Contents Enríquez paints a vivid portrait of Buenos Aires neighborhoods that have succumbed to poverty, crime and violence. So she distorted her biography a lot in her stories. She is one of the few contemporary writers that creep me out (in a good way, I guess) and when I discovered… In the States, the book was marketed as being in the same vein as Roberto Bolaño’s work, but I think this comparison was due more for branding purposes than for any deep-set similarity. After a stint in the army, Antonio Mamerto Gil Núñez (the saint’s full name) became a Robin Hood figure, beloved by the poor of the country. Cosas que perdimos en el fuego. Places where something horrible happened feel like places where something will happen again because they are haunted. Recently published on February 1st, 2017 by Crown Publishing. These stories are told in the same breath as actual ghost stories; often, Enríquez’s tales jolt from reality to magical realism with dizzying speed. And many more: Kelly Link, Helen Oyeyemi, Laird Barron. Suggested PDF: Good Book: The Bizarre, Hilarious, Disturbing, Marvelous, and Inspiring Things I Learned When I Read Every Single Word of the Bible pdf Save this story for later. If you want to think that a story like “Things We Lost in the Fire” is a feminist call to arms, well, it is. Inseparable identical twin sisters ditch home together, and then one decides to vanish. Things We Lost in the Fire by Mariana Enríquez. US pub date: February 21, 2017 ★★★☆☆ Macabre and often grotesque, Things We Lost in the Fire is a short story collection that puts a literary spin on the horror genre, in which Mariana Enríquez’s beautiful prose compels you to explore the darkest corners of contemporary Argentine society. Title: Things We Lost in the Fire Author: Mariana Enríquez Translator: Megan McDowell Published: Portobello Books, 2017 Pages: 202 Genres: Horror, Short Stories My Copy: Paperback Buy: Amazon, Book Depository, Kindle, Wordery (or visit your local Indie bookstore) It seems that 2017 was my year of reading books from Argentina. Soon after that, women start burning themselves: “Burnings are the work of men. ME: Well I don’t think America is heading there, thankfully, even with an irresponsible president. I love the style and themes of Ocampo and Borges, but I think nowadays you can feed from both traditions. That’s quite hard to maintain in a long novel. Literature can be anachronistic and prophetic at once. How can writers find fresh ways of expressing the everyday horrors that are so quickly normalized by the population as a whole? The girls spend their days and nights acting out: cruising around in someone’s boyfriend’s van, being promiscuous, taking drugs. Why is it so important to not be a romantic in this sense? In “The Inn,” another tour guide in the small town of Sanagasta tells the history of the town’s Inn and loses his job for it. What have you taken from her in terms of your own development, and also how would you say that your work is most different from hers? Argentinian author Mariana Enriquez’ debut English language collection, Things We Lost in the Fire, had been on my radar for a while before I found a copy in my local library. An emaciated, nude boy lies chained in a neighbor’s courtyard. I don’t think my characters overcome their guilt, that’s the whole point in some stories, because their “guilt” is not individual. Less war, less disease, more people educated. You can’t save yourself alone. Se recibió de Licenciada en Comunicación Social en la Universidad Nacional de La Plata. Ballard are great at presenting terrifyingly plausible futures, whereas a lot of what we’ve talked about so far has to do with channeling the ghosts of the past (though perhaps the line between the two isn’t so clear, since, as you say, the places where awful things have happened may be the same places where they’ll happen again). He could never shake his French accent. I love art that sits uneasily on the border between real and imagined, or waking and dreaming, and yours does this very successfully. I normalize it too of course: you can’t empathize all the time; you’d go crazy. The Rumpus is a place where people come to be themselves through their writing, to tell their stories or speak their minds in the most artful and authentic way they know how. You can feel the narrator was really there. I can see the through-line from his work to yours, especially the idea of taking pleasure from pain, and craving evil as a way of easing feelings of guilt. There’s an Argentinian tradition of the uncanny and the short story, and these are the people we read at school, so it’s the first stuff you read and it sticks. David Leo Rice: One aspect of your stories that I really admire is how they inhabit specific urban or suburban settings, and yet build from there toward realms of horror that touch on the supernatural. My stories are quite rooted in realistic urban and suburban settings and the horror just emanates from these places. published in multiple languages including English, consists of 208 pages and is available in Hardcover format for offline reading. So I guess I write to de-normalize it for me too. The work with language is different: more dreamlike, a bit closer to poetry. DLR: When you say that your stories “end badly but it’s more a matter of genre,” this makes a lot of sense to me. Is there something occult about political violence? Any other contemporary speculative or Weird writers you’re into? An abandoned house brims with shelves holding fingernails and teeth. ME: Well, traditions work that way. Your support is critical to our existence. I don’t know if that’s empowering. In this regard, I follow the genre lines and so I don’t want to save someone that has a particular sexual fetish because of gender politics. There’s something about the scale of the cruelty in political violence from the estate that always seems like the blackest magic to me. English, Summary note "A haunting collection of short stories all set in Argentina" -- Provided by publisher. His death was horrific—tortured over a fire and hung by his feet, eventually his throat was slit. One of them, and sometimes I think it’s the most atrocious, is the people that, nowadays, think the dictatorship and its brutality were necessary to defeat the “internal enemy.” Nowadays we have a democratic president (I don’t like him but hey, politicians are horrible worldwide), but the shadow of the past lingers. Why is fiction a more effective vessel? To order a copy go to guardianbookshop.com. We’ve only gotten better. Se ha desempeñado profesionalmente como periodista y columnista en medios gráficos, como el suplemento Radar del diario Página/12 (donde es sub-editora) y las revistas TXT, La mano, La mujer de mi vida y El Guardián. Macabre, disturbing and exhilarating, Things We Lost in the Fire is a collection… This income helps us keep the magazine alive. I. Mariana Enríquez opens her debut collection, Things We Lost in the Fire, by recounting the story of Gauchito Gil, a popular saint in Argentina. Paula has lost her job as a social worker because of a neglectful episode, and her mental state has suffered. He is taking you to these places he knows well. It is an attractive force, yes, though of course attraction is not always positive. Before Gil died, he warned his murderer to pray for him, or else the man’s son would die of a mysterious illness. “An Invocation” features a bus tour guide who is obsessed with the Big-Eared Runt, a serial killer who began killing at the young age of nine. The thieves got into the mobile home and they didn’t realize the old lady was inside and maybe she died on them from the fright, and then they tossed her. They become obsessed with an abandoned house and leave her out of their many games and imaginings until, finally, the three decide to venture inside. ME: Yes, I don’t think you can escape that. This fall, I got the chance to converse via email with Mariana Enriquez, an Argentine writer whose newly translated story collection. DLR: As a related question, do you think cities and countries grow more haunted, and more potentially supernatural, when repressive and violent regimes are in power? He is very smart, I think, a geek and a leftist but not a romantic one. You can't win a fight with someone who likes fighting. Mariana Enriquez (Buenos Aires, 1973) es una periodista y escritora argentina. If so, what common thread, either artistically or culturally, do you take from them? If you were to show this world to a peasant in the Middle Ages, he would be thrilled to live here and now. Same with Bioy. “But there was nothing macabre or sinister about it,” Enríquez tells us. By David Wallac e. December 12, 2016. I’m not into a kind of postmodern narrative where stuff is very random and clever and well written, but in the end it seems unsatisfying. It sounded wonderfully creepy and unsettling; the Financial Times writes that it is ‘full of claustrophobic terror’, and Dave Eggers says that it ‘hits with the force of a freight train’. I think about specific place descriptions—they make the story you’re telling more vivid, not just more believable. The preceding is from the new Freeman’s channel at Literary Hub, which will feature excerpts from the print editions of Freeman’s, along with supplementary writing from contributors past, present and future. It’s very difficult to even mention the influence of Borges because he was such a monster, but what I always loved about him was his lack of prejudice. “The Intoxicated Years” follows a group of reckless teenage girls. Now, Argentine writer Mariana Enríquez joins their ranks with a ravishing new story collection, The Dangers of Smoking in Bed, a volume that reimagines the Gothic and gives it a wholly original spin. Things We Lost in the Fire, a twelve story collection by Argentinian author Mariana Enriquez, captures the spirit of the author’s home country.After two novels, a novella, and a volume of travel writing, this short story collection is the first of the author’s work to … As a protest to these femicides, a group of women devises a vendetta by resignifying a A police academy during the country’s last dictatorship, the Inn was the site of unspeakable acts. I believe in the spirit of places. We work to shine a light on stories that build bridges, tear down walls, and speak truth to power. I’m closer to them in terms of class, and in some ways also in terms of literature. Is it perhaps part of a horror writer’s job to seek out these places and let their tortured spirits speak? Feminist resistance is perhaps nowhere more evident than in the title story, “Things We Lost in the Fire.” It’s a short fable about a girl who has been burned by her husband and rides around the subway telling her tale. A writer whose affinity for the horror genre is matched by the intensity of her social consciousness, Enriquez was kind enough to answer my questions about Argentine literary history, the occult nature of totalitarian regimes, the evil pleasures of Clive Barker, and much more.
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