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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. Those who remained there will stop remembering him, and upon seeing him again and noticing how much he’s changed, will consider him a foreigner, just as the people do in the country where he currently lives.

Kosta Rikalı genç yazar ve akademisyen Carlos Fonseca “Cenup” isimli bu çok ilginç romanında konuşulan dillerin ve anıların nasıl kaybolduğunu, yazının ve sözlü belleğin öneminin siyasi ve ekonomik tercihlerle nasıl tehdit altında olduğunu imgelerle ve sözcüklerle mükemmel anlatıyor. 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.He put the letter aside and let his attention wander toward the students outside as they welcomed winter. There’s a Calvino-esque blend of the playful and the rigorous to this collection of stories by the Italian author about his childhood. It was in those moments that the story’s voice finally managed to blend with its subject, and he felt that the person speaking was not Olivia Walesi but rather his old friend Aliza Abravanel. Expansive and thought-provoking" GuardianA dazzling novel about the traces we leave, the traces we erase and the traces we seek to rebuild.

La primera de ellas, con la cual se inicia la novela, es la de Aliza Abravanel, una escritora inglesa, escribiendo en castellano, que ha perdido la facultad de hablar (afasia) e intenta terminar su último libro y Julio Gamboa, profesor universitario emocionalmente a la deriva, ex amante de Aliza y quien, tras la muerte de ella en el primer capítulo, termina siendo el responsable de editar y publicar ese último libro titulado Un idioma privado. Thought only achieves clarity when it confronts the abyss of impossibility of being communicated: the idea fascinates them both.The form is not uncommon in Latin America, where testimonial and juridical texts recount moments of violence often in a cool, emotionless register. Sonradan aklını yitiren antropolog Karl-Heinz von Mühlfeld’in anlattıklarını dinleyen Yitzhak Abravanel bu duyduklarını kızına, yazar Alicia Abravanel’e aktarır. At the fore, the twenty houses of the artists’ commune and a couple of rusty bulldozers near the corral. When Abravanel’s unfinished manuscript reaches her old friend, the university professor and insomniac philosopher Julio Gamboa, he traces her steps through Paraguay, Argentina, and Guatemala. From Carlos Fonseca comes a dazzling novel about legacy, memory, and the desire to know and be known.

And through the construction of an esoteric theatre of memory, a survivor of the Guatemalan genocide of the 1970s and '80s seeks to recover the memories lost after the traumas of war. La de Elisabeth Nietzsche, la hermana del filósofo, que fundó en Paraguay Nueva Germania, una colonia antisemita; la del último hablante de una lengua indígena; la de un superviviente del genocidio guatemalteco que busca, a través de la construcción de un esotérico teatro de la memoria, recuperar los recuerdos perdidos tras los traumas de guerra. Orta Amerika labirentlerinde, Guatemala, San Salvador, Nikaragua’da geçen olaylarla Abravanel’in bulunduğu yerlerde yaşanılanlarla roman olgunlaşır. Certain eccentrics, like himself, exist in a quiet, secret dedication to an idea or person, inhabiting other voices through translation or copying (“he had no choice but to follow him to the end of his madness”).He also abandons language in the sense of leaving the vernacular of the university where he teaches, to open himself to the idioms of the South American land and its surprises, in a lone journey. Carlos Fonseca eases you into his epic storyline layer by layer, deepening his text with segue after segue, that you have to be alert to notice and say: that’s a segue!