Translator's Note: Claudia Ulloa Donoso
The title story in Peruvian writer Claudia Ulloa Donoso’s collection Pajarito starts with a description of the narrator’s cat. He’s seven kilos, furry, antisocial. He has seven lives in Peru and nine in Norway, where he lost at least one by wandering outside in the polar winter. There are pictures of him on the author’s blog, but that’s not mentioned in the story. It’s just true.
Ulloa Donoso’s blog is important to her writing life. She moved to Norway for graduate school and started to write a blog about her insomnia—or a blog about someone’s insomnia, since she’s never called it nonfiction. In 2006 she published a story collection called El pez que aprendió a caminar, followed a year later by Séptima madrugada, which is essentially her blog in book form. Pajarito combines the two books, putting blog posts alongside short stories. There’s often no way to know which one you’re reading, though. Half the pieces in the book could be fiction, memoir, or both.
There’s no way to know if you’re reading fiction, but there’s also no need. Every page has the emotional immediacy of a diary entry and the floating nausea of a sleepless night. Ulloa Donoso has a Nell Zink-ish disregard for the conventions of narrative. She likes to get to the point, and she’s not too interested in pacing. She often writes in present tense, in short, declarative sentences that build into deeply strange scenes. Women bleed to death over cafeteria salads, then get up and walk away; one protagonist goes to a job interview with a dying bird in her pocket; another takes a vacation in her cat’s stomach because, as she puts it, “It’s always safer to travel with someone you know.”
Not all of Ulloa Donoso’s stories stretch reality this much, but they all feel this bizarre. The characters in Pajarito view the world through eyes so exhausted that the ordinary becomes surreal. Take “Plasticine Dreams,” in which the narrator goes to a park on the first day of spring and watches a performance. She’s thrilled by it, and amazed. Afterwards, she’s so exhilarated by what she’s seen that she falls asleep in public, on a park bench. The performance? A man mowing the lawn.
This is part of why I love Pajarito. I love how quickly these stories transport me outside my rational mind. I love the characters, so lost and distant from their surroundings, so confused by the simplest interaction and so ready to see the commonplace as unique. But strangeness in Pajarito isn’t always charming. There’s a lot of depression and dislocation. One protagonist, unable to believe in his own capacity to help, watches a man drown in the sea. Another brings a gun to work. A third prays all day for someone to “take charge of her soul,” which, you could argue, is exactly what fiction writers do.
Ulloa Donoso does take charge of her characters, and in the end, she always takes care of them. She knows clarity is beyond them, so she guides them toward acceptance instead. This is the other reason I love Pajarito so much: its strangeness comes coupled with empathy. There’s a George Saunders quality to her stories, an affection for the baffled and misguided. Take “Eloísa,” in which the title character’s voice is so seductive that it turns fireflies into men. In the story’s last scene, Eloísa’s boyfriend sits with his firefly rivals, drinking beer in companionable silence. “Together,” he thinks, “we don’t need to prove ourselves. We know that, no matter how dim and intermittent our light, we are complete beings. We are free.” If there’s a moral to these stories, that’s it. We are complete beings. That’s all we have to understand.
Lily Meyer is a writer and translator living in Washington, DC. She is a recipient of a 2018 Washington, DC Arts and Humanities Fellowship, and her work has appeared in NPR, Electric Literature, Bogotá 39, and more.
Ana Márques is originally from Valencia, Spain, where she earned a degree in Translation and Interlinguistic Communication in 2015. After two years of professional development as a translator and manager of translation projects in Spain, she moved to the United States in fall of 2017 to begin her graduate studies. She is currently an MA student of Hispanic Literature at the University of Oklahoma, and she teaches Spanish language classes at the same institution.
The seventh issue of Latin American Literature Today highlights indigenous voices with dossiers dedicated to three Wayuu writers from Colombia and Zapotec poetry and prose. We also pay homage to renowned Venezuelan poet Eugenio Montejo with a special dossier, as well as returning to the strange worlds of Latin American science fiction and opening a new space for Brazilian literature in Portuguese and English.
Table of Contents
- ESSAY: "Eugenio Montejo: An Introduction" by Arturo Gutiérrez Plaza
- ESSAY: "Eugenio Montejo: A Living Presence Ten Years After His Passing" by Arturo Gutiérrez Plaza
- ESSAY: "Eugenio Montejo and the Poetics of the Essay" by Miguel Gomes
- ESSAY: "The Joyous Excess of Eugenio Montejo’s Heteronymy" by Nicholas Roberts
- ESSAY: "So the Song Remains: Cosmic Orientation and Landscape in the Poetry of Eugenio Montejo" by Luis Enrique Belmonte
- POETRY: Five Poems by Eugenio Montejo
- ESSAY: "The White Workshop" by Eugenio Montejo
- POETRY: "Final sin fin" by Eugenio Montejo
- INTERVIEW: "A Choral Interview with Eugenio Montejo" by Arturo Gutiérrez Plaza, Julio Bolívar, Edmundo Bracho, Marina Gasparini, and José Pulido
- ESSAY: "Three Wayuu Writers Bring Winds of Renewal from the Desert" by Ana María Ferreira
- ESSAY: "Estercilia Simanca: A Writer who Makes the Desert Blossom" by Ana María Ferreira
- ESSAY: "Vito Apüshana: from Woumain to Wallmapu and from there to Rockies" by Juan Guillermo Sánchez
- ESSAY: "Pulowi of Uuchimüin" by Estercilia Simanca
- FICTION: "I Never Heard the Birds Again" by Vicenta Siosi
- POETRY: Five Poems by Vito Apüshana
- "Andean Science Fiction: An Introduction" by Marcelo Novoa
- "Andean Science Fiction: If Everything Unites Us… Does Nothingness Separate Us?" by Marcelo Novoa
- "Andean Dystopias: When the Future Clashes with Desire" by Iván Rodrigo Mendizábal
- "Andean Science Fiction: Pitfalls and Possibilities" by Daniel Salvo
- Desalojo de la naturaleza by Juan Arabia
- Teoría y práctica de La Habana by Rubén Gallo
- Paisajes en movimiento by Gustavo Guerrero
- Ya nadie llora por mí by Sergio Ramírez
- Huracán by Sofía Segovia
- Casa transparente by María Luque
- La casa devastada by Carlos Cociña
- The Hours by Juan Carlos Villavicencio
- El asesinato de Laura Olivo by Jorge Eduardo Benavides
- Los terneros by Rodrigo Blanco Calderón