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Urban Voodoo
Written in the "deforming mirror" of a "foreigner's English," Cozarinsky's fourteen verbal postcards translate an exile's personal experience into public "deja vu" while his cinematic novella whisks his character through a political and cultural looking glass by means of special effects that make the world a hemisphere away familiarly strange.
The Bride from Odessa
From the Publisher: Set in Buenos Aires and Paris from the 1920s to the present day, Cozarinsky's short novel about Jewish immigrants, and the related stories he has collected and retold in a fictional light, may be among the few records we have of an extraordinary and little-known twilight society.
The Moldavian Pimp
Set in the Argentine capital and Paris, and ranging in time from the 1920s to beyond the turn of the century, this short novel is about Jewish immigrants, and the related stories that are collected and retold by the author in a fictional light.
Milongas
With an introduction by award-winning author Alberto Manguel, Milongas is Edgardo Cozarinsky's love letter to tango, and the diverse array of people who give it life. From tango’s origins in the gritty bars of Buenos Aires, to milongas tucked away in the crypt of a London Church, a café in Kraków, or the quays of the Seine, Cozarinsky guides us through a shape-shifting dance’s phantasmagoric past. In neighborhood dance halls vibrant and alive through the early hours of the morning, where young and old, foreign and native, novice and master come together to traverse borders, demographics, and social mores, “it is impossible to distinguish the dance from the dancer.” As conspiratorial as he is candid, Cozarinsky shares the secrets and culture of this timeless dance with us through glimmering anecdote, to celebrate its traditions, evolution, and the devotees who give it life.
Borges In/and/on Film
The definitive edition of this celebrated collection of Borges 1930 s and 40s film reviews, complemented by Cozarinsky's "excellent introduction" (Sight and Sound) as well as his critical studies of eight film adaptations of Borges's work. "Borges's view of film as a story-telling mechanism is a necessary corrective..."--Andrew Sarris
Loin d'où
Janvier 1945. Une jeune femme, vêtue d’une lourde cape militaire qui la protège à peine du froid, fuit à travers la Pologne et la Tchécoslovaquie. Trois ans plus tard, nous la retrouvons à Buenos aires, où elle a refait sa vie, hantée par son passé. Elle élève un fils, Federico, qui cherche bientôt à savoir, à comprendre ce qu'elle cherche à oublier. "Les histoires, on ne les onvente pas, on en hérite", écrivait Edgardo Cozarinsky dans Un ruffian moldave.Variation sur l'un des moments les plus tragiques de notre Histoire, l'auteur brouille les pistes : au lecteur de distinguer le bien du mal, les bourreaux des victimes...
Borges In/and/on Film
The definitive edition of this celebrated collection of Borges 1930 s and 40s film reviews, complemented by Cozarinsky's "excellent introduction" (Sight and Sound) as well as his critical studies of eight film adaptations of Borges's work. "Borges's view of film as a story-telling mechanism is a necessary corrective..."--Andrew Sarris
En ausencia de guerra
Una carta de 1977 encontrada en 2013 dentro de un libro de segunda mano..., la llave de una caja de seguridad en un banco suizo, recibida de una persona muerta... De la pesadilla de la Historia resurgen los sueños traicionados y la especulación crapulosa de los años de plomo argentinos. En un presente donde todo se ha convertido en mercancía, los fantasmas de aquellos años convierten en vengadores a un escritor escéptico y a su amante, una joven anarquista. Cómplices improvisados, se internan en una trama de venganzas heredadas, siguiendo entre Ginebra y Montecarlo la pista del dinero sucio, ya atesorado, ya despilfarrado. Lo que pareció empezar al amparo de Henry James se les va tornando obsesiva novela negra e ingresan en un territorio donde impera la violencia reprimida que llevan dentro de sí.
The Lights of Home
Because of political, cultural, or economic difficulties in their homelands, Latin American writers have often sought refuge abroad. Their independent searches for a haven in which to write often ended in Paris, long a city of writes in exile. This is more than solely a group biography of these writers or an explication of material they wrote about Paris; it is also a luminous account of the work they wrote while in Paris, often based in their homelands. It explores how Paris reacted to this wave of Latin American writers and how these writers absorbed Parisian influences and welded them to their own traditions setting the stage for immense success and power of works coming from Central and South America over the last half of the twentieth century.
Lejos de dónde
Recounts the trials, travels, work, hardships, passions, and history from 1945 to 2007 of an immigrant to Buenos Aires, Argentina.
