Category Archives: Luiselli Valeria

Spanish Lit Month – some reading recommendations for July

As some of you may know, July is Spanish Lit Month (#SpanishLitMonth), hosted by Stu at the Winstonsdad’s blog. It’s a month-long celebration of literature first published in the Spanish language – you can find out more about it here. In recent years, Stu and his sometimes co-host, Richard, have also included Portuguese literature in the mix, and that’s very much the case for 2021 too.

I’ve reviewed quite a few books that fall into the category of Spanish lit over the lifespan of this blog (although not so many of the Portuguese front). If you’re thinking of joining in and are looking for some ideas on what to read, here are a few of my favourites.

The House of Ulloa by Emilia Pardo Bazan (tr. Paul O’Prey and Lucia Graves)

This is a marvellous novel, a great discovery for me, courtesy of fellow Spanish Lit Month veteran, Grant from 1streading. The House of Ulloa tells a feisty tale of contrasting values as a virtuous Christian chaplain finds himself embroiled in the exploits of a rough and ready marquis and those of his equally lively companions. This classic of 19th-century Spanish literature is a joy from start to finish, packed full of incident to keep the reader entertained.

Who Among Us? by Mario Benedetti (tr. Nick Caistor)

This intriguing, elusive novella by the Uruguayan author and journalist, Mario Benedetti, uses various different forms to examine a timeless story of love and misunderstandings. We hear accounts from three different individuals embroiled in a love triangle. Assumptions are made; doubts are cast; and misunderstandings prevail – and we are never quite sure which of the three accounts is the most representative of the true situation, if indeed such a thing exists. Who among us can make that judgement when presented with these individuals’ perceptions of their relationships with others? This is a thoughtful, mercurial novella to capture the soul.

Sidewalks by Valeria Luiselli (tr. Christina McSweeney)

A beautiful collection of illuminating essays, several of which focus on locations, spaces and cities, and how these have evolved over time. Luiselli, a keen observer, is a little like a modern-day flâneur (or in one essay, a ‘cycleur’, a flâneur on a bicycle) as we follow her through the city streets and sidewalks, seeing the surroundings through her eyes and gaining access to her thoughts. A gorgeous selection of pieces, shot through with a melancholy, philosophical tone.

Things Look Different in the Light by Medardo Fraile (tr. Margaret Jull Costa)

Another wonderful collection of short pieces – fiction this time – many of which focus on the everyday. Minor occurrences take on a greater level of significance; fleeting moments have the power to resonate and live long in the memory. These pieces are subtle, nuanced and beautifully observed, highlighting situations or moods that turn on the tiniest of moments. While Fraile’s focus is on the minutiae of everyday life, the stories themselves are far from ordinary – they sparkle, refracting the light like the crystal chandelier in Child’s Play, one of my favourite pieces from this selection.

Nada by Carmen Laforet (tr. Edith Grossman)

Carmen Laforet was just twenty-three when her debut novel, Nada, was published. It’s an excellent book, dark and twisted with a distinctive first-person narrative. Here we see the portrayal of a family bruised by bitterness and suspicion, struggling to survive in the aftermath of the Spanish Civil War. This is a wonderfully evocative novel, a mood piece that captures the passion and intensity of its time and setting. Truly deserving of its status as a Spanish classic.

The Infatuations by Javier Marías (tr. Margaret Jull Costa)

My first Marías, and it remains a firm favourite. A man is stabbed to death in a shocking incident in the street, but this novel offers much more than a conventional murder mystery. In Marías’s hands, the story becomes an immersive meditation, touching on questions of truth, chance, love and mortality. The writing is wonderful – philosophical, reflective, almost hypnotic in style. Those long, looping sentences are beguiling, pulling the reader into a shadowy world, where things are not quite what they seem on at first sight.

Thus Were Their Faces by Silvina Ocampo (tr. Daniel Balderston)

I love the pieces in this volume of forty-two stories, drawn from a lifetime of Ocampo’s writing – the way they often start in the realms of normality and then tip into darker, slightly surreal territory as they progress. Several of them point to a devilish sense of magic in the everyday, the sense of strangeness that lies hidden in the seemingly ordinary. Published by NYRB Classics, Thus Were Their Faces is an unusual, poetic collection of vignettes, many of which blur the margins between reality and the imaginary world. Best approached as a volume to dip into whenever you’re in the mood for something different and beguiling.

Never Any End to Paris by Enrique Vila-Matas (tr. Anne McLean)

Vila-Matas travels to Paris where he spends a month recalling the time he previously spent in this city, trying to live the life of an aspiring writer – just like the one Ernest Hemingway recounts in his memoir, A Moveable FeastVila-Matas’ notes on this rather ironic revisitation are to form the core of an extended lecture on the theme of irony entitled ‘Never Any End to Paris’; and it is in this form that the story is presented to the reader. This is a smart, playful and utterly engaging novel, full of self-deprecating humour and charm.

Do let me know what you think of these books if you’ve read some of them. Hopefully, I’ll be able to fit in another couple of titles during the month, possibly more if the event is extended into August, as in recent years.

Maybe you have plans of your own for Spanish Lit Month – if so, what do you have in mind? Or perhaps you have a favourite book, first published in Spanish or Portuguese? Feel free to mention it alongside any other comments below.

Sidewalks by Valeria Luiselli (tr. Christina MacSweeney)

A couple of years ago I read (and very much enjoyed) Valeria Luiselli’s novel Faces in the Crowd, and now we have Sidewalks, a collection of essays from this talented young Mexican writer.

Luiselli, a keen observer, is a little like a modern-day flâneur (or in one essay, a ‘cycleur’, a flâneur on a bicycle), and we follow her through the city streets and sidewalks, seeing the surroundings through her eyes and gaining access to her thoughts.


Many of the essays in this collection concentrate on locations, spaces and cities. And the subheadings, while at first sight seem to bear little relation to the essays themselves, are mostly themed around journeys: locations in Mexico; directions; street signs. In Flying Home, Luiselli ponders the way in which maps and different viewpoints present Mexico City and how these images have altered over time, possibly reflecting changes in the character of the city itself:

There are those who say that Mexico City is like a Big Pear – a bizarre sister of the Big Apple; the widest part of the fruit to the south and the stalk somewhere around the Basílica de Guadalupe, in the northernmost borough. But on more careful examination, the flesh of the fruit has, in fact, overflowed far beyond its skin. A contemporary artist – or a child – might represent the pear-city with a silhouette, like the ones drawn in chalk at the scene of a murder, the consequences of which exceed the supposed contaminant of the outline: pear splattered on tarmac.

The latest map we have of Mexico City (Guía Roji, 2012) doesn’t look like anything – anything, except, perhaps a stain, a trace, a distant memory of something else. (pp. 27-28)

And a few lines later:

Far from above, lights glimmer in the valley and it regains its liquid past: a lake overcrowded with fishing boats. And on a clear day, from an airplane window, the city is almost comprehensible – a simpler representation of itself, to the scale of the human imagination. But as the airplane descends to earth, one discovers that the grid is floating on what seems to be an indeterminate stretch of grey water. The folds of the valley embody the threat of a wave of mercury which never quite breaks against the mountain range; the streets and avenues are petrified folds in an overflowing, ghostly lake. (pp. 28-29)

In an age of constant connectivity, Luiselli contemplates the transition to a world where there has been a switch between the status of the street as a public space and the home as a private one. In such a world ‘our only option is to construct small, fleeting intimacies in other spaces.’ She finds an ally in the night-shift doorman of her building, a man who ‘watches over the imprecise limits between the public world and the private.’

Only in that liminal space, under the umbrella of his company, do I feel safe from the claustrophobic categories of outside and inside. (p. 97)

The collection comes bookended by the author’s reflections on a visit to Venice. Luiselli has travelled here in search of the grave of Joseph Brodsky, and the subheadings in this essay come from the other tombstones (including those of Ezra Pound and Luchino Visconti) she encounters in her search for Brodsky’s grave. As Luiselli considers Brodsky’s life, she touches once again on the theme of residences and spaces:

But perhaps a person only has two real residences: the childhood home and the grave. All the other spaces we inhabit are a mere grey spectrum of that first dwelling, a blurred succession of walls that finally resolve themselves into the crypt or the urn – the tiniest of the infinite divisions of space into which a human bodies can fit. (pg.13)

In some of the essays, Luiselli turns her gaze towards her own writing, language and the meaning of certain words. In Alternative Routes, she muses on the meaning of the Portuguese word ‘saudade’, for which there is no direct translation. Here she considers how our minds operate as we try to navigate our way through another language:

When we have only a partial knowledge of a language, the imagination fills in the sense of a word, a phrase or a paragraph – like those drawing books where the pages are covered with dots that, as children, we had to join with a crayon to reveal the complete image. (p. 42)

I loved this collection of Valeria Luiselli’s illuminating essays, many of which have a philosophical and melancholy tone. The writing is excellent. Luiselli’s words (and Christina MacSweeney’s translation) seem to flow effortlessly across the page, and one could describe these glimpses into the author’s world as graceful prose poems or laments. In some respects, Sidewalks reminds me a little of Renata Adler’s Speedboat (which I’ll be reviewing in a few weeks’ time); while Speedboat is a novel, the two books share certain similarities in style and tone. Sidewalks also brings to mind Teju Cole’s Open City, a comparison Tony Malone makes in his excellent review of Luiselli’s novel, Faces in the Crowd. My one regret is that Sidewalks isn’t longer – Luiselli’s writing runs to around 100 pages but let’s hope there’s more on the way.

I’ll finish with a quote on books that seems to typify Luiselli’s writing:

Going back to a book is like returning to the cities we believe to be our own, but which, in reality, we’ve forgotten and been forgotten by. In a city — in a book — we vainly revisit passages, looking for nostalgias that no longer belong to us. Impossible to return to a place and find it as you left it — impossible to discover in a book exactly what you first read between its lines. We find, at best, fragments of objects among the debris, incomprehensible marginal notes that we have to decipher to make our own again. (pg. 85)

I read this book to link in with Biblibio’s #WITMonth (focusing on Women in Translation), which is running throughout August, and also Richard and Stu’s Spanish Lit Month which has been extended by a week or two.

Sidewalks is published in the UK by Granta Books. Source: personal copy.