Carlos Fonseca is one of today's most promising Latin American novelists, and Austral—a reflection on identity, rootlessness and violence, written in admirable prose—is his most ambitious, most complex and most accomplished novel to date" — Javier Cercas, author of Even the Darkest Night 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: Ben İngilizcesini okudum, çevirmen Megan McDowell'ın erişilebilir çevirisine rağmen, okuyucu (benim gibi) romanın katmanlarının etkisini tam olarak kavramak için pasajları tekrar tekrar okumak, tarih, sanat, edebiyat ve dil bilimleri alanlarından isimleri araştırmak zorunda kalabilir. Hay Festival Announces Bogotá39-2017 Anthology's Latin American Authors». Publishing Perspectives (en inglés). 8 de mayo de 2017 . Consultado el 30 de agosto de 2017. The protagonists of this sweeping novel strive to piece together the past in all its cruelty to better understand themselves and whence they came. Austral juxtaposes beautifully the search for truth and the artistic process in a depiction that makes one indistinguishable from the other. With great sensitivity, Carlos Fonseca captures the sense of dislocation that comes to define anyone who has ever been displaced.”

Expansive and thought-provoking" GuardianA dazzling novel about the traces we leave, the traces we erase and the traces we seek to rebuild. Un autor que va a por todas, a por la gran novela latinoamericana, desde el primer asalto» (Jesús Nieto Jurado, El Mundo).

Literatura

The words, coming from the kitchen, crossed the living room on that December morning to reach Julio, who had sat in one of the armchairs farthest from the door to try and escape the freezing breeze that periodically slipped in. Recognizing the expression, he stopped rolling the cigarette he had in his hands and looked up. He saw no one. Olivia had excused herself to make more coffee, and the only thing that moved in the room was the Italian greyhound that had jumped up into the chair she’d just vacated. He had the impression that they were acting out a previously rehearsed scene. Just last night, in fact, they’d been right here, sitting in these old leather chairs with three small lamps lighting the scene, telling the story that today she was recounting with variations. It was as if she were afraid he’d already forgotten it, or maybe she thought repeating it was a way of understanding it. Two strangers who were seeing each other’s faces for the first time, united by the trust placed in them by the fragile ghost of the mutual friend under whose roof they were speaking. Just like this, they’d settled in with a couple of beers from seven in the evening until well past ten, though now the morning exposed what yesterday had been only shadow. A novel with many ideas that lead in several directions, but I’m not sure they coalesced for me in any satisfactory way. 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. Carlos Fonseca Suárez (born 1987, in San José, Costa Rica) is a Costa Rican-Puerto Rican writer and academic. He is the author of the novels Colonel Lágrimas, [1] Museo animal, [2] and Austral [3] . In 2016, he was selected by the Guadalajara International Book Fair as one of the top twenty Latin American authors born in the eighties. [4]In 2017, he was selected by the Hay Festival as one of the top thirty-nine Latin American authors under forty. [5] In 2021, he was selected by Granta Magazine as one of their Best Young Spanish-Language Novelists. [6] He was also chosen by Encyclopædia Britannica as part of their Young Shapers of the Future 20 Under 40 Initiative, as one of the top twenty young international authors. [7] Biography [ edit ] Characters sometimes experience the explosion of their own cultural identities through the alteration of a word crucial to them: their own name. Alicia Abravanel becomes Aliza Abravanel as she launches into a new continent, and Juvenal Suárez—his birth name erased by Christian evangelical missionaries—reinvents himself as Karl-Heinz’s interpreter.

Just before the dawn of the new millennium, a curator at a New Jersey museum of natural history receives an unusual invitation from a celebrated fashion designer. She shares the curator’s fascination with the hidden forms of the animal kingdom—with camouflage and subterfuge—and she proposes that they collaborate on an exhibition, the form of which itself remains largely obscure, even as they enter into a strange relationship marked by evasion and elision. Austral is a testimony twice removed, about the contagion between literature and life. It references both what Gamboa has witnessed and what he has observed others witnessing. He writes down impressions, and when the time comes, he stops writing, letting things settle into place in the grander perspective. To witness and embrace solitude: “Literature is precisely what arises when language founders.” One character recollects a portrait of Edith Sitwell by the Chilean painter Álvaro Guevara, which another character misremembers as a fish on a newspaper. Mad ideas, fantasies, and literature impact the real; one image infects another and makes it transform. There is no such thing as essence; everything transfigures through mutual contagion. Benzer şekilde Sebald yazınına damgasını vuran beklenmedik rastlantılar da bolca yer buluyor Cenup’ta, tarihteki olayların birbirlerini yankılayarak tekrar etmesi, rastlantıların birbirine uzak noktaları bağlaması ve takımyıldızlar oluşturarak yeni bir katmanda anlatıyı tamamlamalarında olduğu gibi. Carlos Fonseca es un regalo de los dioses. Un escritor que escribe simulacros y espejismos como quien cincela bloques de mármol, un escritor de raza, indómito, cuya inteligencia procede de una imaginación torrencial» (Ricardo Baixeras, El Periódico). söyleyeyim: çok ama çok kuvvetli bir metin bu. Özellikle Bellek Tiyatrosu başlıklı son bölümünü hipnotize olmuş gibi okudum; renkler, görüntüler gözümün önünden geçti, türlü sesler, fısıltılar, bilmediğim dillerde kelimeler işittim, kalp atışlarımın hızlandığını fark ettim; durmak, kitaptan çıkmak istedim, çıkamadım; tarif ettiği fiziksel mekana hapsolmuş gibiydim, hareket edemiyor, uzaklaşamıyor gibi. Bunları yazarak yapabilmenin muazzam bir kudret olduğunu kabul etmem lazım. Epeydir bir kitabı bitirdiğim anda en baştan tekrar okumak istememiştim. Tamamını olmasa da bazı bölümleri dönüp tekrar okudum neticede.

“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.”

Ayrıca ikilik, hatta karşıtlıklar üzerine birçok tema var Cenup’ta: katışıklık peşindeki von Mühlfeld’in saflık hastalığına kapılıp ölmesi; anı ve tanıklıkların, ve hatta kavramları sonsuzda sabitleyen Lügat maddelerinin, tıpkı romanda birçok kez anıştırılan arazi sanatı temsilcilerinin eserleri gibi, doğaya ve unutuşa karışmakla son bulması; unutulmaya bırakılmış acı ve dillerin peşindeki Aliza gibi bir figürün, Lenin gibi büyük müthiş hatip gibi konuşma yetisini kaybetmesi, imkansız olanı anlatan şahsi dil metaforunun tarihsel koşullarda gerçekleşmesi gibi... Swainson says the book is “not only an almost unbelievable series of adventures, but a devastating portrait of the forces that, over a half a century, turned the world upside down and created the one we now inhabit.”

Esta última obra, la deja como legado a un viejo amigo, al que no ve desde hace 30 años. Es este quien cuenta la historia y trata de atar los cabos de todos los personajes y eventos para al final, incluyendo reflexiones filosóficas, medita sobre la importancia de la memoria y del lenguaje, tanto personal como de la cultura de los pueblos. In Austral, Carlos Fonseca is pouring out labyrinths. He liquifies them, spilling them out over the reader’s head, an anointing into vanishing languages and peoples. 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. Jones, Sam (7 April 2021). "Granta names world's best young Spanish-language writers". The Guardian. After attending high school at Colegio San Ignacio in Puerto Rico, he attended Stanford University where in 2009 he graduated with a degree in Comparative Literature. He then attended Princeton University where he obtained a PhD.Miles, Valerie (9 de diciembre de 2016). «Literatura». The New York Times (en inglés). ISSN 0362-4331 . Consultado el 30 de agosto de 2017. Perfectly lucid to the very end, she had written in her letter, and she said it again now, out loud. 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. Eski arkadaşı yazar Aliza Abravanel ölmüş, ve bitmemiş son eserini yayına hazırlama görevini yıllardır görüşmedikleri Julio’ya emanet etmiştir. Julio biraz suçluluk duygusu, bolca da merakla Humahuaca’ya gittiğinde, kendi yaşamının bir kez daha arkadaşıyla sımsıkı örtüştüğünü farkeder. Recall we are still within Alicia’s text that is within Austral. We are still in the land of italics…in the manuscript that Olivia declares may be fiction or memoir, leaving it to editor Julio to decide. “A long chain of narrators trying to understand by retelling a story…”