Vincenzo Latronico’s Perfection (Book acquired, late Feb. 2025)

Vincenzo Latronico’s Perfection, in translation by Sophie Hughes, is new from NYRB. Their blurb–

Anna and Tom, an expat couple, have fashioned a dream life for themselves in Berlin. They are young digital “creatives” exploring the excitements of the city, freelancers without too many constraints, who spend their free time cultivating house plants and their images online. At first, they reasonably deduce that they’ve turned their passion for aesthetics into a viable, even enviable career, but the years go by, and Anna and Tom grow bored. As their friends move back home or move on, so their own work and sex life—and the life of Berlin itself—begin to lose their luster. An attempt to put their politics into action fizzles in embarrassed self-doubt. Edging closer to forty, they try living as digital nomads only to discover that, wherever they go, “the brand of oat milk in their flat whites was the same.”

Perfection—Vincenzo Latronico’s first book to be translated into English—is a scathing novel about contemporary existence, a tale of two people gradually waking up to find themselves in various traps, wondering how it all came to be. Was it a lack of foresight, or were they just born too late?

“God to Hungry Child” — Langston Hughes

“God to Hungry Child”

by

Langston Hughes


Hungry child,
I didn’t make this world for you.
You didn’t buy any stock in my railroad.
You didn’t invest in my corporation.
Where are your shares in standard oil?
I made the world for the rich
And the will-be-rich
And the have-always-been-rich.
Not for you,
Hungry child.

Watch William Friedkin’s first film, the 1962 documentary The People vs. Paul Crump

I’ve been listening to William Friedkin read his 2013 memoir The Friedkin Connection on my daily commute and loving it so far. The first chapter, “Chicago,” details the making of his first film, a 1962 documentary called The People vs. Paul Crump. A chance meeting with a death row priest at a cocktail party leads Friedkin to make his documentary, despite having no real knowledge of how to make a film at all. (He even claims to have never have seen a documentary film at that point in his life.) From his memoir:

[Cinematographer Wilmer] Butler and I were editing the film each night as we got the dailies from the lab. Most of the time we worked at my apartment. My mother would make us lunch and dinner, and we’d work on weekends twelve or fifteen hours a day, with an old pair of rewinds and a 16 mm. viewer and splicer we had “liberated” from the WGN-TV newsroom. Splicing was done with glue, not clear cellophane tape, which came in several years later.

One evening, Ernie Lucas, a veteran TV director, happened to pass by on his way to pick up copy for the ten o’clock news. He was surprised to see us in a film editing bay in the newsroom, since we were involved exclusively with “live” telecasts. He expressed shock that we were editing our negative, and that we were not handling it carefully with white cotton gloves. “What are you guys doing?” he asked. We told him we were working on a short film for our own amusement. “But you’re cutting the negative; you’re not supposed to even touch it.”

“Why not?” We were confused.

Ernie was patient.

“Don’t you know that camera negative is never touched until you have a final edited work print?” he asked.

“What’s a work print?”

Ernie explained that a work print was made immediately after the negative was developed, and that it was this work print that you cut and recut, and only when you were finished was the negative conformed to the work print version. Neither did we know that the work print, negative, and 16 mm. sound track had to be edge-numbered simultaneously, so that picture and sound could be synchronized. Consecutive serial numbers were printed on the edges of these elements at intervals of a foot. Since we didn’t realize this, parts of our negative were scratched and torn, spliced and respliced, until we could belatedly apply edge-numbering. We had to “match” our synch-sound interviews by lip-reading, which took weeks, and we had no idea how to achieve a final print.

An end to the infamy of mules terrified by the edges of precipices as on their backs they carried grand pianos for the masked balls | A sentence from Gabriel García Márquez’s The Autumn of the Patriarch

He was right, because during our time there was no one who doubted the legitimacy of his history, or anyone who could have disclosed or denied it because we couldn’t even establish the identity of his body, there was no other nation except the one that had been made by him in his own image and likeness where space was changed and time corrected by the designs of his absolute will, reconstituted by him ever since the most uncertain origins of his memory as he wandered at random through that house of infamy where no happy person had ever slept, as he tossed cracked corn to the hens who pecked around his hammock and exasperated the servants with orders he pulled out of the air to bring me a lemonade with chopped ice which he had left within reach of his hand, take that chair away from over there and put it over there, and they should put it back where it had been in order to satisfy in that minute way the warm embers of his enormous addiction to giving orders, distracting the everyday pastimes of his power with the patient raking up of ephemeral instants from his remote childhood as he nodded sleepily under the ceiba tree in the courtyard, he would wake up suddenly when he managed to grasp a memory like a piece in a limitless jigsaw puzzle of the nation that lay before him, the great, chimerical, shoreless nation, a realm of mangrove swamps with slow rafts and precipices that had been there before his time when men were so bold that they hunted crocodiles with their hands by placing a stake in their mouths, like that, he would explain to us holding his forefinger against his palate, he told us that on one Good Friday he had heard the hullabaloo of the wind and the scurf smell of the wind and he saw the heavy clouds of locusts that muddied the noonday sky and went along scissoring off everything that stood in their path and left the world all sheared and the light in tatters as on the eve of creation, because he had seen that disaster, he had seen a string of headless roosters hanging by their feet and bleeding drop by drop from the eaves of a house with a broad and crumbling sidewalk where a woman had just died, barefoot he had left his mother’s hand and followed the ragged corpse they were carrying off to bury without a coffin on a cargo litter that was lashed by the blizzard of locusts, because that was what the nation was like then, we didn’t even have coffins for the dead, nothing, he had seen a man who had tried to hang himself with a rope that had already been used by another hanged man from a tree in a village square and the rotted rope broke before it was time and the poor man lay in his death throes on the square to the horror of the ladies coming out of mass, but he didn’t die, they beat him awake with sticks without bothering to find out who he was because in those days no one knew who was who if he wasn’t known in the church, they stuck his ankles between the planks of the stocks and left him there exposed to the elements along with other comrades in suffering because that was what the times of the Goths were like when God ruled more than the government, the evil times of the nation before he gave the order to chop down all trees in village squares to prevent the terrible spectacle of a Sunday hanged man, he had prohibited the use of public stocks, burial without a coffin, everything that might awaken in one’s memory the ignominious laws that existed before his power, he had built the railroad to the upland plains to put an end to the infamy of mules terrified by the edges of precipices as on their backs they carried grand pianos for the masked balls at the coffee plantations, for he had also seen the disaster of the thirty grand pianos destroyed in an abyss and of which they had spoken and written so much even outside the country although only he could give truthful testimony, he had gone to the window by chance at the precise moment in which the rear mule had slipped and had dragged the rest into the abyss, so that no one but he had heard the shriek of terror from the cliff-flung mule train and the endless chords of the pianos that fell with it playing by themselves in the void, hurtling toward the depths of a nation which at that time was like everything that had existed before him, vast and uncertain, to such an extreme that it was impossible to know whether it was night or day in the kind of eternal twilight of the hot steamy mists in the deep canyons where the pianos imported from Austria had broken up into fragments, he had seen that and many other things in that remote world although not even he himself could have been sure with no room for doubt whether they were his own memories or whether he had heard about them on his bad nights of fever during the wars or whether he might have seen them in prints in travel books over which he would linger in ecstasy for long hours during the dead doldrums of power, but none of that mattered, God damn it, they’ll see that with time it will be the truth, he would say, conscious that his real childhood was not that crust of uncertain recollections that he only remembered when the smoke from the cow chips arose and he forgot it forever except that he really had lived it during the calm waters of my only and legitimate wife Leticia Nazareno who would sit him down every afternoon between two and four o’clock at a school desk under the pansy bower to teach him how to read and write, she had put her novice’s tenacity into that heroic enterprise and he matched it with his terrifying old man’s patience, with the terrifying will of his limitless power, with all my heart, so that he would chant with all his soul the tuna in the tin the loony in the bin the neat nightcap, he chanted without hearing himself or without anyone’s hearing him amidst the uproar of his dead mother’s aroused birds that the Indian packs the ointment in the can, papa places the tobacco in his pipe, Cecilia sells seals seeds seats seams scenes sequins seaweed and receivers, Cecilia sells everything, he would laugh, repeating amidst the clamor of the cicadas the reading lesson that Leticia Nazareno chanted to the time of her novice’s metronome, until the limits of the world became saturated with the creatures of your voice and in his vast realm of dreariness there was no other truth but the exemplary truths of the primer, there was nothing but the moon in the mist, the ball and the banana, the bull of Don Eloy, Otilia’s bordered bathrobe, the rote reading lessons which he repeated at every moment and everywhere just like his portraits even in the presence of the treasury minister from Holland who lost the thread of an official visit when the gloomy old man raised the hand with the velvet glove on it in the shadows of his unfathomable power and interrupted the audience to invite him to sing with me my mama’s a mummer, Ismael spent six months on the isle, the lady ate a tomato, imitating with his forefinger the beat of the metronome and repeating from memory Tuesday’s lesson with a perfect diction but with such a bad sense of the occasion that the interview ended as he had wanted it to with the postponement of payment of the Dutch debts for a more propitious moment, for when there would be time, he decided, to the surprise of the lepers, the blind men, the cripples who rose up at dawn among the rosebushes and saw the shadowy old man who gave a silent blessing and chanted three times with high-mass chords I am the king and the law is my thing, he chanted, the seer has fear of beer, a lighthouse is a very high tower with a bright beam which guides sailors at night, he chanted, conscious that in the shadows of his senile happiness there was no time but that of Leticia Nazareno of my life in the shrimp stew of the suffocating gambols of siesta time, there were no other anxieties but those of being naked with you on the sweat-soaked mattress under the captive bat of an electric fan, there was no light but that of your buttocks, Leticia, nothing but your totemic teats, your flat feet, your ramus of rue as a remedy, the oppressive Januaries of the remote island of Antigua where you came into the world one early dawn of solitude that was furrowed by the burning breeze of rotted swamps, they had shut themselves up in the quarters for distinguished guests with the personal order that no one is to come any closer than twenty feet to that door because I’m going to be very busy learning to read and write, so no one interrupted him not even with the news general sir that the black vomit was wreaking havoc among the rural population while the rhythms of my heart got ahead of the metronome because of that invisible force of your wild-animal smell, chanting that the midget is dancing on just one foot, the mule goes to the mill, Otilia washes the tub, kow is spelled with a jackass k, he chanted, while Leticia Nazareno moved aside the herniated testicle to clean him up from the last love-making’s dinky-poo, she submerged him in the lustral waters of the pewter bathtub with lion’s paws and lathered him with Reuter soap, scrubbed him with washcloths, and rinsed him off with the water of boiled herbs as they sang in duet ginger gibber and gentleman are all spelled with a gee, she would daub the joints of his legs with cocoa butter to alleviate the rash from his truss, she would put boric acid powder on the moldy star of his asshole and whack his behind like a tender mother for your bad manners with the minister from Holland, plap, plap, as a penance she asked him to permit the return to the country of the communities of poor nuns so they could go back to taking care of orphan asylums and hospitals and other houses of charity, but he wrapped her in the gloomy aura of his implacable rancor, never in a million years, he sighed, there wasn’t a single power in this world or the other that could make him go against a decision taken by himself alone and aloud, she asked him during the asthmas of love at two in the afternoon that you grant me one thing, my life, only one thing, that the mission territory communities who work on the fringes of the whims of power might return, but he answered her during the anxieties of his urgent husband snorts never in a million years my love, I’d rather be dead than humiliated by that pack of long skirts who saddle Indians instead of mules and pass out beads of colored glass in exchange for gold nose rings and earrings, never in a million years, he protested, insensitive to the pleas of Leticia Nazareno of my misfortune who had crossed her legs to ask him for the restitution of the confessional schools expropriated by the government, the disentailment of property held in mortmain, the sugar mills, the churches turned into barracks, but he turned his face to the wall ready to renounce the insatiable torture of your slow cavernous love-making before I would let my arm be twisted in favor of those bandits of God who for centuries have fed on the liver of the nation, never in a million years, he decided, and yet they did come back general sir, they returned to the country through the narrowest slits, the communities of poor nuns in accordance with his confidential order that they disembark silently in secret coves, they were paid enormous indemnities, their expropriated holdings were restored with interest and the recent laws concerning civil marriage, divorce, lay education were repealed, everything he had decreed aloud during his rage at the comic carnival of the process of the declaration of sainthood for his mother Bendición Alvarado may God keep her in His holy kingdom, God damn it, but Leticia Nazareno was not satisfied with all that but asked for more, she asked him to put your ear to the lower part of my stomach so that you can hear the singing of the creature growing inside, because she had awakened in the middle of the night startled by that deep voice that was describing the aquatic paradise of your insides furrowed by mallow-soft sundowns and winds of pitch, that interior voice that spoke to her of the polyps on your kidneys, the soft steel of your intestines, the warm amber of your urine sleeping in its springs, and to her stomach he put the ear that was buzzing less for him and he heard the secret bubbling of the living creature of his mortal sin, a child of our obscene bellies who would be named Emanuel, which is the name by which other gods know God, and on his forehead he will have the white star of his illustrious origins and he will inherit his mother’s spirit of sacrifice and his father’s greatness and his own destiny of an invisible conductor, but he was to be the shame of heaven and the stigma of the nation because of his illicit nature as long as he refused to consecrate at the altar what he had vilified in bed for so many years of sacrilegious concubinage, and then he opened a way through the foam of the ancient bridal mosquito netting with that snort of a ship’s boiler coming from the depths of his terrible repressed rage shouting never in a million years, better dead than wed, dragging his great feet of a secret bridegroom through the salons of an alien house whose splendor of a different age had been restored after the long period of the shadows of official mourning, the crumbling holy-week crepe had been pulled from the cornices, there was sea light in the bedrooms, flowers on the balconies, martial music, and all of it in fulfillment of an order that he had not given but which had been an order of his without the slightest doubt general sir because it had the tranquil decision of his voice and the unappealable style of his authority, and he approved, agreed, and the shuttered churches opened again, and the cloisters and cemeteries were returned to their former congregations by another order of his which he had not given either but he approved, agreed, the old holy days of obligation had been restored as well as the practices of lent and in through the open balconies came the crowd’s hymns of jubilation that had previously been sung to exalt his glory as they knelt under the burning sun to celebrate the good news that God had been brought in on a ship general sir, really, they had brought Him on your orders, Leticia, by means of a bedroom law which she had promulgated in secret without consulting anybody and which he approved in public so that it would not appear to anyone’s eyes that he had lost the oracles of his authority, for you were the hidden power behind those endless processions which he watched in amazement through the windows of his bedroom as they reached a distance beyond that of the fanatical hordes of his mother Bendición Alvarado whose memory had been erased from the time of men, the tatters of her bridal dress and the starch of her bones had been scattered to the winds and in the crypt the stone with the upside-down letters had been turned over so that even the mention of her name as a birdwoman painter of orioles in repose would not endure till the end of time, and all of that by your orders, because you were the one who had ordered it so that no other woman’s memory would cast a shadow on your memory, Leticia Nazareno of my misfortune, bitch-daughter.


From Gabriel García Márquez’s The Autumn of the Patriarch in translation by Gregory Rabassa.

The Burial of the Sardine — Francisco Goya

The Burial of the Sardine, c. 1812–19 by Francisco Goya (1746-1828)

Posted in Art

Mardi Gras — André Derain

Mardi Gras, 1943 by André Derain (1880 – 1954).

Small Portrait — Kay Sage

Small Portrait, 1950 by Kay Sage (1898-1963)

The Mysterious Garden — Margaret Macdonald Mackintosh

The Mysterious Garden, 1911 by Margaret Macdonald Mackintosh (1864–1933)

Mass-market Monday | Aldous Huxley’s The Doors of Perception

The Doors of Perception, 1955, Aldous Huxley. Perennial Library (1970). Cover design by Pat Steir. 79 pages.

Here’s Huxley on mescaline, marveling at the folds of cloth in Botticelli’s Judith:

Civilized human beings wear clothes, therefore there can be no portraiture, no mythological or historical storytelling without representations of folded textiles. But though it may account for the origins, mere tailoring can never explain the luxuriant development of drapery as a major theme of all the plastic arts. Artists, it is obvious, have always loved drapery for its own sake – or, rather, for their own. When you paint or carve drapery, you are painting or carving forms which, for all practical purposes, are nonrepresentational-the kind of unconditioned forms on which artists even in the most naturalistic tradition like to let themselves go. In the average Madonna or Apostle the strictly human, fully representational element accounts for about ten per cent of the whole. All the rest consists of many colored variations on the inexhaustible theme of crumpled wool or linen. And these non-representational nine-tenths of a Madonna or an Apostle may be just as important qualitatively as they are in quantity. Very often they set the tone of the whole work of art, they state the key in which the theme is being rendered, they express the mood, the temperament, the attitude to life of the artist. Stoical serenity reveals itself in the smooth surfaces, the broad untortured folds of Piero’s draperies. Torn between fact and wish, between cynicism and idealism, Bernini tempers the all but caricatural verisimilitude of his faces with enormous sartorial abstractions, which are the embodiment, in stone or bronze, of the everlasting commonplaces of rhetoric – the heroism, the holiness, the sublimity to which mankind perpetually aspires, for the most part in vain. And here are El Greco’s disquietingly visceral skirts and mantles; here are the sharp, twisting, flame-like folds in which Cosimo Tura clothes his figures: in the first, traditional spirituality breaks down into a nameless physiological yearning; in the second, there writhes an agonized sense of the world’s essential strangeness and hostility. Or consider Watteau; his men and women play lutes, get ready for balls and harlequinades, embark, on velvet lawns and under noble trees, for the Cythera of every lover’s dream; their enormous melancholy and the flayed, excruciating sensibility of their creator find expression, not in the actions recorded, not in the gestures and the faces portrayed, but in the relief and texture of their taffeta skirts, their satin capes and doublets. Not an inch of smooth surface here, not a moment of peace or confidence, only a silken wilderness of countless tiny pleats and wrinkles, with an incessant modulation – inner uncertainty rendered with the perfect assurance of a master hand – of tone into tone, of one indeterminate color into another. In life, man proposes, God disposes. In the plastic arts the proposing is done by the subject matter; that which disposes is ultimately the artist’s temperament, proximately (at least in portraiture, history and genre) the carved or painted drapery. Between them, these two may decree that a fete galante shall move to tears, that a crucifixion shall be serene to the point of cheerfulness, that a stigmatization shall be almost intolerably sexy, that the likeness of a prodigy of female brainlessness (I am thinking now of Ingres’ incomparable Mme. Moitessier) shall express the austerest, the most uncompromising intellectuality.

The Portrait — Rene Magritte

The Portrait, 1935 by Rene Magritte (1898-1967)

Markus Werner’s The Frog in the Throat (Book acquired, late Feb. 2025)

The Frog in the Throat by Markus Werner is forthcoming in translation by Michael Hofmann. Publisher NYRB’s blurb:

In a small town in Switzerland, Franz—ex-clergyman, ex-husband, current counselor of locals at loose ends— is being haunted by his recently deceased father, Klement. In life, Franz was caught cheating on his wife and defrocked, after which Klement never spoke to him again. In death, Klement visits his son in the form of a frog in the throat, choking him, yes, but also giving voice to an old dairy farmer devoted to the old ways, forever railing against his son and the whole modern mess he represents.

The same can be said of this novel, in which these two voices clash, harmonize, and ultimately offer up all the mutual recognition and incomprehension that is family life. A miniature tragicomic masterpiece, Markus Werner’s second novel is as bursting with life as a Dickens novel: not only Franz’s high-strung shenanigans and the father’s settled life among the cattle, but the lives of his sister and brother and the land all around.

As in all of Werner’s work, the world looks grim (“I sit around, I drink, I brood, I pat myself down for flaws and find many and each evening I say: Starting tomorrow, I’m going to get a grip on myself”) but never less than comic—a view captured marvelously in Michael Hofmann’s vivid translation.

Rainbows: March — Peter Lister

Rainbows: March, 1975 by Peter Lister (b. 1933)

March — Alex Colville

march-1979.jpg!Large.jpg

March, 1979 by Alex Colville (1920-2013)

Twenty frames from The Royal Tenenbaums

From The Royal Tenenbaums, 2001. Directed by Wes Anderson. Cinematography by Robert D. Yeoman. Via Screenmusings. RIP Gene Hackman.

“Conscience,” very short tale by Italo Calvino

“Conscience”

by

Italo Calvino

translated by Tim Parks


Came a war and a guy called Luigi asked if he could go, as a volunteer.

Everyone was full of praise. Luigi went to the place where they were handing out the rifles, took one and said: ‘Now I’m going to go and kill a guy called Alberto.’

They asked him who Alberto was.

‘An enemy,’ he answered, ‘an enemy of mine.’

They explained to him that he was supposed to be killing enemies of a certain type, not whoever he felt like.

‘So?’ said Luigi. ‘You think I’m dumb? This Alberto is precisely that type, one of them. When I heard you were going to war against that lot, I thought: I’ll go too, that way I can kill Alberto. That’s why I came. I know that Alberto: he’s a crook. He betrayed me, for next to nothing he made me make a fool of myself with a woman. It’s an old story. If you don’t believe me, I’ll tell you the whole thing.’

They said fine, it was okay.

‘Right then,’ said Luigi, ‘tell me where Alberto is and I’ll go there and I’ll fight.’

They said they didn’t know.

‘Doesn’t matter,’ Luigi said. ‘I’ll find someone to tell me. Sooner or later I’ll catch up with him.’

They said he couldn’t do that, he had to go and fight where they sent him, and kill whoever happened to be there. They didn’t know anything about this Alberto.

‘You see,’ Luigi insisted, ‘I really will have to tell you the story. Because that guy is a real crook and you’re doing the right thing going to fight against him.’

But the others didn’t want to know.

Luigi couldn’t see reason: ‘Sorry, it may be all the same to you if I kill one enemy or another, but I’d be upset if I killed someone who had nothing to do with Alberto.’

The others lost their patience. One of them gave him a good talking to and explained what war was all about and how you couldn’t go and kill the particular enemy you wanted to.

Luigi shrugged. ‘If that’s how it is,’ he said, ‘you can count me out.’

‘You’re in and you’re staying in,’ they shouted.

‘Forward march, one-two, one-two!’ And they sent him off to war.

Luigi wasn’t happy. He’d kill people, offhand, just to see if he might get Alberto, or one of his family. They gave him a medal for every enemy he killed, but he wasn’t happy. ‘If I don’t kill Alberto,’ he thought, ‘I’ll have killed a load of people for nothing.’ And he felt bad.

Meantime they were giving him one medal after another, silver, gold, everything.

Luigi thought: ‘Kill some today, kill some tomorrow, there’ll be less of them, that crook’s turn is bound to come.’

But the enemy surrendered before Luigi could find Alberto. He felt bad he’d killed so many people for nothing, and since they were at peace now he put all his medals in a bag and went around enemy country giving them away to the wives and children of the dead.

Going around like this, he ran into Alberto.

‘Good,’ he said, ‘better late than never,’ and he killed him.

That was when they arrested him, tried him for murder and hanged him. At the trial he said over and over that he had done it to settle his conscience, but nobody listened to him.

The Magical World of the Mayas — Leonora Carrington

El mundo mágico de los mayas (The Magical World of the Mayas), 1964 by Leonora Carrington (1917-2011)

Blog about some February acquisitions

A weeks-long back-and-forth with a colleague about certain flavors of Modernist novels led to this colleague, a friend really, to come by my office with a stack of about 80 pages he’d printed, front and back, demanding that I take a look at some utter nonsense, probably the kind of nonsense I’d abide. This particular nonsense was a printed .pdf of Camilo José Cela’s 1988 novel Cristo versus Arizona in the original Spanish. “It’s all just one long sentence!” my colleague declared. I was immediately intrigued, and am still on the lookout for Martin Sokolinsky’s 2007 English translation. Wikipedia, cribbing the Publisher’s Weekly review of that translation describes Christ Versus Arizona as “set in the American Old West during the gunfight at the O.K. Corral in 1881. It consists of a monologue in one long sentence, inside the head of Wendell Liverpool Espana, who is the son of a prostitute and observes the gunfight.” I expressed my delight with the concept. My colleague then reverted to his argument, which, I will badly summarize as something like, All these Modernists tried this nonsense and some point just to show off at the expense of the reader. He extolled again the virtues of Dubliners over Ulysses, a book with its head in its ass; he decried Faulkner’s worst tendencies—a gifted writer who could offer up a perfect novel and then birth an abomination like The Sound and the FuryCristo versus Arizona, he assured me, was Cela’s abomination; he then urged me to read Cela’s masterpiece, La colmena, which he translated as The Beehive. And then I had an 11:00am class to attend to.

Driving home I realized that I might actually have a copy of an English translation of La colmena. I did: Anthony Kerrigan’s translation, The Hive. I pulled it out, started reading, and kept going. I love it! The next day my colleague brought in two Cela novels he’d read (and annotated the hell out of) in graduate school: La colmena and La familia de Pascual Duarte. I think that was on a Thursday. On Friday I browsed a used bookstore and picked up Kerrigan’s translation of Cela’s The Family of Pascual Duarte (with a cool Milton Glaser cover). I also picked up Ivan Ângelo’s novel The Celebration (in translation by Thomas Colchie); I’ve gotten to the point where I just scoop up any of the Avon Bard Latin American translations when I come across them — which is what I did a week later when I browsed a different used bookstore (or, really, a different location of the same booksellers; I was right next to this location because several of my son’s paintings were exhibited in a gallery nearby as part of a contest he had entered a few months ago without telling us (these details are not important to the story; my son is a talented painter though and I am proud).

Which is what I did a week later, scoop up another Avon Bard Latin American translation — this time Macho Camacho’s Beat by Luis Rafael Sánchez, in translation by Gregory Rabassa. I also picked up Juan Rulfo’s Pedro Páramo (trans. Lysander Kemp), which I’ve been meaning to read for a while now, and another Cela — Mrs. Caldwell Speaks to Her Son (trans. by J. S. Bernstein).

And so well back to Camilo José Cela then–I’m almost finished with The Hive, delayed at times by checking in against the original La colmena, mostly to get a sense of some of choices the translator made, a process I’m looking forward to repeating again with The Family of Pascual Duarte, a process that’s included riffing on the writing with my colleague, my friend who brought by a big stack of papers, a ridiculous pile of papers, that one-word sentence of a novel, Cristo versus Arizona, the novel I would love to acquire soon.