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by Pablo Ottonello

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Ecstatic to share that I will be attending the Vermont Studio Center for three weeks in 2026, and that I was granted a full fellowship based solely on my twelve-page-long sample of MATCH by Pablo Ottonello.

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By Sabina Urraca

 

Girl Prodigies

 

Very excited to announce that I'll be traveling to the Bread Loaf Translator's Conference in June 2023 on a full scholarship to continue my translation of Sabina Urraca's cosmic and electric debut novel, Las niñas prodigio (Fulgencio Pimental 2017). Read the first chapter in my translation in the Washington Square Review!

More about Sabina here.

Here's an excerpt from GIRL PRODIGIES published in Prairie Schooner!
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A relative of mine lost her mind one day when someone brought a plate of fish guts to the table. I was fifteen at the time. I never met her because she spent most of her life in an asylum, but I’ve seen her sepia communion photo. She has chubby cheeks and is nearly eyebrowless, her forehead slightly furrowed. It’s the only family photo where I recognize myself even though I’m not in the picture. The resemblance between us is so strong that I lived in fear that one day I might also be overcome by some intense emotion that would carry me away forever. I’d anxiously squeeze my eyes shut when confronted with frightening images, but when confronted with beautiful things, too. Such intense stirrings of the soul spelled danger and were to be avoided at all costs. It could happen anywhere, like in brightly colored stones on the beach, sea glass buffed smooth by the surf. My aunt would pick them up to show me and I’d close my eyes. I thought the glittering blue and amber might inch me closer to the edge of that darkness.

            Sometimes those moments of getting carried away by emotion are so definitive that it’s like your soul has left your body all at once, never to be seen again. Sometimes the moments are less intense. In that case, it’s a matter of accumulation: the sight of Punky Brewster giving two thumbs up, Shirley Temple tap dancing up and down the stairs with a black butler, Christina Ricci sitting in the bathtub in an old swimsuit, a smiling Marisol dressed as a gypsy, Drew Barrymore’s sweet lisp. These thoughts make my hands shake. My mouth hangs open, creating an expression that’s the complete opposite of their ever-smiling faces, the deep dimples in their firm cheeks. I didn’t suffer from some sudden instance of being swept away, but from an incessant drip of moments that bore into me.

            In one episode of Punky Brewster, Punky comes home after having a difficult conversation with her friend, Cherie, on the staircase. Henry, her adoptive father, is serving dinner. Punky nervously confesses:

            “Henry, I’m getting boobs.”

Poor Punky, with her pigtails and girlish charm, was growing boobs. Electricity ran through my body. I hurried over to the TV and shut it off. The next day I noticed a lump in my chest.

            “Her mammary buds are forming,” the pediatrician confirmed.

            Can hormones become activated after a moment of emotionally charged televised drama? It was a warning. That’s how easy it is to let yourself be carried away. Even something small can trigger it.

            Meanwhile, on that unnamed planet, the alien experienced such a shock that he nearly blew the space probe’s fuse. 

            “Lies,” I say.

            All of it, lies. But the alien, trillions of miles away, doesn’t hear me. I throw my gym shoes out the window and then my bodysuit with the splitting seams. I tear open a pillow with my teeth. I throw so much stuff out the window I can’t even remember all of it, and it falls down to the courtyard below, never to be illuminated by any spacecraft’s abducting light beam. My mom knocks on the door and asks what’s going on. I bury my face in the pillow to drown out the sound of my message. I have to tell the aliens. We have to stop sending these transmissions full of lies. This is not the way human beings are. This is not the way little girls are. Only some are like that. Just them. 

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Alta 2023 in Tucson🌵🎊

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Thrilled to announce that I've been selected for an ALTA Travel Fellowship to attend the 2023 conference in Tucson, where I'll be presenting my translation in progress of Girl Prodigies by Sabina Urraca. Check out the announcement here!

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by Claudia Morales

Winner of Mexico's National Rosario Castellanos Prize in 2015, No Habrá Retorno by Claudia Morales (Chiapas 1988) is an homage to those who have relocated in one way or another. In this deceptively slim novel, various experiences of displacement, movement, and memory are further complicated by the relationships we hold onto, for better or for worse. Composed of three interlocking narratives, No Way Back asks serious questions about our lasting impact on the world we inhabit while providing necessary depth to modern immigrant narratives. Morales' thoughtfully crafted characters are multi-faceted and imperfect, operating in a world imbued with equal parts brutality and tenderness:

  • ​An elderly translator struggles to unravel her memories of being a young, Jewish, lesbian and member of the Communist Party in New York who falls in love with her adoptive sister, Janet, how their lives intersected with that of the famed photographer, Marcey Jacobson, and their eventual relocation to Mexico during the height of McCarthyism. As this narrator explores her own beliefs about political dissidence, fascism, and love, she is haunted by her memories of Ota Benga, the Mbuti Pygmy man kidnapped from the Congo to be put on exhibit at the Bronx zoo. 

 

  • Two present-day teenagers, Oliver from Honduras and El Gavilán from Guatemala, cross Mexico on foot and by train to reach the United States. Oliver is disturbed by his traveling companion's ruthlessness, and conflicts of personality stoke tensions between the two as they confront the few options that lay before them. Through a series of flashbacks, it is revealed that Oliver is gay and closeted. 

 

  • A Mexican academic returns to her family's remote ranch after her professor's suicide abruptly ends their affair. While there, she is destined to encounter lingering ghosts of her family's complicated history, including the patriarchal abuse suffered by her grandmother, the treatment of a disabled cousin, and class-tensions between her family and their employees on the ranch.

 

Más sobre No habrá retorno aquí y aquí

 

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Part medical archival document, part lyrical interpretation, Anna y Hans is a jarring book-length poem that follows two historical figures, one real and one invented, Hans Asperger, the Austrian psychiatrist who claimed to have discovered the range of disorders in the autism spectrum, and his fictitious neurodivergent patient, eleven-year-old Anna Knapp. In this work Villeda explores the historical context surrounding Hans Asperger, who believed that the disorder he supposedly discovered did not present itself in female patients. By inventing the voice of a neurodivergent female patient that Asperger never had, Villeda highlights the erasure and misogyny of the medical field in relation to neurodivergence and diagnosis in women, and then takes this topic one step further by investigating the connections between neurodivergence, certain types of linguistic aphasias, and lyricism. Villeda’s exploration of misogyny in the medical field, the meaning of language and normative language usage, and institutional fascism are intertwined to create a powerful, uncanny poetic work that challenges our conception of recorded history.

Anna
and Hans

 

By Karen Villeda
 

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&

The Summer of Dead Fish
 

The Dwindling light of our days

By Pablo Ottonello 

En la voz de Pablo Ottonello caben por lo menos tantas voces como cuentos tiene El verano de los peces muertos: un territorio al borde de sí mismo —de su propio abismo, de su fin— que simultáneamente se abre como un mapa de potencias y puentes, como si quisiera responder a la pregunta de ¿quién sabe lo que puede una voz? Puede mucho, parece. Y va a poder más: autor y editor parecen haber decidido desplegar esos indicios en este volumen. Voy a tomar, por la ubicación nomás, y por lo escueto del género contratapa, el primero y el último. En Klimowicz hay un neurólogo que comienza a describir a su amor como uno de esos viajeros naturalistas describían los pueblos del nuevo mundo que recorrían con afán de recolectar y sistematizar conocimiento. Un hombre que narra desde un marco teórico sólido hasta que su amor pierde —o encuentra— el norte, y al científico se le fisura el edificio y el relato empieza a construir una fisura como quien construye los restos de un incendio. También, pero ya sin marco biologicista, construye restos el último relato, el que le da el nombre al libro: lo que deja el boom sojero y sus plaguicidas, narrado desde el punto de vista de un cineasta que está buscando un guión y lo escribe en el marco del relato de sus extrañas vacaciones de fin de mundo. El verano de los peces muertos es el collage polifónico de una descomposición. La nuestra.

      -Gabriela Cabezón Cámara

 

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The Dodo flips between four different narrative perspectives, past and present, like slides rotating in a projector; alternating flashes of darkness and light--flashbulb visions of adolescence come and gone. These rapidly evolving chapters provide the Dodo, Catalina, with clues about the mysterious disappearance of her mother all the while exploring concepts of masculinity, homosexuality, authoritarianism, and fascism. As the novel progresses and Catalina draws nearer to discovering the truth about her revolutionary mother, the narrative imagery becomes more grand, stranger, wholly enmeshed with the absurdity of the historical facts themselves; there is an underground insurgency, prophetic dreams linked to a preserved anaconda skin, a ghost who takes down telephone messages and the sexual awakening of a burgeoning trapeze artist. These stories, set against the history of Chile's violent USA-backed coup and dictatorship and the youth-led resistance who fought against it, are unraveled more than a decade later by the Dodo, whose unorthodox coming of age journey illustrates the perils of inter-generational trauma and the stranger than fiction nature of adolescence. 

Learn more about Mandy here.

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by Mandy Gutmann-González

Tiny Nightmares

Out now from Catapult Press featuring my translation of Iván Parra Garcia's story, "The Resplendence of Disappearing."

Learn more about Iván here.

Praise for Tiny Nightmares:

  • "...translated from the original Spanish by Allana C. Noyes into spare, brittle English that recalls Cormac McCarthy." in Kirkus Reviews.

 

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Virtual Reading: Another Way to SAy

Excited to be giving a virtual reading on MAY 30TH with two very talented translators! Tune in to hear what I've been working on lately. Check it out HERE
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