that appear to point not to Mongolia, but to Cuba. Yet as the bodies pile up, he begins to find traces of slimy political dealings: are local gears grinding away in these machinations of an “international incident”? Pulsating behind the smokescreen of this classic noir are fierce curses, a shockingly innocent affair, smoldering dialog, and unforgettable riffs about the meaning of life, the Mexican Revolution, women, and the best gun to use for close-range killing.

Writing for Harper’s Magazine, Edgardo Krebs describes Professor Borges:

“A compilation of the twenty-five lectures Borges gave in 1966 at the University of Buenos Aires, where he taught English literature. Starting with the Vikings’ kennings and Beowulf and ending with Stevenson and Oscar Wilde, the book traverses a landscape of ‘precursors,’ cross-cultural borrowings, and genres of expression, all connected by Borges into a vast interpretive web. This is the most surprising and useful of Borges’s works to have appeared posthumously.”

Borges takes us on a startling, idiosyncratic, fresh, and highly opinionated tour of English literature, weaving together countless cultural traditions of the last three thousand years. Borges’s lectures — delivered extempore by a man of extraordinary erudition — bring the canon to remarkably vivid life.

Now translated into English for the first time, these lectures are accompanied by extensive and informative notes by the Borges scholars Martín Arias and Martín Hadis.

Dr. Aira is not a conventional doctor. He has a very special gift for miracles, at least in theory. This has not deterred his archenemy, Dr. Actyn, who is trying to prove that Dr. Aira is a charlatan. When the ever wary Dr. Aira is finally called upon to put his theories into practice and use his healing powers to actually cure a hopelessly sick man, César Aira — the authoritative writer — shows us the truth about miracles in this delightfully awesome book.

Published in 1928 to great acclaim when Martín Adán was just twenty years old, The Cardboard House is sweeping, kaleidoscopic, and passionate. The novel presents a series of flashes―scenes, moods, dreams, weather―as the narrator wanders through Barranco (then an exclusive seaside resort outside Lima). In one stunning passage after another, he moves from reveries of first loves, South Pole explorations, and ocean tides to precise and unashamed notations of class and race: from a native woman “with her hard, shiny, damp head of hair―a mud carving”―to a gringo imbibing “synthetic milk, canned meat, hard liquor.” (One gringa particularly facinates him: “Let’s remember Miss Annie Doll, tourist and photographer, a spring dressed in a jersey that sprang out of this Peruvian resort town’s box of surprises…a red, long sinewy mobile thing that carries a Kodak over its shoulder and asks questions that are wise, useless, and nonsensical.”)

The tyrant of Horacio Castellanos Moya’s ambitious new novel 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, 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, Haydée 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 Haydée’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 country’s history in the destiny of one family.

César is a translator who’s fallen on very hard times due to the global economic downturn; he is also an author, and a mad scientist hell-bent on world domination. On a visit to the beach he intuitively solves an ancient riddle, finds a pirate’s treasure, and becomes a very wealthy man. Even so, César’s bid for world domination comes first and so he attends a literary conference to be near the man whose clone he hopes will lead an army to victory: the world-renowned Mexican author, Carlos Fuentes. A comic science fiction fantasy of the first order, The Literary Conference is the perfect vehicle for César Aira’s takeover of literature in the 21st century.

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.

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 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.” Publishers Weekly calls Senselessness a “crushing satire,” remarking, “It’s Moya’s genius to make this difficult character seem a product of the same death and disorder documented in the report, as the survivors’ voices merge with his own;” and Russell Banks writes, “This is a brilliantly crafted moral fable, as if Kafka had gone to Latin America for his source materials. I’ve not read anything quite like it. Clearly, Castellanos Moya is a major writer who deserves a wide audience in the U.S.” Roberto Bolaño called Castellanos Moya “the only writer of my generation who knows how to narrate the horror, the secret Vietnam that Latin America was for a long time.” He also said about his work, “nationalists of all stripes can’t stand it. Its sharp humor, not unlike a Buster Keaton film or a time bomb, threatens the fragile stability of imbeciles who, when they read the book, have an uncontrollable desire to hang the author in the town square. I can’t think of a higher honor for a writer.”