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Dark Museum
Literary Nonfiction. Poetry. Translated from the Spanish by Michelle Gil- Montero. In this book of lyric critical essays, Argentinian poet and critic María Negroni writes about Gothic works--ranging from Horace Walpole's classic novel The Castle of Otranto to Julia Kristeva's Black Sun to James Cameron's film Aliens--and develops an accumulative, absorbing, transnational theory of politics and aesthetics. In the introduction she writes: I want to share something of that fascinating imaginary, packed with castles and lakes, crypts and laboratories, music boxes and evil gardens, urban ruins and boats like coffins ferrying magnificent dreams. Because in that atmosphere, it is my impression, something crucial materializes: a purely sentimental domain where it is suddenly possible to perceive, under any light, the critical link between childhood and atrocity, art and crime, passion and fear, and the desire for fusion and writing.
La Verdadera Historia de Los Tres Cerditos! (The True Story of the Three Little Pigs)
Translated by Maria Negroni.
Film noir
None
O coração do dano
Em O coração do dano, María Negroni escreve sua carta à mãe [...]: 'A literatura é uma forma elegante de rancor. (Que frase escandalosa)', ela diz em uma passagem. Mas escandalosa por que ou para quem? Talvez para si mesma, que afinal pode devolver o troco (uma vingança?) tão longamente tramado. Diferentemente da célebre carta não enviada por Kafka, porém, este livro de Negroni atende ao efetivo desejo de registrar uma relação estranhada e entranhada com uma mãe narcisista e por vezes incompreensível, sem dúvida cruel em sua desatenção, ao mesmo tempo que relata a constituição da jovem María enquanto leitora, a leitora que enfim culminaria na escritora." Joca Reiners Terron
The Tango Lyrics
The Tango Lyrics is a translation of Andanza, the tenth book of poetry by María Negroni, whose important place in international letters has been well recognized in Argentina and abroad. Like many of her books, The Tango Lyrics drifts through intertextuality--by tapping into tango lyrics and Lunfardo slang--as it navigates personal terrain. Linguistically rich, with musicality at the forefront, the eight-line poems are shaped by the shifts and rhythms of tango.The Tango Lyrics/Andanza is one of Negroni's most personal, and meanwhile most experimental, books of poetry. It marks a significant moment in the career of a poet who always remains restless in her search for fresh language and new forms. However, "tango" is never mentioned explicitly. The book and its subject matter are like two dancers pressed together while looking away from each other. Both absent and unmistakable, tango is, above all, a linguistic atmosphere in the poems: gritty, elegant, morose, with a sort of philosophical poise.
The Annunciation
Fiction. Translated by Michelle Gil-Montero. As a writer and critic of hemispheric influence, María Negroni has drawn from sources as diverse as Lautréamont, Pizarnik, and Ridley Scott's Alien to build a model of art as museo negro--repository of the anti-real, the anti-rational, of resistance itself. Her novel THE ANNUNCIATION, brought into English with perpetual nimbleness by the poet Michelle Gil-Montero, traces the afterlife of a member of a revolutionary cadre who flees Argentina for Rome amid the state violence of the Dirty War. Visited by spectres of the human and artistic companions of her many past lives, the narrator weighs up the costs of both art and politics, of language and violence, of exultation and extinguishment. In an era of extinctions--including the extinction of hope--THE ANNUNCIATION is a darkly radiant work, a nightship cruising the galaxy, packed with unlikely resources for the dispossessed, powered by the refusal-to-comply.
Mouth of Hell
Poems.
Islandia
Islandia is a masterful, mixed-genre (prose-poetry and verse) literary work, alternating passages that tell of an island race of exiled, conquering, Nordic heroes, who have landed on and settled an island (presumably Iceland) and remained there for generations, self-enthralled by their own identities as sung in their own Sagas; and the sophisticated and complexly ironical, lyrical verses of the author's own persona, herself isolated, self-reflective, and exiled -- in present-day New York City. Themes from the two aspects of the work seem to approach each other without ever quite touching, across a chasm of mutually re-enforcing but sharply distinct senses of absence. The work is brilliantly translated from the Spanish by Anne Twitty and is presented here in a bi-lingual edition....an extraordinary cycle of poems written in two very different and contrasting forms-the Nordic, masculine, epic style of the prose poems, and the Mediterranean, feminine, mannered, lyric style, of the others. Anne Twitty's translation of this masterful cycle has itself been carried out with great mastery.-Esther Allen
