Arce M Birmajer belongs to that generation of writers who had the bad luck to be born in a country where it seems that writers are no longer born, because there are sufficient with who contributed at the time. Argentine Marcelo Birmajer is good writer. Argentine and Cortazar and Borges, as Sabato or Mujica Lainez. Good writer and all of them and as many more that that country has subsequently (and earlier) and not entered in the draw for the label called boom of Latin American narrative, some of them because at that time were not even born. Nor has sponsors in the form of ferocious critics as the clouds rise in the cultural pages of English newspapers, with or without reason, as happens to Ricardo Piglia or César Aira (and Rafa in his grand entrance, he wrote words very illustrious on this topic.)
as credentials Marcelo Birmajer has a commendable narrative fluency and intelligent humor, inexplicably, is not usually a key that opens a lot of interest among readers and critics. Moreover, being a native of Argentina, or South America in general seems to be required an extra on the issues narrated, so I checked with the time that the South Americans who have entered the English market, with few exceptions, have done with novels or stories of the type that I call "artifacts" and that would require a very uninteresting entry in this blog for a correct understanding, but ultimately come to be narratives that are often seen in the context little or no current with developments in artificial and divorced from reality theme or at least very unlikely to happen reliably. Examples would be Rayuela, El Aleph , Pedro Páramo , Bomarzo or Hundred Years of Solitude. I hope I explained fairly well.
is clear that each one writes as he pleases, and if his writing is masterful, as is the case of the stories mentioned above, his reading is highly desirable and advisable. The trouble begins when it appears that only can be this kind of writing which comes from Latin America. Try to do a memory exercise with the writers who have read of the land, and surprise of discovery. Interestingly, it has been called magic realism to something that is well away from realism, and just has not been fixed label as another kind of writing, as would be Borges Cortázar, which invades the unreal real, thus making it into something downright unreal (Funes would illustrate the memoirist or Letter to a Young Lady in Paris , to take two cases in the memory of all.) The fact that writers like Isabel Allende César Aira or whatever they now come to us from that part of the American continent, makes one wonder.
Thus, Marcelo Birmajer represents to me the other side of the English American narrative, the other side Where Great writers arrive with eyedropper to English bookstores, if endorsed by an excellent quality. Not because they appear to me as some outsiders I fall more in favor: there are better and worse, but they are sufficient, and are very good writers, to be taken into consideration. One of them is Marcelo Birmajer, there are a few more, which I hope to write someday. What characterizes Marcelo Birmajer is a refined humor, very intelligent, shown in the right dose for the smile never disappears from his lips. Its themes are easily deduced by writing three of the five titles published in Spain: "Stories of Married Men ", "New stories of married men" and "Last stories of married men." Besides you can find (?) His novels " Three Musketeers" and "That's not ." Of course he has published more books, all in Argentina, so I guess I require, if no remedy English publishing what, to buy them at bookstores in that country over the Internet. Fortunately or unfortunately, my library starts to feed on this profound cart web page that supplies the lack of fund conventional bookstores. That cart will also certainly many books Marcelo Birmajer, unfortunately for English readers, who know what they're missing.
married men Birmajer tales are not, as one might think, whoring tired of their marriage that are dedicated to whoop it up whenever they can, but are mature with the narrator for any reason, and they tell a story, each more amazing and more hilarious. The narrator, which is always the same and we might think that is the alter ego of the writer, Javier Mossen, is an Argentine Jewish nothing practitioner, bourgeois and rather vague, which is perfectly married to his wife Esther, which wants lot, and he has two children who are a delicacy.
I expose this situation because Marcelo Birmajer could have recourse to the topic of the back forty of everything Young tries to get any girl that crosses, inveterate braggart, defeated by life, etc, etc, but still achieves the humor even harder: a narrator installed in an enviable emotional state that makes the subject of strangest secrets and that it passes through the filter of an ironic, even sarcastic, but always compassionate, to small human weaknesses. When you read a few pages of these stories, the reader begins to realize that you're laughing at himself, that those thoughts or opinions, somehow, and the thought of someone, including himself, and therefore have to be commiserate with poor characters have been pilloried in an untenable situation, most of the time by circumstances, but others simply because of their poor head, that we all have bad heads from time to time, that bad day whose tragic the time evolution became a comic that is remembered with a pious smile.
The stories told in Birmajer Marcelo tales are as real as life itself, and would not be surprising that a reader has lived at some point or know someone who has lived. This writer is able to demonstrate that magical realism is that reality every day offering surreal stories, that neither the more fevered or twisted mind could imagine. And I'm not making puns or offering trite phrases: what distinguishes Marcelo Birmajer of many other writers is her ability to move from matute the improbable stories that sometimes life presents us and that writers are often dropped from hands if you do not dress up with some literary devices are not always credible. Birmajer, however, provides a constant joy in each of its pages, along with a somewhat crazy and kind of psychological insight carat.
I'm with Rafa in that literature is a context that is difficult to ignore, and reading I found Marcelo Birmajer other context as powerful as geography or history: the age of the reader. Perhaps these stories can be understood best if you have about the age of its protagonists. Because the only and best way is to make credible Marcelo Birmajer is not only count, but also comment and apostilled with a humor that does not disdain a point of resignation, that resignation that grows over time within individuals, although and do not acknowledge it, came by accident, and as if on tiptoe in what we call maturity.
I'm with Rafa in that literature is a context that is difficult to ignore, and reading I found Marcelo Birmajer other context as powerful as geography or history: the age of the reader. Perhaps these stories can be understood best if you have about the age of its protagonists. Because the only and best way is to make credible Marcelo Birmajer is not only count, but also comment and apostilled with a humor that does not disdain a point of resignation, that resignation that grows over time within individuals, although and do not acknowledge it, came by accident, and as if on tiptoe in what we call maturity.
