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352 pages, Kindle Edition
First published July 1, 2015
Charco Press focuses on finding outstanding contemporary Latin American literature and bringing it to new readers in the English-speaking world. We aim to act as a cultural and linguistic bridge for you to be able to access a brand new world of fiction that has, until now, been missing from your reading list.Renato Cisneros's father, Luis Federico Cisneros Visquerra, was a leading figure in both the Peruvian military and the Peruvian government in the 1970s and 1980s, both under military and democratic rule, serving as Interior Minister from 1976-1978 and Minister of War from 1981-3, the war being primarily an internal one against the Shining Path guerrillas (as well as covert assistance to the Argentine regime in the Falklands/Malvinas conflict), and he continued to actively plot coups against the government long after his retirement.
The novel is not the genre of answers, but that of questions: writing a novel consists of posing a complex question in order to formulate it in the most complex way possible, not to answer it, or not to answer it in a clear and unequivocal way; it consists of immersing oneself in an enigma to render it insoluble, not to decipher it (unless rendering it insoluble is, precisely, the only way to decipher it). That enigma is the blind spot, and the best things these novels have to say they say by way of it: by way of that silence bursting with meaning, that visionary blindness, that radiant darkness, that ambiguity without solution. That blind spot is what we are.Renato Cisneros himself was, after his father's death, to become a famous broadcaster and later a writer, and he muses on both the similarity between him and his father but also 'the distance between us':
In other words: in the end there is no clear, unequivocal, emphatic answer; only an ambiguous, equivocal, contradictory, essentially ironic answer, which doesn’t even resemble an answer and that only the reader can give.
A group of Latin American novelists reclaimed the lost legacy of Cervantes, turned literature in Spanish on its head and, possessed by crazed ambition – they wanted to be Faulkner and Flaubert, Joyce and Balzac all at once – placed the novel in Spanish back at the axis of the western novel of its time, returning it to the privileged place that up until then only Cervantes had occupied; these novelists occupy, in my novelistic tradition, a huge space: they are the great modern prose writers that Spanish modernity did not have and, at the same time – at least some of them – the first writers of postmodernity.Nadine Gordimer in the Paris Review also stated:
The theme among the remarkable Latin American writers is the corrupt dictator. Nevertheless, despite the sameness of theme, I regard this as the most exciting fiction in the world being written today.