Argentina | Novel (excerpt) | Spanish
October, 2009Ursula's Dream is a multi-layered construction, a coded journey that redefines the rules of the epic genre. Any outline of the plot would be misleading, since María Negroni’s method is to question the distinction between dream or vision and historical, fictional, and legendary reality, while refusing to respect the limits of chronology. The medieval histories of Ursula that inspired this thoroughly contemporary novel recount the life of a young woman near the end of the first millennium. Heiress to the throne of Cornwall, in order to escape immediate marriage to a suitor and on the advice of an angel, she lays down three conditions: that her suitor be baptized, that she be supplied with eleven ships and eleven maidens to command them, and that she be given three years to make a pilgrimage to Rome. Ursula—according to the many surviving versions of her life—made the pilgrimage with her companions and was killed before her return. Accounts of her death differ; perhaps she died at the hands of Attila the Hun, perhaps her vengeful suitor pursued and killed her.
On the whole, the novel follows these legendary events, depicting Ursula’s youth at the court of Cornwall and the arrival of the suitor’s messengers, then introducing her companions and narrating the progress of their journey while incorporating the characters—from bishops to minnesingers—that they meet along the way. There are debates, crises, and defections among the women, a plot of sorts. Yet the question of Ursula's death remains unresolved. The larger action of the novel takes place out of time, as Ursula’s Dream continually departs from the linear, through apparitions and presentiments, embodying figures from other realms of reality: some who died before the pilgrimage began and others who were to live—and write—of her in future centuries.
Expressing the polyphony of inner life through female voices, the novel reveals the depth and risk of feminine experience in a world controlled by patriarchal institutions. Its concerns are millenary: the confrontation with death, time, love, historical circumstances, and destiny. In endowing them with a contemporary perspective, Ursula’s Dream rediscovers for its readers the spiritual quest that gives a deeper meaning to the epic gesture.
María Negroni has published numerous books of poetry, including De tanto desolar, Per/canta, La jaula bajo el trapo, Diario Extranjero, Camera delle Meraviglie, Islandia, El Viaje de la Noche, and Andanza, as well as novels, translations, and essays. She has won two Argentine National Book Awards, as well as other prestigious prizes and fellowships. She teaches at Sarah Lawrence College.
Héctor Hernández Montecinos was born in Santiago, Chile in 1979. His books of poetry that were published between 2001 and 2003 are collected in [guión] (Lom Ediciones: Santiago, Chile, 2008); [coma] (Lom Ediciones, 2009) collects his writings from 2004-2006. His other books include Putamadre (Zignos: Lima, 2005), Ay de Mi (Ripio: Santiago, 2006), La poesia chilena soy yo (Mandrágora cartonera: Cochabamba, 2007), Segunda mano (Zignos: Lima, 2007), A 1000 (Lustra editores: Lima, 2008), Livro Universal (Demonio negro: Sao Paulo, 2008, traducido al portugués), Poemas para muchachos en llamas (RdlPS: Ciudad de México, 2008), La Escalera (Yerba Mala cartonera: La Paz, 2008) El secreto de esta estrella (Felicita cartonera: Asunción, 2008), La interpretación de mis sueños (Moda y Pueblo: Stgo, 2008) y NGC 224 (Literal: Ciudad de México, 2009). He has been invited to present his poetry in Germany, Argentina, Brazil, Cuba, Chile, El Salvador, Guatemala, Honduras, Mexico, and Peru. Since 2008, he has lived in Mexico where he teaches, and directs a small literary press called Santa Muerte cartonera. He holds a doctorate in literature with a focus in art theory.
Bolivia | Short Fiction | Spanish
June, 2009Bolivian writer Victor Hugo Viscarra (b. 1958) was an indigent alcoholic in La Paz from the 1970s until his death in 2006, and published five works of literature: Avisos necrológicos (2005), Borracho estaba pero me acuerdo (2003), Alcoholatum y otros drinks: Crónicas para gatos y pelagatos (2001), Relatos de Victor Hugo (1996, 2005), and Coba: Lenguaje secreto del hampa boliviano (1981, 2004). He was honored at Bolivia’s International Book Fair in 2004 and 2005, and each of his books has gone through various printings. He has had an exceptional reception among younger readers.
Ángel Escobar Varela was born in 1957 in Sitiocampo, located in Cuba’s rural eastern province of Guantánamo. As an adult he spent many years on the western side of the island in and around the city of Havana. The publication of a posthumous anthology in 2006 (Ángel Escobar: Poesía completa, Ediciones UNIÓN) symbolizes rising acclaim for his work. Escobar generated the complex field of his poetics out of numerous influences–his training in theater, wide readings in international literature, his autobiography, family trauma, and philosophical reflections on modern life, among other strands. Those who knew him late in his life also see the influence of his worsening battle with schizophrenia: many poems make reference to illness and endurance. They also challenge prevailing notions of rational conduct, and some commentators argue that the spatialization of the late poetry itself performs “schizophrenic” moves. Over the course of his career, Escobar’s articulations of suffering opened some of the richest veins in his poetry. He took his own life in Havana in 1997.
The Kings (Los Reyes) was published in 1949. It was the first time Julio Cortázar published under his own name. Aside from this text, Cortázar wrote four other short plays that were collected and published in 1995 as Goodbye, Robinson, and other short pieces (Adios, Robinson, y otras piezas breves). One of the plays included in that volume Nothing Goes to Pehuajó (Nada a Pehuajó) had first been published as a single text in the year of his death. This adaptation/translation of The Kings was originally commissioned by The Art Party, Inc. in New York City, and developed with The Internationalists Around the World in the 24 Hours Festival.
(Caridad Svich)
Drama (Excerpts) | Spain | Spanish
April, 2008The professional premiere of this adaptation will take place May 9-31, 2008 at Miracle Theatre Group in Portland, Oregon under the direction of Devon Allen.
It was originally commissioned and produced (November 17-25, 2006) by the UCSD Department of Theatre and Dance, La Jolla, California under the direction of Gerardo Ruiz, and developed at New Dramatists in New York City under the direction of Jean Randich.
Special thanks to Leo Cabranes-Grant, Jorge Huerta, Ursula Meyer, Chris Parry, Gregary Racz, Darko Tresnjak, Phyllis Zatlin and all the actors and designers who have been part of this play’s development.
A Writer’s Labyrinth by Caridad Svich
“To enter that rhythm where the self is lost,
Where breathing: heartbeat: and the subtle music
Of their relation make our dance, and hasten
Us to the moment when all things become
Magic, another possibility.”- Muriel Rukeyser (1962)
The Labyrinth of Desire is a play about transformation and the motor of human desire. Originally written by Lope de Vega in the 1600s under the title La Prueba de Los Ingenios (literally “A Test of Wits”), it falls under the category of a capa y espada/cloak and dagger play. It is a piece that true to its genre revels in the comedy of love and intrigue, and does so with Lope de Vega’s characteristic warmth, wit, and poetry. What raises this play above its genre is its great understanding of the essential mutability and fluidity of human desire. Pre-queer theory, pre-feminism and pre-Sex and the City, this play challenges the boundaries of prescribed sexual roles, and advocates for the delightful and essential mystery of love. The performance of self, gender identity, and sexual identity is at the core of this comedy, yet it also manages to address issues of class and the heteroglossic play of language.
In freely adapting this play for the American stage (and this is the first American English adaptation of this piece), I have taken many liberties with the original text: cutting minor scenes and characters, re-assigning some roles and lines, borrowing a very short comedic sequence from Shakespeare’s Troilus and Cressida, re-shaping and expanding scenes, and adding text of my own to clarify and deepen emotional moments as well as comedic ones. The ending in particular has a new twist that speaks to what I feel were Lope’s wholistic intentions with this play. In the use of language I have emphasized the colloquial and direct over the baroque. This choice is actually a mirror of the original’s taut and sharp energy. However, the meter and rhythms have necessarily changed. Nevertheless, my intention throughout my conversation with Lope de Vega across the centuries has always been to illuminate his vision for a new audience, one that most likely only knows, if at all, his classic historical play Fuenteovejuna. It is an audience, though, that is perhaps familiar with Marivaux’s The Triumph of Love and surely with Shakespeare’s Twelfth Night—plays that are clear cousins to this one in spirit, if not in form, and I’ve taken this into account when re-considering this play. Obviously, this is a free adaptation. It is faithful to Lope’s architecture, but it is very much suffused with my own artistic sensibility as a playwright, which also centers on the crossing of normative social and sexual boundaries, women in society, the carnival-esque play with language and genre, and interculturalism. In addition, my history (in my parallel career) as a translator of Federico Garcia Lorca’s work, and other dramatists including Calderon de la Barca, has inevitably played a role in my approach to Lope de Vega. Any writer meets a text through their own experience with the page and with the dramatic form. So, call this a hybrid text, a fusion, if you will, of Lope de Vega and Svich. The process has been not unlike the lead character of Florela in this play: I have entered, as Muriel Rukeyser expresses in her poem so eloquently, “the rhythm where the self is lost,” and in so doing, have found an exultant vision of transformation.
(Caridad Svich)
Short Fiction | Spanish | Uruguay
November, 2007Mario Benedetti was born on September 14, 1920 in Pasa de los Toros, Tacuarembó Province, Uruguay. When he was four years old, his family moved to Montevideo. Between 1938 and 1941, he lived in Buenos Aires almost continuously. When he returned to Montevideo in 1945, he published his first book, La Víspera Indelebe (Poems) and became the editor of Marcha. Although he was a trained accountant, he went on to publish Peripecia y Novela (Literary Criticism) in 1948, and a year later, Esta Mañana, his first book of stories. In 1953, he published his first novel, Quién de Nosotros, but it was with the publication of Montevideanos: Cuentos (Stories), in 1959, that the urban concept of his narrative style took shape. With the publication of La Tregua in 1960, Benedetti acquired international pre-eminence. This novel, written in the form of a diary, has been published in more than one hundred editions, translated into nineteen languages, and has been adapted for the stage, screen, radio, and television. In the late fifties and sixties, he traveled extensively in Latin America, Europe, and the U.S. While in Cuba, he founded the world famous Centro de Investigaciones Literarias at Casa de las Americas, which he directed from 1969 to 1971. Returning to Uruguay in 1971, he opposed increasing government repression through his writing and participation in the leftist coalition known as the Frente Amplio, which he helped organize. Following the coup of June 1973, his work was banned by the Uruguayan military. Between 1973 and the return of the civilian government in 1985, he lived in exile in Argentina, Peru, Cuba, and Spain. Writing for an international audience, he denounced the tragic events occurring in Uruguay at the time. Since 1985, he has lived in Montevideo, where he devotes his full time to writing.
Short Fiction | Spanish | Uruguay
November, 2007Mario Benedetti was born on September 14, 1920 in Pasa de los Toros, Tacuarembó Province, Uruguay. When he was four years old, his family moved to Montevideo. Between 1938 and 1941, he lived in Buenos Aires almost continuously. When he returned to Montevideo in 1945, he published his first book, La Víspera Indelebe (Poems) and became the editor of Marcha. Although he was a trained accountant, he went on to publish Peripecia y Novela (Literary Criticism) in 1948, and a year later, Esta Mañana, his first book of stories. In 1953, he published his first novel, Quién de Nosotros, but it was with the publication of Montevideanos: Cuentos (Stories), in 1959, that the urban concept of his narrative style took shape. With the publication of La Tregua in 1960, Benedetti acquired international pre-eminence. This novel, written in the form of a diary, has been published in more than one hundred editions, translated into nineteen languages, and has been adapted for the stage, screen, radio, and television. In the late fifties and sixties, he traveled extensively in Latin America, Europe, and the U.S. While in Cuba, he founded the world famous Centro de Investigaciones Literarias at Casa de las Americas, which he directed from 1969 to 1971. Returning to Uruguay in 1971, he opposed increasing government repression through his writing and participation in the leftist coalition known as the Frente Amplio, which he helped organize. Following the coup of June 1973, his work was banned by the Uruguayan military. Between 1973 and the return of the civilian government in 1985, he lived in exile in Argentina, Peru, Cuba, and Spain. Writing for an international audience, he denounced the tragic events occurring in Uruguay at the time. Since 1985, he has lived in Montevideo, where he devotes his full time to writing.
Short Fiction | Spanish | Uruguay
November, 2007Mario Benedetti was born on September 14, 1920 in Pasa de los Toros, Tacuarembó Province, Uruguay. When he was four years old, his family moved to Montevideo. Between 1938 and 1941, he lived in Buenos Aires almost continuously. When he returned to Montevideo in 1945, he published his first book, La Víspera Indelebe (Poems) and became the editor of Marcha. Although he was a trained accountant, he went on to publish Peripecia y Novela (Literary Criticism) in 1948, and a year later, Esta Mañana, his first book of stories. In 1953, he published his first novel, Quién de Nosotros, but it was with the publication of Montevideanos: Cuentos (Stories), in 1959, that the urban concept of his narrative style took shape. With the publication of La Tregua in 1960, Benedetti acquired international pre-eminence. This novel, written in the form of a diary, has been published in more than one hundred editions, translated into nineteen languages, and has been adapted for the stage, screen, radio, and television. In the late fifties and sixties, he traveled extensively in Latin America, Europe, and the U.S. While in Cuba, he founded the world famous Centro de Investigaciones Literarias at Casa de las Americas, which he directed from 1969 to 1971. Returning to Uruguay in 1971, he opposed increasing government repression through his writing and participation in the leftist coalition known as the Frente Amplio, which he helped organize. Following the coup of June 1973, his work was banned by the Uruguayan military. Between 1973 and the return of the civilian government in 1985, he lived in exile in Argentina, Peru, Cuba, and Spain. Writing for an international audience, he denounced the tragic events occurring in Uruguay at the time. Since 1985, he has lived in Montevideo, where he devotes his full time to writing.
The Brooklyn Rail welcomes you to our web-exclusive section InTranslation, where we feature unpublished translations of fiction, nonfiction, poetry, and dramatic writing. Published since April 2007, InTranslation is a venue for outstanding work in translation and a resource for translators, authors, editors, and publishers seeking to collaborate.
We seek exceptional unpublished English translations from all languages.
Fiction, Nonfiction, and Poetry: Manuscripts of no longer than 20 pages (double-spaced).
Plays: Manuscripts of no longer than 30 pages (in left-justified format).