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Mario Bellatin

Volume 1,

Number 13.

February,

2020

In our thirteenth issue, we feature two innovative, hard-to-define figures of Latin American letters: from the present, Mexican writer Mario Bellatin, and from the past, Chilean writer Juan Emar. Together with these authors, we highlight Latin American theatre for the first time with a script by Ramón Griffero, Nahuatl-language poetry by Martín Tonalmeyotl, plus interviews, book reviews, exclusive previews, and more from writers including Rosario Castellanos, César Aira, and Salgado Maranhão.

Table of Contents

Editor's Note

Editor's Note: February 2020

  • by Marcelo Rioseco
Featured Author: Mario Bellatin

Skopos: The Inexistence of Coherence and the Impossibility of Defining Fidelity: A Theory of Translation of the Work of Mario Bellatin

  • by David Shook

My New Scriptures, The New Scriptures

  • by Mario Bellatin

The Seed of Uncertainty: On Shiki Nagaoka: A Nose For Fiction

  • by João Paulo Cuenca

The Dostoevsky Theorem

  • by Graciela Goldchluk

Mario Bellatin, Or, The Traps of (Literary) Faith

  • by Delfina Cabrera
Dossier: Juan Emar

Before Objects: Emar and the New Physics

  • by Patricio Lizama

Pibesa, the Girl Who Doesn’t Know What to Do With so Much Youth

  • by Pablo Brodsky

Introduction

  • by Pablo Brodsky

Juan Emar's Umbral

  • by Carlos Piña
Brazilian Literature

Poems from When I'm Not Around

  • by Annita Costa Malufe

Three Poems

  • by Salgado Maranhão
Fiction

The Horse Necromancer (Part 2)

  • by Carlos Velázquez

The Last Visit

  • by Enrique Serna

Little Gray Head

  • by Rosario Castellanos

Tea in Augsburg

  • by Marvel Moreno
Poetry

Three Poems

  • by Cristian Cruz

Three Poems

  • by Fredy Yezzed

Three Poems

  • by Jacqueline Goldberg
Interviews

“I believe writers do not represent a country, and not a language, either”: An Interview with Santiago Elordi

  • by Matteo Lefèvre, Santiago Elordi

“The big intervention that literature can make is on literature itself”: An Interview with Diamela Eltit

  • by Claudia Cavallin, Diamela Eltit

“Maybe I was an example of not taking things so seriously, of not doing things so academically”: An Interview with Argentine Writer César Aira

  • by César Aira, Maria Cerdas Cisneros
Indigenous Literature

Poems from Tlalkatsajtsilistle/Ritual of the Forgotten

  • by Martín Tonalmeyotl
Theatre

Introduction

Increasing the Appetite for Latin American Theatre in Translation

Prometheus, the Beginning

  • by Ramón Griffero
Translation Previews and New Releases

From I Don't Expect Anyone to Believe Me

  • by Juan Pablo Villalobos

From The Most Fragile Objects

  • by Alberto Chimal

From Fiebre tropical

  • by Juliana Delgado Lopera
On Translation: Seeking Publisher

A Necessary Evil: My Love-Hate Relationship with Translation

  • by Beatriz Badikian-Gartler

An Exercise in Intimacy

  • by Maureen Shaughnessy

Things I Discovered through the Process

  • by Nurit Kasztelan

Three Poems

  • by Nurit Kasztelan
Nota Bene

Nota Bene: February 2020

  • by LALT Team
Book Reviews

Tiempos recios by Mario Vargas Llosa

  • by Nicasio Urbina

A Love Supreme by Adalber Salas Hernández

  • by Cristian Garzón

De la metáfora, fluida by Verónica Jaffé

  • by Luis Miguel Isava

Retrato de Mäda Primavesi by Sebastián Politi

  • by Hugo R. Correa Luna

La lengua rota by Raúl Quinto

  • by Micaela Paredes

Abecedario del estío by Liliana Lara

  • by Raquel Rivas Rojas

El lento aprendizaje de la paciencia by Esteban Martínez Serra

  • by Lucas Margarit

La librería del mal salvaje by Hernán Vera Álvarez

  • by Keila Vall de la Ville

Ningún hombre es una isla by Ernesto González Barnert

  • by Clemente Cox

Desordenadas by Naida Saavedra

  • by Melanie Márquez Adams

Broadway-Lafayette: el último andén by Pedro Plaza Salvati

  • by Miguel Gomes
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