Argentina

The NYRB logo is now something my eye leaps to when browsing, and the publisher’s eclectic range has proved consistently rewarding. The Argentine writer Antonio di Benedetto was praised by Borges, Bolaño, Cortázar and Coetzee. He was born in 1922, on 2 November, the Day of the Dead – which he made much of – and was imprisoned and tortured in 1976-77, during Argentina’s Dirty War. His eerie fables of paranoia, impending threat and incomprehension pre-empted his experience of them. Esther Allen deserves great credit for introducing the author to an Anglophone readership. Having read her translation of Benedetto’s Zama, followed by The Silentiary, I foundthe wait for The Suicides

Resurrection has become its own literary genre. Though hardly a new phenomenon (Moby-Dick, for example, was out of print at the time of Herman Melville’s death), the success of such ‘forgotten’ classics as Suite Française, Stoner and Alone in Berlin proved that an author’s death and/or obscurity were no barrier for readers. So publishers from Faber to Virago, from the British Library to Penguin Modern Classics are hunting through back catalogues looking for writer recommendations, searching for the next unjustly lost voice. In Angel Bonomini, Peninsula Press has found an ideal candidate. How can such a powerful story have remained un-rediscovered for so long? A contemporary of Borges, Bioy Casares

Three philosophers walk into a crypto-currency. Resistance Money: A Philosophical Case for Bitcoin, I’d argue, is a slightly inaccurate title. Messrs Bailey, Rettler and Warmke have composed a book that is a meticulous and unphilosophically lucid examination of the origins and properties of bitcoin. No Hegel, no Husserl, no fuss. ‘We don’t prophesy,’ they state. ‘We don’t preach.’ They plead a Socratic humility. ‘We’d forgive you for thinking that three philosophers aren’t up to the task.’ They describe themselves as ‘epistemic trespassers’ in matters of economics and cryptography. Access to bitcoin has changed from a muddy country path to a six-lane highway The editorial sessions for Resistance Money must have

How to review a book that pokes fun at critics? When the protagonist of María Gainza’s Portrait of an Unknown Lady reads reviews, she tends to ‘scan the first five or six lines, skip to the last two or three, and end up thinking, what’s with these people?’ When she becomes an art critic, she takes up the ‘language of the shyster, empty language, language just to occupy column inches’. And you can bet she has readers hanging on her every word – as we do in this story of the quest to find a legendary art forger who one day disappeared. It feels like the Argentine writer is having

If you don’t know who Lionel Messi is you won’t enjoy this book much. If you do, you probably will. But if you know who Messi is and you’ve got at least a 2:1 in English, comp. lit. or similar, you are going to absolutely love it. This is definitely one for the football aficionado as well as for fans of fine writing. Messi is an Argentinian footballer who’s played for Barcelona for his entire professional career. He’s short. He’s modest. And he never takes a dive. Apart from his appalling tattoos, he’s the very opposite of what you might expect of the modern footballer — an Argentinian Roy of

Alberto Manguel is a kind of global Reader Laureate: he is reading’s champion, its keenest student and most zealous proselytiser, an ideal exemplar of the Reader embodied. And reading is not only his committed, devoted practice, but also the very subject of some of his best writing. His latest book to wander through this familiar domain was prompted by the traumatic experience of packing away his huge personal library, when he and his partner found themselves needing to downsize from a cavernous French barn (containing 35,000 volumes ‘in its prime’) to a small apartment in New York City. Packing My Library: An Elegy and Ten Digressions is a loosely arranged

The publication of César Aira’s The Lime Tree in Chris Andrews’s assured translation is a reminder that much of the Argentinian writer’s massive literary output — now more than 70 books — remains inaccessible in English. In this novella, which teases readers with suggestions of the autobiographical, Aira has one eye on his country’s past and the social effects of Juan Perón’s regime, and the other on the literary legacies of Proust. For Aira’s unnamed narrator, it is not the taste of lime blossom tea that spurs his fluid reminiscences, but a particular tree itself, ‘grown to an enormous size’ and central to the small-town landscape of his childhood in

During the military dictatorships of the 1970s, exile for many Latin American writers was not so much a state of being as a vocation. Some were given early warning of what might befall them if they stayed. The polemicist Eduardo Galeano remembered receiving an evening telephone call from the Argentine Anticommunist Alliance: ‘We’re going to kill you, you bastards.’ ‘The schedule for calling in threats, sir, is from six to eight,’ I answer. I hang up and congratulate myself… But I want to stand up and I can’t: my legs are limp rags. Other writers were not so lucky. Antonio di Benedetto was rounded up in the first wave of

In Delmore Schwartz’s story ‘In Dreams Begin Responsibilities’, a young man dreams he is watching his father and mother’s engagement onscreen from a seat in a cinema. Weeping at the certain knowledge of the pain to come, he’s patted on the back by a woman. ‘There, there,’ she says, ‘all of this is just a movie.’ In a way, this moment distils the challenge of all oneiric narratives — it’s a fiction within a fiction, one in which anything can happen, but without real-world consequences. In this dark, brilliantly controlled debut, the Argentinian Samanta Schweblin uses the fabric of a dream to weave a novel in which everything is at

Bogotá airport, immigration form in hand. Tourist, migrant, businessman? Andrés Neuman ponders the descriptors, unsure which to tick. He opts for the second. ‘I’d like to be a migrant.’ The decision is telling, and frames much of what follows in this curious, delightful, if disjointed book. Neuman is hot property in contemporary Latin American literary circles. A former winner of Spain’s prestigious Alfaguara Prize and the National Critics Prize, he is tipped (by Roberto Bolaño, no less) to be one of a select ‘handful’ to take up where the ‘boom’ generation of Márquez, Cortázar, Fuentes and Borges left off. His widely acclaimed novel Traveller of the Century (his fourth book,