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112 pages, Paperback
First published January 1, 2011
come to my blog!it wasn't the first time i had let a bookish impulse carry me away beyond the bounds of reason. on the way home i kept laughing at myself, thinking of flaubert. i had been impetuous before: when i got together with my friends to set up a bookstore; when i decided to become a writer; when i ran away from the family home; when... but this was different: for the first time in my life, i was embarking on a purely sentimental adventure.in a recent bomb interview with francisco goldman, rey rosa spoke about writing severina following a break-up, "yes, the novel became a sort of coded message to my ex-lover. my relationship to literature is very superstitious; i see it as a type of spell. i was waiting for this message to do its trick." friends with salvadoran author horacio castellanos moya and admired by bolaño (whom he met a few years before his passing), rey rosa's works are all somewhat disparate in theme, style, and scope. contrasting severina with, say, the intensity and violence of the good cripple demonstrates that rey rosa is creative and comfortable enough to write on many different subjects. severina is a quick, but rewarding read. as easily as we can be swept away by the charms, curiosity, and amatory promise of a new love, so, too, can we by literature and its often enigmatic purveyors.
"we have been called secret agents and confidence tricksters; we have been taken for spies using books to transmit coded messages; it has been said that we collect editions or copies of books related to all sorts of crimes and scandals, that we purvey pornography of one sort or another, or what have you. but the only thing we do consistently is use books to make a living. let me tell you something. one of my uncles - he was crazy, it's true, but he also had moments of genius - believed, or said he believed, that books, the objects that we call books, are animated by a kind of collective spirit. like machines and computers in science-fiction fantasies, and the plants from which drugs are extracted, and even certain metals, like gold and iron. he talked about how books struggle for domination in certain regions of the planet, a phenomenon whose trends and flows could be tracked using one of those maps with colored arrows to indicate things like the spreading of ethnic groups or languages over the course of history. migrations, invasions, outbreaks, extinctions. there are wars between different kinds or genres of books, he said. and, as in real wars, the best don't always win; but for us, in the end, there are no losers, although they all fade away. we use these ebbs and flows the way a sailor uses ocean currents. we exploit them as best we can, beyond literary good and evil, so to speak. we, that is, my granddaughter and i, are still navigating the tides and currents of books."
"... un modelo extremo de existencia, con la absoluta libertad, una forma radical de realizar un ideal que yo mismo me había propuesto un día: vivir por y para los libros"
La española inglesaI had to look all but one of these up: Spain, Ecuador, England, Africa, and Ceylon are the settings, Cervantes, Norman Lewis, Samuel Butler, Pierre Lepidi (I think), and Nicolas Bouvier the authors. Wide-ranging, for sure, and there are tantalizing hints of a political message; the Norman Lewis book, for instance, is about the covert US role in Latin American revolutions. One can certainly see a connection with Roberto Bolaño, who often conveyed sinister messages through the books which his characters read or discuss. But while Rey Rosa's novella does indeed get darker, it comes nowhere near Bolaño territory. I think the explanation is probably simpler: Severina's elderly companion, who eventually introduces himself as Señor Blanco (white, like a blank page), describes himself as living entirely through, for, and by books. The life of books, the life of ideas, the page as a global meeting-place for both inspiration and danger: in our chain-store age, it is touching to think that such a thing is possible. Bolaño would have thought so; so would Italo Calvino; and Borges absolutely. Indeed, it is a Borges text in a Borges book that brings this charmingly edgy fantasy to its conclusion. [3.5 stars]
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