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A reader has no favourite book

(eco-friendly reading diary)

Category: sometimes I feel like writing in English

Agustina Bazterrica – “Tender is the FLESH”

Posted on 2 Jul 2022 by Gabriela

TW: violence, slaughter, rape

In my attempt to find more fiction books that approach the topic of veganism, I came across Agustina Bazterrica’s debut novel, Tender is the Flesh, which ended up being a sort of disappointment, but has some ideas that are worth discussing – and I am going to do that because I finally found some time to actually write more than 3-line reviews on Goodreads.

Tender is the Flesh is a dystopic novel set in a future where a virus has infected non-human animals, making their meat and mere presence poisonous to humans. Therefore, all non-human animals were removed, with some still existing in the wilderness. Humans created a genetically modified type of humans that are killed in meat-processing plants and whose (special) meat is now consumed by fellow humans. These humans are modified in order not to be able to make any sounds, they are treated in all the traditional ways of factory farming and any sort of interaction, especially of sexual nature is strictly prohibited. We follow Marcos, who works in one of the processing plants, and his conflicting thoughts while he has to go about his day.

Bazterrica makes a really smart move here: there are lots of documentaries, papers, and books on the atrocities animals go through, but humans don’t seem to flinch – it’s more extreme to want the abolition of animal suffering than to partake in it. In order to make humans a bit more open to thinking about this, she replaces the victims with humans. The same mechanisms we use today to make consuming meat justified or simply not wrong are present in this world:

  • the humans that are being consumed need to seem as distant to the humans consuming them as possible: they are not humans, but heads i.e. objects, subhumans, and their meat is called special meat (the same way we call it pork or beef, instead of pig and cow);
  • they are intentionally disabled in order to be easier to handle or give better meat (the same way that chickens have been modified to have breasts so big they cannot stand or hens have been selectively bred to give eggs almost daily when naturally they would do it once a month – they need a lot of nutrients to produce these eggs, making the hens very vulnerable).

While these observations can be easily done from the setting of the book, they and their implications are not explored in any depth, so it was a bit of a let-down in the end. Bazterrica decides instead to go in-depth with a different challenging topic. Having been left by his wife after years of struggling to have a child, Marcos receives as a gift a female head, who is affectionate, even without words, and becomes part of his life, creating a bond of love. I’m trying not to spoil the rest of the book, so I will not tell you how their relationship evolves and what the ending brings. However, this bond is a good starting point for wondering about the relationship we have with the non-human animals in our lives. How do we communicate? How do we show our feelings, positive or negative? And why is this type of communication seen as below that between humans?

I know my observations and questions came up mostly because I already have these things on my mind and am aware of them, but I hope other people reading this will get to wonder, think and maybe get to similar questions.

Tagged Agustina Bazterrica, Argentinian literature, dystopia, meat comsumption, veganismLeave a comment

José Eduardo Agualusa – “A General Theory of Oblivion”

Posted on 27 Mar 2022 by Gabriela

Go back to the title. Yeah, read it again. Sit with it. Let it sink.

This is maybe the most beautiful title of a book I have come across in a long time, maybe ever. So of course I had to read it. That’s how the saying goes: don’t judge a book by its cover, judge it by its title. I mean, the cover is pretty stunning too, but the title did set some really high expectations. And then it delivered.

A General Theory of Oblivion is inspired by the real story of an agoraphobic Portuguese woman that was living in Angola during the fight for the Angolan independence from the Portuguese colonisers. Once the fights start and she realises that the rest of her family isn’t coming back, Ludovica (Ludo) barricades herself in her apartment with a dog, Phantom. The book is a work of fiction, but the author had access to Ludo’s diary from that period. So we have chapters that are narrated, and diary entries (which might or might be not entries from the real journal).

In parallel, several other stories that happen in close vicinity to Ludo’s apartment unravel and they come together beautifully and very satisfyingly at the end of the book. So this is clearly a novel (or maybe a novella? it’s really short) for those that appreciate a story that is beautifully crafted and where everything falls into place. There’s no detail that feels superfluous or redundant, everything is where it’s supposed to be.

One thing that I still have mixed feelings about is the treatment of pigeons in this book. Once she runs out of food supplies, Ludo starts capturing pigeons using her jewellery and eats them and this is actually from Ludo’s real diary – this is probably a deserted island-like scenario I’ve never encountered before (and as a vegan I get a lot of those). A homeless character does the same – this is probably to illustrate the harsh conditions in that period. So I guess there is this intention of using the pigeon as a symbol of peace as usual with the twist that killing and eating them is clearly a bad sign. The thing is I’m a bit over using non-human animals to symbolise the human condition and, in this case, to move the plot forward. And we should all be over it.

A quite subtle parallel that I really enjoyed in this book is that of colonial violence vs sexual violence. As we slowly find out about Ludo’s traumatic past and her constant fear of people in general, and of the figure of her rapist in particular, we also get to understand more the contribution of colonial powers and of capitalism on the country, on the population – this is also violence. The two complement each other and we can see Ludo’s degradation and her falling into oblivion as a mirror of what happens to colonised countries and her bettering once she is saved by a kid as a hopeful prayer but also a burden on the future generation.

It’s a book worth reading and a book worth quoting (hopefully one day I’ll get to reread it in Portuguese) so I’m going to end this with my favourite quote:

‘My family is this boy, that mulemba tree out there, and a phantom dog. My eyesight gets worse every day. An ophthalmologist friend of my neighbour was here in the apartment to look at me. He said I would never lose my eyesight completely. Is till have my peripheral vision. I’ll always be able to make out the light, and the light in this country is a riot. In any case, I don’t aspire to any more: the light, Sabalu reading to me, the joy of a pomegranate every day.’

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Olga Ravn – “The Employees: A Workplace Novel of the 22nd Century”

Posted on 2 Mar 20222 Mar 2022 by Gabriela

STATEMENT 180
Who needs to read 700 hundred pages of Red Mars when you can just read Olga Ravn’s 130 pages and get almost the same thing + extra existential anxiety?

The Employees is a series of statements from the inhabitants of the Six-Thousand Ship, some of them humans, the others humanoids – the not-so-different grown and made. All of them are here to work. We never actually get to know what it is they are working, but the corporate language and attitude towards work are enough: the content of the work is not relevant, it is work that matters. It is also work that brings humans and humanoids in close proximity. But what is it that tells them apart? The documents that clearly state whether they’re humans or not – because we know documents are the ones to be trusted, bureaucracy has never failed us. The possibility of death without regeneration, without being put in a different body. Are these enough to convey someone’s humanity? And what’s so great about humanity after all when programming can get you the work done just as well? There are some hints, it might be the human ability to innovate, to go outside the program and find something new, it might be the emotions, falling in love, what could be greater?

I like him, this human coworker of mine, his interface is impressive. I’m stronger than him, and have more endurance, but sometimes he’ll get an idea that means we can do our job in less than the designated time. He’s got an incredible knack for streamlining, from which I gladly learn. I’ve become a lot better myself at seeing how a workflow can be adjusted so that the task at hand can be completed more efficiently. This has surprised me rather a lot, because I’ve never known such improvements in my performance without an update being involved. Whenever we save time, I’m ready to move on to the next task straight away, but my coworker always says, Now let’s sit for a bit.

As the statements unfold, human and humanoid become categories that do not portray actual differences, but classes. The humans have walked the Earth, the humanoids haven’t. It’s the humans that designed and programmed the humanoids. It’s the humans that should be in charge. The humanoids are genuinely fascinated by humans, like seeing something they have yet to become. The humans are almost afraid of the humanoids, due to the possibility of the same becoming. Then there’s the reader (human or humanoid? who even knows at this point?), unable to tell apart the two categories, too entangled in their own desires and fears.

When the crew brings on the ship a series of strange objects from the planet New Discovery another layer is revealed: humans (or not only?) become almost obsessed with some of these weirdly named objects that sometimes look like earthly objects and sometimes look or smell like nothing familiar. These objects feel to the members of the crew like the most alive things on the ship – it is the objects that are alive, it is the humans and humanoids that are the objects caught under an abstract spell. Is it the unknown or just the need to feel attachment towards something?

On top of everything else, the language used is at times very poetic and makes use of all the senses, in particular the smell. For me, it’s very difficult to imagine a smell from a description made up just of adjectives so I make use of my own synesthetic associations that probably aren’t matching with Olga Ravn’s intentions. But that’s the fun. Also what if with every book came some perfume that was made to match it? I hold no copyright over this idea so please, someone, anyone, make it a thing!

The Employees seems to pose a multitude of questions and dilemmas, both philosophical (mostly metaphysical) and political. It’s the condition of workers that unites the two categories, but work is such an insidious concept, as we already know: some hate it, some define themselves through it, some are utterly indifferent towards it. Work is political. Maybe it shouldn’t be, but as I’m writing this in 2022, it definitely is. The book opens these questions, what are our answers?

I believe in the future. I think you need to imagine a future and then live in it.

Tagged Booker prize, Danish literature, Olga Ravn, The Employees, workLeave a comment

Poetry Magazine

Posted on 12 Feb 2022 by Gabriela
Cover of the January 2022 issue of the Poetry Magazine.

Poetry Magazine has been a really great way for me to find poets I had never heard about and look for more of their work, but also to hear completely new voices, poets that have never published before that I can now follow and see their growth. But, as poetry usually is, it has always been more of a hit or miss – some poems made me cry, some made me angry, some mesmerised me, while others left me indifferent.

However, the January 2022 issue of the magazine is so close to being perfect I am starting to think perfection might, in fact, exist. This issue was a lot more radical than all the other ones I’ve read, it didn’t shy away from using words like communism, socialism, anti-capitalism, or from expressing solidarity with radical movements.

First of all, it has three essays I am thrilled I got to read. Two of them were on crip ecologies, based on some events that took place last year – you can actually watch the recording of the event with Kay Ulanday Barrett and Petra Kuppers here. Both essays speak about disability – being a disabled poet and artist and the way the publishing industry fails disabled writers, being a disabled adult but being repeatedly infantilised, or just existing in the world as a disabled person; there actually might be no such thing as one world we live in together, but a plurality of worlds that we each experience based on our own bodies, neurotypes, geographical and social positions, worlds that we cannot fully express to other people, that can make communication difficult, but also so much more precious.

The last essay is on Race and Radicalism in Appalachian Poetics, a topic I must say I know very little about. It talks about Don West (1906 – 1992), a white American poet that was a civil-rights activist, anti-fascist, socialist and a good ally to other social justice causes. Apart from the historical value of the essay, it also raises two points:

  1. Maybe we should stop making excuses for people – writers, politicians, philosophers – living 50 or 100 years ago because they didn’t know better, or they couldn’t have known better. The truth is they really could have known better and they should have known better and we are allowed to criticise them for it, while still looking at their work with actual interest. I know it’s very hard to believe, but this is possible, it doesn’t have to be either cancelling someone or eternally loving them;
  2. Even people like Don West, who seem to be great, to have everything sorted out, to be on the right side of everything, they still have faults and even if it seems they don’t, they cannot be the center of our liberation movements. They can be allies, joining the fight, but they cannot lead it, they cannot be the ones making the requests, when the people fighting for their own liberation can do it and will definitely do it a lot better.

So yeah, let’s just stop idolising people, I guess?

In terms of actual poems, there are some breathtaking pieces. I loved most of them so I am going to mention those that stayed with me, that I am still thinking about sometimes:

  • Kareem Tayyar’s Personal History and Dream Journal

If you cup your hands as a hard rain begins
then you are days away from falling in love.

If you find that you cannot run when you want to
then there is a book that you need to reread.

If you awaken in a field of strawberries
then a long  journey awaits you.

If you eat the strawberries
then you won’t be going alone.

  • all of Marissa Davis‘ poems
  • David A. Reyes’ La Equis – probably my favourite and by far the most radical

all Sebastian has to say is

controversy is always good because if there
wasn’t any, the piece wouldn’t have any sense.
It would have been mediocre
.

Mr. Sebastian, you’re a really smart guy—controversy is good
at the expense of the people? How does your meal taste
when you turn on Televisa to see the bodies littered?

Look at you, good sir, with your big shiny award
from el presidente. I can’t blame you and your friends,
Sir Sebastian; there is a whole lot of grimy money to burn.

  • the absolutely gripping poem written by Alison Thumel about grief that concludes this issue in the best possible way.

Like most human bodies, most buildings
have full lives, and then they die
.

I am writing this as I am waiting for the February issue to be delivered to me so let’s hope it’s going to be just as good.

Tagged Alison Thumel, crip ecologies, David A. Reyes, Don west, January 2022, Kareem Tayyar, Kay Ulanday Barett, Marissa Davis, Petra Kuppers, poetry, poetry magazineLeave a comment

Mohammed El-Kurd – ‘Rifqa’

Posted on 11 Jan 2022 by Gabriela

I’m still not sure how to write about this book. This didn’t feel like anything I’ve read before at it definitely didn’t feel like a debut. It felt like someone that wrote so much poetry they had poetry in their breath, their laugh and, more than anywhere else, their pain.

Mohammed El-Kurd learned from his grandmother, Rifqa El-Kurd, that men on TV saying Be patient! For after patience comes relief! are lying. After patience comes the grave! And he isn’t patient. He isn’t waiting anymore for the US to stop funding and supporting the ethnic cleansing that is still taking place in occupied Palestine or for the UK to say something about the crimes against humanity that they are both directly and indirectly, by lack of action, supporting.

I don’t have time for paranoia. Won’t flip rocks or look for merit in the death threats. If they come for me, let them: I’ve made my amends. Would be content is my coffin. It is those stuffing sand in my mouth that worry me most saying there are softer ways to say this. Thing is I don’t want to be soft. Don’t want to humanize shit. Look at my limbs, look at this earth.

“Kroger”

Born on the 15th of May, the day of the year which commemorates Nakba Day (Nakba literally means Catastrophe – the Catastrophe Palestinians have been living for over half a century), Mohammed El-Kurd voices the Palestinians’ struggle, resistance and fight for the revolution. As he explains in the afterword, he tries to do this differently from other media approaches: pro-Israel media paints Palestinians as terrorists that deserve what they are getting, while pro-Palestine media tends to paint the people they are defending as victims without agency, defenceless children, women, old or disabled people. But we don’t need to pity Palestinians, we need to see their power and support it, we need to understand their fight and join it. I’m sure El-Kurd’s poetry can be read in so many different ways by all the different people that hopefully will get to read it, but I am a white woman living in the UK and of course my reading experience was intrinsically linked to my allyship, even though the book is not actually saying anything about that. And I know that most of my readers are in a similar situation to mine (very rarely do my blog’s statistics show any activity anywhere else but in Europe or North America) so this is a warning and an invitation:

If you ask me where I’m from it’s not a one-word answer.

Be prepared seated, sober, geared up.

If hearing about a world other than yours

makes you uncomfortable,

drink the sea,

cut off your ears,

blow another bubble to bubble your bubble and the pretense.

Blow up another town of bodies in the name of fear.

“This Is Why We Dance”

As I was saying, this is not really a book for allies. It’s also not NOT a book for allies. It’s a book for anyone who listens, but it’s mainly a book for the Palestinians that have started and endured the fight, for those that are still part of it and for the future Palestinians that might have to continue it or that maybe won’t, that will get to live in a world in which free Palestine is a reality, not a chant.

Bush sits beside me on the train.

Iraq veteran cites his fear of fireworks,

They think they’re the only ones

with PTSD. We’re literate

in peeling off our own skin to sleep.

We live like walking debris,

swallow snakes, swallow whole pharmacies,

wrap our spines around the fingers

of bank tellers, while Bush is at a Joanne’s

picking the perfect blue.

“Bush”

On top of the portrayal of the Palestine fight, the poet also questions the stereotype associated with poetry: it always needs to come from a place of unhappiness, pain, poor mental health, or suicidal tendencies. He questions the extent to which poetry (and literature in general) is a tool, both in issues of social justice and in normal life, whatever that is. And it’s a very valid worry: as more and more people from marginalised groups enter the mainstream, where will we get? Will they get pacified, silenced, ignored, or finally acknowledged and listened to?

I have only one negative thought about this poetry collection: what if I’ve already read the best book of 2022 in the first week of January?

Tagged 15 May, Mohammed El-Kurd, Nakba, Palestine, RifqaLeave a comment

Brit Bennett – “The Vanishing Half”

Posted on 22 Nov 2021 by Gabriela

I’m still wondering if the title is some sort of warning about how half of your day will seemingly vanish while reading this book without being able to put it down. Thanks a lot, Brit, if that’s the case, but next time you could try being more subtle because I definitely didn’t take the hint. No hard feelings though, I can’t imagine a better way of getting back into fiction after maybe a month of non-fiction and poetry.

The Vanishing Half is the story of two twin sisters that are born in the ’50s in Mallard, a village of light-skinned black people – so light-skinned that most of them can easily pass as white and they actually do it in certain circumstances where they can benefit from it (and that is a lot of circumstances). The two sisters run away from home, they want to know more than their own village and they also end up separating from each other: one of them decides to live her life as a black woman and, as an act of rebellion, marries a dark-skinned man, whereas the other one decides to create a whole new identity as a white woman. This allows us, while the story unfolds, to see how wildly different their chosen lives are, how the two women face the outside world, but also how they live with losing each other, with hiding, how they raise their own daughters. Brit Bennett is able to talk about everything this implies without sounding too didactic, she doesn’t mean to scold the potential white reader and ask them to do better – there’s no need for that in order for the message to be received. She’s such an amazing storyteller too – her stories are not only enthralling but are also able to build a space where more than storytelling is happening, and that’s something that’s very rare.

Then they grew older and just became girls, striking in both their sameness and differences. Soon it became laughable thatthere had everbeen a time when no one could tell the twins apart. Desiree, always restless, as if her foot had been nailed to the ground and she couldn’t stop yanking it; Stella, so calm that even Sal Delafosse’s ornery horse never bucked around her. Desiree starring in the school play once, nearly twice if the Fontenots hadn’t bribed the principal; Stella, whip smart, who would go to college if her mother could afford it. Desiree and Stella, Mallard’s girls. As they grew, they no longer seemed like one body split in two, but two bodies poured into one, each pulling it her own way.

The book also does a very good job when it comes to representation and tackling stereotypes: Barry is a drag queen two nights a week and a boring teacher the rest of his life, Reese is a black trans man. There’s also a very subtle critique towards the feminist movement in the ’80s and its lack of intersectionality. What else could you ask for?

However, I could ask for more. I rated The Vanishing Half with 4/5 because it really felt that in her effort to give space to as many identities as possible and create a very diverse character list, the writer kinda forgot that they were more than those labels, more than the vessels that were there to support the story and to react in ways that were understandable given the events and interactions, without gaining any form of self. We never get to know Reese as more than the trans black man in love with Jude and most of his arc in the book is related to that; Desiree is the rebellious sister, Stella is the quieter, studious one, with a hidden face; Jude is the dark-skinned teenager and, later on, woman always afraid she won’t be loved; Kennedy is the rebellious teenager always looking to find more about herself, to experiment. I could make a list of all the characters and fully describe them in a sentence. They are written to represent some categories and, indeed, they are very different categories to those that are used in books that do not put so much effort into being inclusive. I’m still wondering, though, is this form of representation as helpful as it definitely intends to be? Personally, I would rather read a book with fewer characters and more substance to them than get a lot of joy when a lot of fascinating characters are introduced, only to later notice they stayed at the same level of complexity simply because that’s what they are intended to be.

As I haven’t read anything else from Brit Bennett, I’m not sure whether this really happens because her characters had the purpose of just existing as their specific label or it’s just the usual issue: characters are difficult to write, especially when you have a ton of them.

Despite writing so much about something that could’ve been better executed, the book remains a gem that I read in under two days and this hadn’t happened in a hot minute. I’m going to leave you with my favourite quote:

MALLARD BENT.

A place was not solid, Early had learned that already. A town was jelly, forever moldingaround your memories.

(…)

He never spoke to Desiree after that. What was he supposed to say? A place, solid or not, had rules. Early mostly felt foolish for thinking that Desiree would ever ignore them for him.

Tagged Brit Bennett, race, representation, Th Vanishing HalfLeave a comment

Juan Felipe Herrera – “Every Day We Get More Illegal”

Posted on 26 Oct 202126 Oct 2021 by Gabriela

If a system allegedly designed to serve people eventually starts killing and oppressing them, maybe there’s something wrong with it. Except that there isn’t anything wrong with it. Except that the system wasn’t designed to serve all people. Except that it didn’t suddenly start killing and oppressing people – that’s how it started. A system built on stolen land and dead indigenous bodies is never going to aim for anything else but maintaining the distribution of power as it is. The United States – except that the only unity is among the oppressors.

Every Day We Get More Illegal is a powerful but very lyrical description of the US, dedicated to all the migrants, immigrants and refugees suffering from the border installations within the United States, at the border crossing and throughout Latin America. And it’s written to address and speak to everyone: it addresses America, which never talks about the issues it faces, about the discrimination, oppression, and – more bluntly said – fascism that drive it; it honours the ancestors that resisted and fought against the oppression, the mothers and fathers, the grandmothers and the unnamed; it speaks to everyone pushed to the margins because of who they are, because of what they look like, act like, feel like; and finally, it speaks to every one of us and asks for unity, for solidarity, for humanity.

This collection of poems is particularly interesting because of its diversity:

  • you sometimes get a poem that doesn’t waste a second, that’s blunt and direct without a moment of hesitation;

Lissen: you just don’t

talk about it the rape the endless scrubbing washing self lacerations the never ending self-whipping the deep down smoldering stone trauma growing up crooked tree growing up silence ocean storm growing tsunami without a sky ceiling you prefer the holiday merchandise the rational vacuum you just don’t care about the pushed out the stopped out the forced out the starved out the fenced out the shot down

  • other times, you get something that seems to be similar to the first, but it ends up as an exchange on candy and frogs;
  • then you get the more cryptic poems which areso lyrical I just ended up reading them out loud a second time and then a third time and then a fourth time and then I needed some water because my throat was dry but my eyes were wet.

our hands will join and then lift as we

step to the fires at the center of this umber clay floor

sewn with leaves stones and branches and reeds

we will notice the unwinding flames and their unending quest

toward something we do not know

nuestras manos se unirán y luego se alzarán a medida que

nos acercamos a las hogueras en el centro de este oscuro piso de barro

bordado con hojas piedras y ramas y juncos

notaremos sus llamas que se desenrollan su dicha infinita

hacia algo que no conocemos

The only illegal thing in the Mexican-US border situation should be the border and Juan Felipe Herrera for a borderless society and world, made of relentless unity and kindness and giving.

Tagged City Lights Books, Every Day We Get More Illegal, immigration, Juan Felipe Herrera, oppressionLeave a comment

Rachel Kushner – ‘The Flamethrowers’

Posted on 16 Jun 202116 Jun 2021 by Gabriela

I had Rachel Kushner on my TBR list for a long time – for long enough that I almost forgot why I wanted to read her books in the first place and was reminded by the interview she gave for Jacobin a month ago. I always love an author that is able to speak about writing without treating it as if writing and art in general happen in a vacuum and cannot be related to the materiality of the real world. Even a lot of authors who do give their writings political meaning do so in a very covert manner: it’s always just a possible interpretation, but the text can be read without it too. Kushner doesn’t do that, she’s not afraid of being radical, of being unambiguously interpreted as such and that’s why she can allow herself the luxury of expression.

(I guess you could still read The Flamethrowers as an ordinary novel, a sort of bildungsroman, but that would require a real effort of ignoring everything else.)

The Flamethrowers is the story of a young woman we only know as Reno who is trying to navigate the world as an aspiring artist in New York in the 70s, but her artistic career is somehow put aside once she meets Sandro Valera, the heir of an Italian company manufacturing motorcycles and more. She ends up beating the speed record and being the fastest woman alive. After spending so much time with Sandro, the human representation of the bourgeoisie, Reno ends up for a short time in a group of people taking part in the Italian anti-fascist movement with Gianni, a complete stranger. Sandro and Gianni seem to be the two opposing poles, but somehow they aren’t so different, or Reno does not really register any significant differences.

Reno is a sort of narrator and character that is not really there, things happen to her more than she does things. She likes to listen because she feels she doesn’t fit anywhere enough to be the one speaking. She feels like an imposter in both worlds – she’s not in the same class as Sandro and his family is fast to notice that, but she feels like a class traitor around Gianni too. So she just does whatever she’s told and only reacts to other people’s actions and not to her own thoughts (which are, however, very rich, just perpetually ignored). While expressing feminist thoughts and feeling a natural solidarity with the working class, she doesn’t really act upon any of those unless the circumstances are favourable, unless they just flow out of herself.

Sandro is not much different. He just accepts his position as the heir of the company. He understands and supports the goals of the anti-fascists movement and he even has a very close Marxist friend from Argentine. However, he does not revolt, he does nothing evade his own condition:

The anger and radical acts of the young people in Rome were a kind of electricity, an act of refusal and beauty, something Italian that was, for once, magnificent. But it was against him as long as he occupied his role as a Valera. It was against him and he had no right to take part.

Sandro’s perspective of the whole movement is just a clear sign of his privilege – for him, it’s about the energy, the beauty of it, while for the actual people participating, it’s all about freedom and survival. Even when admiring the working class, he cannot be further away from actually understanding it. He can only register is at art, but he’s incapable to empathise on a human level with the movement. He’s simply not part of it, he is unable to shed his origins and become himself, because he is too much of a Valera. Sometimes material inheritance is a smaller issue than the heaviness of the past – you cannot reject being a capitalist without rejecting who came before you and that means you’ll just be another capitalist and hope the future generations will be braver, while knowing they won’t be.

I loved Rachel Kushner style of writing, the rhythm is very alert and manages to create the dynamic atmosphere you might expect from the events happening, but this is moderated by Reno’s passivity.

As far as I can tell, the book also manages to paint a more nuanced picture of the radical movements from Italy in the 70s than I previously had from my very little knowledge, but that might just be me being ignorant.

I’m not sure how to end this. I loved it and I’m writing this after reading the last 200 pages in one sitting so I am not yet able to articulate everything I felt, but I’m not trying to. I’m trying to say that any book that makes you feel like you need to finish it NOW is worth it. And this was one of those for me.

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Kajet: a journal of Eastern European encounters

Posted on 3 Apr 20213 Apr 2021 by Gabriela

I am finally getting around to write about something that I’ve been really excited about for a couple of months now: Kajet Journal. It might just be my ignorance, but despite it being around for 4 years, I hadn’t heard of it until January, when I saw the most recent issue in a bookstore and decided not only to buy it but also to try and find all the other issues because, ironically, I get all consumerist when it comes to leftist things (a broad term referring to literally anything). Unfortunately, I was a bit late and had to read the first issue digitally, but I have the other ones physically and they’re just pure beauty. Yes, they’re worth it even if just for being so aesthetically pleasing, but they’re a lot more than that.

The ethos of Kajet is to bring unexplored, neglected Eastern European narratives to the fore.

Kajet Manifesto

I’m not going to make an in-depth analysis of each of the four issues, as I don’t feel I could give a good enough account, but I think it’s worth mentioning that each has a central theme: On Communities, On Utopias, On Struggle, On Periphery. While being related to the central theme, each contribution (text, photographs and/or illustrations in the printed journal, but the digital version makes use of videos too) offers a completely different perspective, interpretation or instance of the topic so as to show the plurality of a world that is usually portrayed in a very unidimensional way by the mainstream Western narrative: Eastern Europe, the inferior Other.

Kajet aims to discredit this not by suggesting an equally limited counter-narrative, but by painting a complex picture: trivialising a culture or, even worse, multiple cultures to an easy to digest idea will never be satisfactory, however appealing it is to use such simplifications. In a world that cannot dream nor imagine the future, Eastern Europe is striving to forgo its past and history and get as close as possible to the neoliberal ideal, even if it means leaving a lot of people behind. Scrambling for an identity, we substitute it with a westernised chimaera that seems to be just a placeholder for something we are unable to make sense of.

What I really appreciated about each of these articles is that there is no fake impression of impartiality and they do not hold anything like that as their higher goal. Everything is unapologetically leftist, anti-capitalist, intersectional; each text has an embedded message and tries to be more than a superficial account of a phenomenon or situation: it’s not story-telling and it does not aim to be so. We are being presented with both further questions and conclusions without being told what to think – that is an equilibrium that is very hard to achieve without losing the complexity of the analysis.

One of the tendencies of these texts that really melted my anarchist heart was the continuous intention of redefining our relationship with the objects we possess, the buildings we live in, the places we occupy. The so-called inanimate bears the responsibility of our entire lives, but a capitalist society cannot allow us to build a deeper relationship based on this, as it would mean emancipation from our necessary roles as users and consumers. Addressing the topic of city-planning from a perspective that does not intend to aimlessly maximise productivity but to build communities and to entail mutual aid seems strange and unfamiliar, but it also feels like the appropriate way of designing something that we might end up calling home.

I could write about everything I loved about these journals all day, but I feel like I can’t actually make them seem any greater than they are so just go on http://kajetjournal.com/ and convince yourself. While being quite academic in formulation, I think that the writing is accessible for anyone that has some minimal knowledge of leftist theory and issues (and the references can be useful for learning more too).

Because I have no idea how to end this, I’ll just add another point from the Manifesto here:

Not being afraid to tackle apparently trivial matters, we consider that every socio-cultural development in the East shall be taken seriously. Everything needs to be questioned, doubted and interpreted accordingly.

Kajet Manifesto
Tagged Kajet, Kajet JournalLeave a comment

Natalie Diaz – ‘Postcolonial Love Poem’

Posted on 21 Mar 202121 Mar 2021 by Gabriela

Today is World Poetry Day and I wanted to write about poetry. It’s hard for me to do it and this is something that might never change. Every time I want to tell someone about a poetry book I read, I just find myself wanting to endlessly quote poems. What could I say more than what’s written there? How could I say it in a way that expresses everything I feel and does not shrink the value and beauty of the verses?

It’s not different for Natalie Diaz’s poetry. If you want to know anything about the poems in Postcolonial Love Poem, if you want to get an undistorted image, just read the poems. There is nothing that I could say to change that. What I can do is let you read the poems through me. In me, poetry becomes a confusing but revealing string of intellectual and emotional responses that stay around sometimes for long enough for me to understand them, sometimes just enough so I can know there was something – something I do not need to understand or be able to describe in order to experience. It’s hard for someone so rational to accept that rationality is sometimes futile and is even harder for someone so emotional to admit that ration doesn’t need to be cold, that ration can be kind and loving or angry and demanding. Poetry shows that there’s a fake, unnatural distinction between feeling and thinking just because it is so overwhelming to know that you don’t need to choose.

I think that Natalie Diaz’s writing is the perfect illustration of what I incoherently tried to articulate: it would be outward ignorance not to notice the care and precision in the language; and while that is a rational choice, the level of intimacy in the same language cannot arise from pure rationality. Diaz knows she writes for a public, so she’s structuring her poems so as not to miss the chance to get the message across to whomever might read them, but each poem seems a whisper, both soft and rough, to herself and her lover.

The title of the book (which is also the name of the opening poem) is as clear as it could be. There is love after colonialism. The people we’ve tried to kill and successfully decimated, the people we still don’t allow to reclaim their identity, the people we prefer to ignore because it is much easier than repenting, these people are not only alive, but they love, they love strongly and passionately and seductively. Could you still love after you’ve been stripped of everything you had and were?

At the intersection of multiple identities – Native American, Mexican, queer – Natalie Diaz navigates her own complexity in her poems, the complexity of her being and her feelings. And those feelings, despite the title, are not just love nor should they be. A love poem can still be a love poem and express anger, frustration, desire, or worry. She knows that in order to love and be loved, you need to have a body. A body of flesh. A body of water. A body of land. The body is forever entangled with the physicality of the world it was shaped by, not only with its spirituality. Therefore, to keep your body, you need anger and power. Being sexually desired by your oppressor can never be enough. you need to be more than an object of desire or an award-winning athlete to avoid complete erasure. You need to be able to choose and to be asked for consent, need to be allowed to exist within yourself before your existence is defined with respect to a framework that never recognizes you. These are basic human rights, but somewhere along the line we forgot about their universality. Human rights are something everyone should be provided with, they say. And the saying is the only thing that could ever prove they hold that belief.

I feel like I keep rewriting the same thing over and over again. I can never say it well enough, loud enough. But that doesn’t mean we should stop. We should never stop.

They Don’t Love You Like I Love You

My mother said this to me

long before Beyoncé lifted the lyrics

from the Yeah Yeah Yeahs,

and what my mother meant by,

Don’t stray, what she knew

all about it – the way it feels to need

someone to love you, someone

not your kind, someone white,

some one some many who live

because so many of mine

have not, and further, live on top of

those of ours who don’t.

I’ll say, say, say,

I’ll say, say, say,

What is the United States if not a clot

of clouds? If not spilled milk? Or blood?

If not the place we once were

in the millions? America is ‘Maps’ –

Maps are ghosts: White and

layered with people and places I see through.

My mother has always known best,

knew that I’d been begging for them,

to lay my face against their white

laps, to be held in something more

than the load light of their projectors,

as they flicker themselves – sepia

or blue – all over my body.

All this time,

I thought my mother said, Wait,

as in, Give them a little more time

to know your worth,

when really, she said, Weight,

meaning heft, preparing me

for the yoke of myself,

the beast of my country’s burdens,

which is less worse than

my country’s plow. Yes,

when my mother said,

They don’t love you like I love you,

she meant,

Natalie, that doesn’t mean

you aren’t good.

Tagged Natalie Diaz, Postcolonisn Love Poem, World Poetry DayLeave a comment

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