!Read Epub ⚫ Norte ⚷ Tres destinos separados por el tiempo y el espacio pero interconectados por la violencia, el desarraigo, la creación y la locura; tres vidas extraviadas en el cruce de mundos y fronteras que caracteriza a nuestra época En un pequeño pueblo del norte de Mexico, Jesus deja el colegio y se une a una pandilla Para impresionar a sus nuevos compañeros apuñala a una prostituta, iniciando así una carrera criminal que le llevará a ser uno de los psicópatas mas buscados por FBI; En California, Martín, un inmigrante indocumentado, es ingresado en un psiquiátrico donde se convertirá en uno de los grandes pintores del siglo XX Y en Texas, Michelle trabaja de camarera mientras intenta seguir su vocación de dibujante Al mismo tiempo, su profesor, Fabián, con quien mantuvo una aventura, sueña con escribir su obra definitiva Un día, los dos se reencuentran por casualidad y retoman su relacion, apasionada pero condenada al fracaso Una mirada ambiciosa y compleja a la forma en que Estados Unidos esta siendo reinventado por la inmigración latinoamericana, Norte consolida a Edmundo Paz Soldán como una de las voces mas inquietantes, originales y arriesgadas de la narrativa latinoamericana contemporánea LITERARY FICTIONEdmundo Paz SoldánTranslated from the Spanish by Valerie MilesNorte: A NovelUniversity of Chicago PressPaperback, 9780226207209, (also available as an ebook), 312 pgs., $18.00October 26, 2016 ‘In Spanish there’s an expression, “perder el norte,” which means to lose one’s way, to lose sight of a goal, to lose control, to lose the sense of where is up and where is down on a compass.’ Three tales are told in Norte: that of Jesús, a serial killer from Northern Mexico who rides the rails across the United States; that of Michelle, an aspiring graphic novelist and dropout from a Latin American literature doctoral program in Texas; and that of Martín, a schizophrenic artist locked in a California asylum, whose works eventually hang in the Guggenheim and the Smithsonian Each of these characters have immigrant origins (some legal, others not): Argentina, Bolivia, Mexico Everyone here is addicted to something: substances, sensations, emotions, people, power; and none of their American dreams are turning out as they’d hoped Norte, an unflinching exploration of displaced people (“my wife and children are here Your Honor, I’m a political refugee from my country Your Honor, if you send me back the narcos are going to kill me Your Honor, Your Honor, Mister Lawyer, sir, mister, mister, please, please, please”), and physical and emotional violence, is Edmundo Paz Soldán’s ninth novel, and the third to be translated into English Originally from Bolivia, Paz Soldán is a professor of Latin American literature at Cornell University His previous works have won the Bolivian National Book Award and the Juan Rulfo Short Story Award, among others Valerie Miles, translator, editor, writer, and professor of literary translation at Pompeu Fabra University in Barcelona, Spain, translated Norte from the Spanish Norte’s construction is unusual,a series of linked short stories than a novel The narratives move backward and forward in time between 1931 and 2009, and the settings range from Texas to California to Mexico, and roam the country with Jesús on the railroads In the end, these narratives come together in creative and unexpected ways In unadorned prose with a noirish quality, Paz Soldán shifts seamlessly between characters, settings, and perspectives, conveying stark contrasts Jesús is uneducated, crude, and psychotic; Michelle is educated, middleclass, and aimless; Martín is haunted, anxious, and poignant Jesús’s and Martín’s narratives are told in third person, Michelle’s in first person Norte seems to draw from Paz Soldán’s biography He pokes fun at the insular academic world (“so selfabsorbed, fascinated at hearing ourselves speak”), and Michelle’s creative breakthrough mirrors his own experience with the development of Norte Paz Soldán also draws from actual people and events Jesús was inspired by the real Railroad Killer, and Martín is Martín Ramírez, whose works do hang in museums throughout the world Paz Soldán’s channeling of Martín’s inner world is particularly moving, his imagery evocative (“Shadows conspired with each other along the rooftops”) The publication of the English edition of Norte couldn’t betimely “Or what if nobody was forced to migrate any? Leaving one’s place on earth is a cruel experience.”Originally published in Lone Star Literary Life. the third novel from bolivian author (and cornell professor) edmundo paz soldán to be rendered into english, norte weaves together three disparate (but not entirely unrelated) narratives featuring immigrant characters from mexico and argentina two of the threads are inspired by reallife individuals: ángel maturino reséndiz (the railroad killer) and martín ramírez (a selftaught schizophrenic folk artist) contending with the personal politics of displacement, paz soldán's novel isn't so much a work about the emigrant/immigrant experience in general, but instead a foray into the lives of three quite distinct people and how they've adapted (or not) to their adopted home country with graphic, detailed scenes of rape, mutilation, and murder, many readers will likely be put off, though paz soldán's use of vicious, ruthless violence (based as it is, again, on the life of an actual serial killer) never veers into the gratuitous norte succeeds on nearly every level, with a compelling pace that is as relentless as it ultimately is revealing norte will undoubtedly appeal to fans of bolaño (as will the intext nods to the late chilean author), but is likelyaccessible to a general reader given the current american political milieu, paz soldán's novel takes on an especially timely resonance norte doesn't offer any answers about the ongoing immigration debate (nor does it strive to), but in portraying the contrasting, diverging fates of his three main characters, paz soldán effortlessly broadens our perspectives on the singularity of human lives, their ultimate interconnection, and the innate yearning for something forever beyond ourselves he let him walk how many times on his beat as a ranger had he stopped a car for a broken taillight or an expired inspection sticker, to find that the driver was a frightened illegal? he felt sorry for them and let them go he'd give them a break, and who knows, maybe now they were doing better than he was but did any of it matter now? all his effort, and the hard work of so many other people, would be eclipsed by the media frenzy and people who wouldn't remember anything else but the one illegal who was a killer *translated from the spanish by valerie miles (vilamatas, busquets, a thousand forests in one acorn editor, and cofounder of granta en español)**(4.5 stars)
Dick Lit.I picked that term up from Tatiana's review of another book with North in the title, North Water She defines the term as pseudomanly books, like The North Water, which pretends to be some kind of deep, tough literature, but fails to hide that its author has an almost juvenile obsession with violence, gore and bowel movements That seems fitting here.Which isn't necessarily to say that Paz Soldán isn't a good writer He is a compelling onethe story moves And even as it does, it's obvious he's staking out meaning on a number of different levels, some of which bearattention and study than others The book comprises three stories on at different time periods, that seem to intersect only faintly, at least in terms of the characters meeting or hearing about one another.But he draws other connections among them with imagesa Saturday Evening Post coverand word choice And thematically There's the repeated question of people being unable to find their voiceto say what needs to be said: one character refuses to speak much at all Another is slow to learn to write A third is searching for her voice, the novel reaching its conclusion when she thinks she has.There's also the connection to Bolaño, especially The Savage Detectives: There are savages of various sorts here, detectives, and Latin Americans lost in a wider world.There's also the question of the way that the United States screws up the identities of Mexicans and people of Mexican heritageit literally makes their identity problematic, the border not only on a map, but something that cuts through them Which is all well and good, though, to be honest, I didn't feel that there was much *life* behind these themes Paz Soldán is an academic, and it always felt as though the book was written to be analyzed by academics.There's also the problem of the book treading on familiar territory Much of the action takes place in a Texas university towntoo may novels are set in colleges! It is true that Paz Soldán is critical of academiasometimes lightly, sometimes, subtly and ferociously, suggesting that Professors are, in some sense, scavengers picking the bones off of those who do actual work, exploiting them for their own gainbut he's neither the first, second, or last writer to unsheath the knives for academia.The other two stories are also fairly familiar There's the misunderstood artist in the insane asylum And the serial killer Again, he tries to destabilize these to an extentthe serial killer is an illegal immigrant, which would seem to go against his own sympathies, as an authorbut the attempt seems too calculated It doesn't help that the serial killer storyline is also police procedural, in which he gets to explain why the illegal immigrant serial killer does not undermine the plight of other undocumented people in America I agree, but, once , the point seems pedantic.The bigger issue I have is the needless violence In the afterword, the translator said that she and Paz Soldán worked hard to not make the violence gratuitous I understand that she had a complicated task (a Bolivian author, living in the U.S., writing about Mexican characters learning American ways), and if I understood Spanish and could compare the original ti the translation, I might have been very impressed.As it is, though, she failed on keeping down the gratuity of the violence The opening chapter opens up with vivid descriptions of violence against women that are underexplained and overdescribed, and the assaults they don't stop So much of the identity crisis is expressed by violating women's bodies; that may be the point, but Paz Soldán doesn't do much to explore thisonly takes it for granted I think, perhaps, the reason the only firstperson character is female is to balance the scales, but she is also a very passive, indecisive character, so it doesn't help much.At any rate, the violence seems put here to make the book feel gritty and real and authentic, but I generally found it unnecessary and offputting, like showing off Instead of making the book feel adult, it felt puerile. I read the English translation This is a tough book, from three perspectives but one is a serial rapist/murderer which caught me off guard It’s wellwritten and the stories are loosely woven together However, once I read the translator’s notes (which are at the end) the book made MUCHsense and I wish I read this in Spanish.