Monday, September 24, 2018

WORKSHOP SERIES FALL 2018


No se la pierdan por nada del mundo.
Habrá streaming (pero inscríbanse para mandar materiales).

--crg

Monday, September 10, 2018

WORKSHOP SERIES FALL 2018


No se la pierdan. Aquí, en UH, como parte de la Workshop Series Fall 2018, del PhD en Estudios Hispánicos con concentración en Escritura Creativa en Español (ECE).

--crg

Thursday, September 06, 2018

Monday, August 20, 2018

THE TAIGA SYNDROME--Publishers Weekly´s starred review


Rivera Garza’s extraordinary, incantatory novel (following The Iliac Crest) is short but stunning, following a semi-retired detective on the trail of her client’s second ex-wife, who abandoned him for a younger man. Intermittent communications from the couple place them last at the Taiga, an immense, faraway, and largely inhospitable forest province that borders the tundra. People disappear from the Taiga at such a frequency that the phenomenon has a name—the Taiga Syndrome. The detective arrives at the Taiga village from where her client’s ex-wife last sent a telegram, bringing along a translator for help. Though she privately suspects she’s there on a wild goose chase, the detective nonetheless faithfully records all that she comes across, including unsettling interviews with little boys and stories of a wolf cub who seemed to take an interest in the ex-wife and her lover. “Hansel and Gretel” and “Little Red Riding Hood” are explicitly referenced throughout the book—the original, darker versions, of course. And there are some truly chilling aspects of the novel, including what the aforementioned little boy confesses he witnessed and a feral child the Taiga lumberjacks find in the forest. In the climax, the detective plunges deep into the Taiga in search of the ex-wife, and discovers where love must go before it can finally be considered over. As lyrical as a poem (“Look at this: your knees. They are used for kneeling upon reality, also for crawling, terrified. You use them to sit on a lotus flower and say goodbye to the immensity”) and as fantastic as a fairy tale, Rivera Garza’s gorgeous, propulsive novel will haunt readers long after it’s finished.

Full article here

--crg
--crg

Tuesday, July 17, 2018

THE TAIGA SYNDROME--Kirkus´ starred review



A detective travels to the heart of a mysterious snow forest in this existential mystery about desire, hauntings, and the failure of language.
When the unnamed narrator of Mexican author Rivera Garza’s (The Iliac Crest, 2017, etc.) gothic noir accepts the case of a missing couple, she feels haunted by all the cases she has failed to solve. “The case of the woman who disappeared behind a whirlwind. The case of the castrated men. The case of the woman who gave her hand, literally,” she thinks. Intrigued and alarmed by her client's tragic description of the Taiga Syndrome, in which “inhabitants of the Taiga begin to suffer terrible anxiety attacks and make suicidal attempts to escape,” she sets off with a translator to follow in the missing couple’s footsteps. When they arrive at the village where the couple was last seen, they’re brought to “a hovel...a habitable structure made from wood, cardboard, and lots of dry branches.” Here, the boundaries between prose and poetry, reality and myth—both already tenuous—begin to blur even further. A wolf spied waiting outside the couple’s cabin door might have been a wild boy captured by passing lumberjacks. A miscarriage witnessed by a village child might be the origin story of “two miniature creatures” used in a bawdy bordello show. The miniature creatures might, after all, be real. If haunting is a kind of repetition, the narrator and her translator begin their own ghost story, following in the footsteps of the couple before them, falling in love—if only briefly. This novel, in a translation by Levine and Kana, is taught, lyrical, and strange, and it fits right in with Dorothy, A Publishing Project’s commitment to work that challenges what genres and forms can do. Like the best speculative fiction, it follows the sinuous paths of its own logic but gives the reader plenty of room to play. Fans of fairy tales and detective stories, Kathryn Davis and Idra Novey, will all find something to love.
An eerie, slippery gem of a book.

Link here

--crg

THE TAIGA SYNDROME--@The_Millions



coverThe Taiga Syndrome by Cristina Rivera Garza (translated by Suzanne Jill Levine and Aviva Kana): Marguerite DurasClarice LispectorJuan Rulfo—comparisons to each have been made with regard to Cristina Rivera Garza’s novels, which are uncanny and unique, often exploring and crossing and investigating borders, including but not limited to “geopolitical borders and conceptual borders, borders of gender and genre, borders between life and death.” Rivera Garza has spent her life crossing borders, too. Born in Mexico, she lived between San Diego and Tijuana for a long while, and she now directs the first bilingual creative writing Ph.D. program at the University of Houston. The Taiga Syndrome is Rivera Garza’s second novel to be translated to English, a book which Daniel Borzutzky likens to “Apocalypse Now fused with the worlds of Clarice Lispector and Jorge Luis Borges.” Yowza. (Anne)

See "Most Anticipated: The Great Second-Half 2018 Book Preview" here

--crg

Friday, June 08, 2018

THE ILIAC CREST--The Skinny

Cristina Rivera Garza’s The Iliac Crest has been compared to a David Lynch film, and it’s easy to see why. It’s a circular, unbounded story where nothing is certain: gender, chronology, borders and death are all ambiguous, both for the protagonist and the reader.
One night, two women arrive, hours apart, at the unidentified narrator’s house. One is apparently an ex-lover, the other a stranger who claims to be Mexican author Amparo Dávila. Their appearance turns his world in on itself, as all aspects of his previously insular life are questioned. In his hunt to find out why they’ve chosen to cling to him, his masculinity is doubted to the point where he frequently has to check to remind himself of his gender, his memories blur and fade in and out of reality, and his actions are fueled by the concept of appearance, disappearance and stability.
Garza has a flair for describing intense pleasure: paragraphs where the narrator is offered first whisky, then – in later pages – a cigar are laced with a dizzying hedonism, made all the more sensuous when juxtaposed against the creeping terror of nearly every other scene. Similarly intense, the ocean’s constant presence as a character in its own right introduces the concept of borders and finality to the text, reflecting themes as relevant today as they were when the novel was first published nearly 20 years ago.
The true significance of each individual word is due to the novel’s translator, Sarah Booker. The ambiguity of translation allows themes and motifs to take on numerous façades: the term ‘turn back’ is one which recurs throughout, and it is beautifully unclear each time whether it should be read literally or metaphorically. This vagueness blurs the line between sanity and insanity even more in this fever dream of a story. [Kirstyn Smith]
Full text here.

--crg

Thursday, May 17, 2018

THE UNUSUAL: A MANIFESTO

In the wake of the #MeToo movement, as new generations of women worldwide forcibly expose the cruel nature of the gender hierarchies (and binaries) that structure our daily lives, while many reject the possibility of being either physically disappeared or culturally erased, the decision to only publish women authors may appear unusual, but it is urgent. I am convinced that writing is a critical practice: true, bold, brave, formally adventurous writing should have the ability to change perceptions and experience; the disordering of the senses talked about by Rimbaud, inextricably linked with the disordering of everyday life as we know it. Producing unusualness, writing expands our sense of what is possible. Imaginable. Livable. Publishing women authors is not a minor component in this process.
In Pentransmissions.com. See full text here. 

--crg

ESTAR ALERTA: Escribir en español en los Estados Unidos


U
no de los primeros actos de la presidencia de Donald Trump consistió en borrar el español de la página oficial de la Casa Blanca. No fue, como algunos lo explicaron en su momento, una medida transitoria con la que se pretendía mejorar la información contenida, sino una verdadera declaración de principios. Borrar es el nombre del juego. Hacer como que cincuenta y pico millones de hispanohablantes no viven y trabajan y producen en los Estados Unidos a los Estados Unidos, el segundo país donde viven más hispanohablantes en el mundo (sólo después de México). Los que todavía tenían esperanza de que el bravado nacionalista que caracterizó la campaña de Trump se transformaría, ya en la presidencia, en la toma de medidas más moderadas, entendieron que el verdadero invierno apenas estaba por empezar. Los ataques de Trump contra los inmigrantes, especialmente contra inmigrantes pobres y morenos de América Latina y, entre ellos, sobre todo los de México, son la firma de una agenda que promete devolver la grandeza blanca y homogénea a los Estados Unidos. Esa nostalgia por un mundo que nunca existió en esta nación de migrantes es la que lleva a cientos de miles a formar parte de esos coros demenciales que piden la construcción de grandes muros fronterizos, la proliferación de armas en las calles y el castigo a lo diverso y diferente.
Tal vez no fue una mera coincidencia entonces que inauguráramos el Doctorado en Escritura Creativa en Español en la Universidad de Houston sólo unos meses después de que Trump llegara al poder, en el semestre de otoño de 2017.

En Revista de la Universidad Nacional. Ver artículo completo aquí.

--crg

Saturday, March 24, 2018

NEW WORKSHOP SERIES 2018


Este domingo el esperado taller de Samanta Schweblin para el PhD en Escritura Creativa en Español. Y el lunes, martes y miércoles de la próxima semana seguimos con el taller de la gran María Negroni.
Si desean inscribirse gratuitamente manden mensaje a: agendauh.ece@gmail.com

--crg



CONGRESO TRANSATLÁNTICO

En Monterrey, Nl
Viernes 23 de marzo
¡Ahí nos vemos!

--crg

Friday, March 16, 2018

University of Michigan

Friday, March 16th
5:30 - 7:00 pm
Keynote address: Writing with Communities Today: Disappropriation and Shareng

Saturday, March 17th
2:00 - 3:00 pm
The Iliac Crest: Reading and Conversation

--crg


Tuesday, February 20, 2018

Desde HABÍA MUCHA NEBLINA O HUMO O NO SÉ QUÉ

 Abigail Cortés escribió "Reescritura de Rulfo o no sé qué" para Libroamérica:

El cintillo del nuevo libro de Cristina Rivera Garza Había mucha neblina o humo o no sé qué (2017), anuncia: “Un personalísimo homenaje y visión de Juan Rulfo. Obra experimental que rompe los límites de los géneros, Cristina Rivera Garza demuestra una vez más su fascinante habilidad literaria”. Yo, después de tremendas promesas, leí con ansia mi ejemplar y, a lo largo de sus páginas, sentí emoción, melancolía, sorpresa; también, logré sostener un interesante diálogo con las ideas que el libro despliega sobre el autor de Pedro Páramo (1955).
   “Cada quien tiene su Rulfo Privado. El mío, mi Rulfo mío de mí está tan interesado en producir una obra como preocupado por ganarse la vida”, dice nuestra escritora en la contraportada del libro. Sí, es cierto, cada quien guarda para sí a sus autores más queridos y los cuida de la mejor manera que puede. Por ejemplo, he de confesar que yo también tengo un Rulfo privado. Uno mío de [1]. Actualmente, me dedico a estudiar la obra del autor de El llano en llamas (1953), en particular, su correspondencia amorosa;[2] sin embargo, me atrevo a opinar sobre el estudio de Rivera Garza con el conocimiento previo de que ella me supera en lecturas e investigación.
   Primeramente, he decidido hablar sobre Había mucha neblina o humo o no sé qué ahora que ha pasado la euforia, y es que publicar un libro, el cual habla sobre los aspectos biográficos de Juan Rulfo en el año de su centenario fue una proeza que causó diversas opiniones, algunas más amables que otras. No obstante, me niego a profundizar en la polémica pues no la considero relevante.
   La autora recorre los mismos caminos que Rulfo y escribe un “libro viajero” conformado por seis capítulos tan diferentes como interesantes; apuesta por una escritura biográfica de Juan Rulfo diferente a lo que se ha hecho antes pues, al contextualizar al autor, lo desacraliza para exponer que Juan Nepomuceno Carlos Pérez Rulfo Vizcaíno, aunque no lo parezca, fue humano. Además, Rivera Garza crea un texto híbrido, toma recursos biográficos e históricos y los entrevera dando como resultado imágenes nítidas sobre acontecimientos que dislocan las prácticas de lectura pues en este libro la realidad participa de la ficción y viceversa.
Artículo completo aquí 


Friday, January 12, 2018

Desde VIRIDITAS

Roberto Cruz Arzabal publicó "Archivos potenciales: domiciliación y colindancias en Viriditas de Cristina Rivera Garza" en Letras Femeninas Vol. 42, Num. 2, 2016, pp.35-43

Tomando como punto de partida el concepto de archivo según fue problematizado por Jacques Derrida en su muy conocido Mal d'archive, propongo leer las prácticas de archivo dentro de la obra de Cristina rivera Garza, no sólo como elementos referenciales dentro de los textos, sino como procedimientos artísticos en relación con la acumulación y la domiciliación que delimitan el interior y el exterior de la textualidad. En especial, propongo la lectura del libro Viriditas que, aunque poco atendido por la critica, resulta un objeto ejemplar para entender el movimiento entre domiciliación y trazo arqueológico en la obra de Rivera Garza. Además, utilizo el concepto de escrituras colindantes, propuesto por la propia autora, para relacionar las formas intermediales del libro con los movimientos del archivo que la producen.

Ensayo completo aquí.

--crg

12 ESSENTIAL FEMALE AUTHORS

I wrote "12 Essential Female Authors" for Publishers Weekly:

Some of them are cult writers in their respective countries; some have gained recognition across the Spanish-speaking world but have yet to be fully accounted for in English; some are translated into several languages, figuring prominently in trans-border literary conversations in languages other than English; most defy easy classification; all deserve a place in your reading list. This is but a small selection of the many women writers from the Spanish-speaking world who have ceaselessly questioned the status quo, refusing to comply with gender and other hierarchies. Their voices are more necessary than ever. Long live too their fearless and irreverent translators!

See full article here

--crg