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丕賱賲丐鬲賲乇 丕賱兀丿亘賷
乇睾賲 毓賳賵丕賳 丕賱乇賵丕賷丞 丕賱鬲賾賯乇賷乇賷貙 廿賱丕賾 兀賳賾賳丕 賱賳 賳卮賴丿 兀賷 賲丐鬲賲乇 兀丿亘賷貙 鬲亘丿兀 丕賱乇賵丕賷丞 亘氐賵鬲 賰丕鬲亘 賷夭賵乇 賮賳夭賵賷賱丕 賵賷爻賰賳 噩賳亘 兀賰亘乇 賱睾夭 賮賷 丕賱賯丕乇丞: 芦禺胤 賲丕賰賵鬲賵禄貙 丨亘賱 賲乇亘賵胤 毓賱賶 卮賰賱 賲孬賱孬 噩賳亘 丕賱亘丨乇貙 賷禺賮賷 賰賳夭 賯乇丕氐賳丞 賯丿賷賲貙 賷賳噩丨 丕賱賰丕鬲亘 賮賷 賮賰賾 丕賱賱睾夭 賵賷兀禺匕 丕賱賰賳夭 賱賷氐賷乇 睾賳賾賷丕賸貙 亘毓丿 兀賳 毓丕卮 爻賳丞 氐毓亘丞 亘爻亘亘 兀夭賲丞 廿賯鬲氐丕丿賷丞 兀孬賾乇鬲 毓賱賶 爻賵賯 丕賱賳卮乇. 賱賳 兀賰卮賮 毓賳 丕賱乇賵丕賷丞 兀賰孬乇 賲賳 賴匕丕貙 乇睾賲 兀賳 丌賷乇丕 賳賮爻賴 賷賯賵賱 亘兀賳賾賴 賱丕 賷兀亘賴 亘丕賱毓購賯丿 賵丕賱賳賾賴丕賷丕鬲貙 賵賴賵 賲爻鬲毓丿 兀賳 賷賮囟丨 賰賱賾 賳賴丕賷丕鬲 乇賵丕賷丕鬲賴貙 亘亘爻丕胤丞 賱兀賳賾賴丕 賱丕 鬲賲賱賰 亘丿丕賷丕鬲 賵賱丕 賳賴丕賷丞貙 賵賱丕 鬲爻賱爻賱 夭賲賳賷. 賲毓 賰賱 賮氐賱 賳賰鬲卮賮 卮賷卅丕賸 噩丿賷丿丕賸貙 丕賱賰丕鬲亘 賷賰卮賮 毓賳 賴賵賷鬲賴 丕賱丨賯賷賯賷丞貙 毓丕賱賲賹 賲噩賳賵賳 賷乇賷丿 丕賱爻賾賷胤乇丞 毓賱賶 丕賱毓丕賱賲貙 賵賷乇賷丿 丕爻鬲賳爻丕禺 噩賷卮 賰丕賲賱 賲賳 丕賱亘卮乇 丕賱毓亘丕賯乇丞貙 賵賲孬丕賱賴 賴賳丕 賴賵 夭賲賷賱賴 賮賷 丕賱賲丐鬲賲乇 丕賱兀丿亘賷 賵丕賱賰丕鬲亘 丕賱卮賴賷乇: 賰丕乇賱賵爻 賮賵賷賳鬲爻..
鬲賳鬲賯賱 賱睾丞 丕賱爻賾乇丿 賲賳 胤亘賯丞 廿賱賶 兀禺乇賶貙 賷丨丿賾孬賳丕 丕賱毓丕賱賲 丕賱賲噩賳賵賳 鬲丕乇丞 亘賱睾丞 匕賴賳賷丞 賲鬲賮賱爻賮丞 賲鬲兀賲賾賱丕賸 賮賷 賲毓丕賳賷 丕賱賰賲丕賱 賵兀氐丕賱丞 丕賱兀賮賰丕乇 賵卮亘丕亘 丕賱兀噩爻丕賲 賵丕賱丨亘賾貙 賵鬲丕乇丞 賳卮賴丿 毓賱賶 賲賵賳賵賱賵睾丕鬲 胤賵賷賱丞 丨賲賯丕亍 賳噩丨 丕賱賲鬲乇噩賲 賮賷 賳賯賱 賳賰鬲賴丕 丕賱賲鬲禺賮賾賷丞. 賱賷爻 賴賳丕賱賰 禺胤賾 孬丕亘鬲 賱丿賶 丌賷乇丕 賮賷 丕賱丨賻賰賷貙 賵賱賷爻 賴賳丕賱賰 丨亘賰丞. 賰鬲丕亘賴 賷購賯乇兀 噩賲賱丞 亘噩賲賱丞貙 噩賲賱丞 鬲囟賷賮 賱賱噩賲賱丞 丕賱鬲賷 亘毓丿賴丕貙 兀賵 噩賲賱丞 鬲賳丕賯囟 丕賱噩賲賱丞 丕賱鬲賷 鬲爻亘賯賴丕貙 賷亘賳賷 賵賷賴丿賲 賮賷 賳賮爻 丕賱賵賯鬲 賰胤賮賱 賷賱毓亘購 亘賲賰毓亘賾丕鬲 丕賱賱賾賷睾賵貙 賯丿 賷賰賵賳 氐毓亘丕賸 毓賱賶 賯乇賾丕亍 丕賱乇賵丕賷丞 丕賱毓丕丿賷丞 (賱賷爻 亘丕賱囟賾乇賵乇丞 丕賱丕爻鬲賴賱丕賰賷丞貙 亘賱 丨鬲賶 丕賱兀毓賲丕賱 丕賱胤賵賷賱丞貙 噩賷丿丞 丕賱丨賻亘賰).
鬲賳鬲賯賱 賱睾丞 丕賱爻賾乇丿 賲賳 胤亘賯丞 廿賱賶 兀禺乇賶貙 賷丨丿賾孬賳丕 丕賱毓丕賱賲 丕賱賲噩賳賵賳 鬲丕乇丞 亘賱睾丞 匕賴賳賷丞 賲鬲賮賱爻賮丞 賲鬲兀賲賾賱丕賸 賮賷 賲毓丕賳賷 丕賱賰賲丕賱 賵兀氐丕賱丞 丕賱兀賮賰丕乇 賵卮亘丕亘 丕賱兀噩爻丕賲 賵丕賱丨亘賾貙 賵鬲丕乇丞 賳卮賴丿 毓賱賶 賲賵賳賵賱賵睾丕鬲 胤賵賷賱丞 丨賲賯丕亍 賳噩丨 丕賱賲鬲乇噩賲 賮賷 賳賯賱 賳賰鬲賴丕 丕賱賲鬲禺賮賾賷丞. 賱賷爻 賴賳丕賱賰 禺胤賾 孬丕亘鬲 賱丿賶 丌賷乇丕 賮賷 丕賱丨賻賰賷貙 賵賱賷爻 賴賳丕賱賰 丨亘賰丞. 賰鬲丕亘賴 賷購賯乇兀 噩賲賱丞 亘噩賲賱丞貙 噩賲賱丞 鬲囟賷賮 賱賱噩賲賱丞 丕賱鬲賷 亘毓丿賴丕貙 兀賵 噩賲賱丞 鬲賳丕賯囟 丕賱噩賲賱丞 丕賱鬲賷 鬲爻亘賯賴丕貙 賷亘賳賷 賵賷賴丿賲 賮賷 賳賮爻 丕賱賵賯鬲 賰胤賮賱 賷賱毓亘購 亘賲賰毓亘賾丕鬲 丕賱賱賾賷睾賵貙 賯丿 賷賰賵賳 氐毓亘丕賸 毓賱賶 賯乇賾丕亍 丕賱乇賵丕賷丞 丕賱毓丕丿賷丞 (賱賷爻 亘丕賱囟賾乇賵乇丞 丕賱丕爻鬲賴賱丕賰賷丞貙 亘賱 丨鬲賶 丕賱兀毓賲丕賱 丕賱胤賵賷賱丞貙 噩賷丿丞 丕賱丨賻亘賰).
93 pages, Paperback
First published January 1, 1997
46 people are currently reading
2592 people want to read
About the author
C茅sar Aira
263听books1,091听followersC茅sar Aira was born in Coronel Pringles, Argentina in 1949, and has lived in Buenos Aires since 1967. He taught at the University of Buenos Aires (about Copi and Rimbaud) and at the University of Rosario (Constructivism and Mallarm茅), and has translated and edited books from France, England, Italy, Brazil, Spain, Mexico, and Venezuela. Perhaps one of the most prolific writers in Argentina, and certainly one of the most talked about in Latin America, Aira has published more than eighty books to date in Argentina, Mexico, Colombia, Venezuela, Chile, and Spain, which have been translated for France, Great Britain, Italy, Brazil, Portugal, Greece, Austria, Romania, Russia, and now the United States. One novel, La prueba, has been made into a feature film, and How I Became a Nun was chosen as one of Argentina鈥檚 ten best books. Besides essays and novels Aira writes regularly for the Spanish newspaper El Pa铆s. In 1996 he received a Guggenheim scholarship, in 2002 he was short listed for the R贸mulo Gallegos prize, and has been shortlisted for the Man Booker International Prize.
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Displaying 1 - 30 of 373 reviews
January 29, 2023
My shadow stretched out in front of me, a human shadow, but also alien, irreconcilable. I stretched out my arms, and the arms of the shadow did the same; I lifted a leg, bent a waist, turned my head, and the shadow imitated me. I abandoned myself to a dance of recognition. When you are travelling the thought that nobody knows you gives you a certain feeling of impunity. Impunity: it鈥檚 always impunity that gets you dancing. What did I care about being ridiculous? I was on my way to earning a superior kind of impunity, and nobody knew it.
Exuberant. Absurd. Surrealist. Weird, whimsical, wild. Dizzying. What a ride. Being boxed up between the covers of this slender book reminded me of what Sebastian Faulks wrote about the experience of reading Penelope Fitzgerald鈥檚 novels, that it is like being taken for a ride in a peculiar kind of car and after a mile or so someone throws the steering-wheel out of the window.
As per usual skipping the blurb, I went in blind because unlike life I mostly like books to surprise me and I enjoy to expect the unexpected. I was rewarded with a pretty madcap and nonsensical romp about a translator and playwright annex mad scientist turning fairy-tale rich and world famous overnight not by his outstanding work but because of solving a mystery to retrieve a pirate treasure and who dreams of world domination, to achieve by stealing DNA from Carlos Fuentes by a cloned wasp on a literary conference. If this sounds quite insane, it is 鈥� and on top of that are the sizzling thoughts produced by the narrator鈥檚 quizzical, hyperactive mind. Anything seem to go for C茅sar Aira, as a child in a candy store he picks brightly coloured sweets to add to his outlandish brew: Alice in Wonderland, cloning, cartoonish sci-fi devices, grotesque and giant creatures, pirates, a dollop of schmaltzy romance and some good-natured frolicking with Carlos Fuentes reminiscent of what Boris Vian did with Jean-Paul Sartre (Jean-Sol Partre) in .
Jumping from self-reflection and introspective philosophising on writing, art, reality, time and the mind to scenes worthy of comic books, imagination, creativity and creation, if any, seem the core themes of the novel 鈥� whether crystallised in musings on writing, cloning, inventing or the staging of the narrator鈥檚 play inspired by Genesis 鈥� and unlike the biblical creator, C茅sar Aira 鈥� the namesake narrator perhaps as well as the writer- doesn鈥檛 sit back to admire his achievement but on the contrary acknowledges how creation is essentially a fluid and unfinished process:
But my mania -- to be constantly adding things, episodes, paragraphs, to be constantly veering off course, branching out -- is fatal. It must be due to insecurity, fear that the basics are not enough, so I have to keep adding more and more adornment until I achieve a kind of surrealistic rococo, which exasperates me more than it does anybody else.
Whereas I was mostly wondering where the novel was going plotwise or meaningwise and I am aware I am not literary literate enough to fully appreciate Aira鈥檚 meta toying, I experienced this first foray into Aira鈥檚 prolific oeuvre as gently humorous and mildly entertaining. I was charmed by a couple of Aira鈥檚 quirky meditations and some of the colourful, moving and funny scenes (the finely crafted miniature cage in the shape of a Swiss chalet and the funeral of the wasp, the shadow dancing) including some exquisite swooning on blue. And is there anything more beautiful and intriguing than blue, whatever the shape it comes in?
(***1/2)
December 19, 2023
Do you like innovate, avant-garde fiction polished superfine? Introducing C茅sar Aira from Argentina, author of dozens of quirky, quizzical, lyrical novellas and novels, many translated into English, his best known An Episode in the Life of a Landscape Painter, a surreal yarn of a nineteenth century German artist's travels in Latin America and Ghosts, a tale about a haunted luxury apartment complex in the city of Buenos Aires.
Why haven鈥檛 I heard of C茅sar Aira before? Perhaps because he takes delight in being somewhat obscure. As he stated in an interview, nearly half of his ninety titles are pamphlets or booklets, many less than twenty pages. Since by his reckoning every story is a book, he prefers small, independent publishers willing to print a limited run. Therefore, he surmises, if someone really wants to read his books, they will find them.
I'm delighted I did just that! The Literary Conference is my first C茅sar Aira and it will certainly not be my last.
I was under the impression The Literary Conference would be about, well, a literary conference, featuring famous Latin American authors discussing the aesthetics of literature. I found to my astonishment, what begins as international adventure shifts to a comic version of mad scientist taking over the world via cloning and then again to B-movie, a science fiction monster flick, all the while offering meditations on the nature of art and creativity - contained in a mere eighty-five pages.
The narrator, a playwright with the name C茅sar, travels to Venezuela, to the coastal town of Macuto wherein he solves the centuries-long enigma of the Macuto Line and its sunken treasure. Just the right vibration from his fingers on the old hemp line and ta-da! - treasure miraculously falls at his feet. My sense is this piece of authorial legerdemain serves to remind us we are, after all, being told a tale and if the storyteller wants riches at the feet of C茅sar (perhaps C茅sar Aira himself?), then that鈥檚 what will bloody well happen.
Moreover, the Macuto Line could be taken as metaphor: the author engaging his imagination as the rope to guide himself down to the lower depths of his own psyche in order to mine a treasure chest of images and words he can bring to the surface and thus compose the very novella we are reading.
We arrive at the actual conference itself, not exactly a round table discussion, more an extension of C茅sar鈥檚 internal dialogue. One of the first observations made is how the tale he is relaying must be kept clear since poetic fog horrifies him. However, he acknowledges a fable provides the foundational logic for his story and that fable requires the underlying logic of yet again another fable. And the story we are reading provides the logic for a second story. Does all this Russian dolls story within a story remind you of anything? It does for me: One Thousand and One Nights of Scheherazade, among C茅sar Aira鈥檚 favorite modes of storytelling.
C茅sar goes on to relate how there was once a mad scientist who allowed the clones he created to roam the streets of his neighborhood. Ultimately the mad scientist needed CONTROL and the best way to maintain such control was to clone a superior man. And what will be the nature of such a superior man? Ah, according to the mad scientist, an individual having achieved greatness in the realm of high culture, things like philosophy, literature, history and being steeped in the classics.
C茅sar then reveals the truth: the mad scientist in question is none other than himself. And who does C茅sar judge the superior man fit for cloning? Why, of course, that giant of world literature 鈥� Mexico鈥檚 Carlos Fuentes. Permit me a side note: a number of years ago American men and women were asked what individual should be cloned to improve the quality of life within the United States. The results were divided: half the Americans polled voted for Albert Einstein and the other half for Michael Jordan. Perhaps a combination of both would be ideal - theoretical physicists who could tear up a basketball court.
Wacky weird, bugged out bizarre and Kool-Aid kooky from here on out. Thus I will shift from the narrator's singular story to a number of his reflections sweetly seasoning this literary conference confection. Firstly, how 鈥渓anguage has shaped our expectations so extensively that real reality has become the most detached and incomprehensible one of all.鈥�
Indeed, our view of ourselves and others, our notions of life and death and everything in between is a combination of fact and fiction. And because we coat our world with the thick syrup of language, I suspect the split is along the lines of 2% fact, 98% fiction.
鈥淢y Great Work is secret, clandestine, and encompasses my life in its entirety, even its most insignificant folds and those that seem the most banal. Until now I have concealed my purpose under the accommodating guise of literature.鈥�
Hmmm, is the narrator (C茅sar Aira himself?) suggesting there is an underlying riddle to be solved along the lines of Hugh Vereker鈥檚 literary puzzle in Henry James鈥� The Figure in the Carpet? What a tantalizing prospect! No wonder a number of literary critics have linked Aira with his fellow countryman, Jorge Luis Borges.
鈥淚 was considering, with amazement, the quantity of things that were happening to me while nothing was happening. I noticed this as my pen was moving: there were thousands of tiny incidents, all full of meaning. I鈥檝e had to pick and choose carefully, otherwise the list would be endless.鈥�
Thank goodness C茅sar can choose wisely; otherwise The Literary Conference might include enough peregrinations, colloquies and bagatelles to fill hundreds of pages.
鈥淥nly through minimalism is it possible to achieve the asymmetry that for me is the flower of art; complications inevitably form heavy symmetries, which are vulgar and overwrought.鈥�
At eighty-five pages, The Literary Conference undoubtedly qualifies as minimal in terms of length. And C茅sar Aira鈥檚 style is the opposite of heavy, vulgar and overwrought; rather, the author has created a little book chock full of ideas and philosophy that鈥檚 sheer fun, all within a breezy storyline too preposterous to be read without a smile.
"The soldiers got out and fanned out in front of the blue mass. At that moment denial was no longer possible: the men looked like insects next to the monster - and pathetically ineffectual. This became obvious once they began to shoot at it with their machine guns."
C茅sar Aira, born 1949
"And there, with a prodigious crack and a burst of foam, the treasure chest at the sunken end of the Line leapt so forcefully out of the sea that it rose about two hundred feet in the air, hung there for an instant, then shot down in a straight line, while the Line retracted, pulling back, until the treasure fell intact onto the stone platform, about three feet from where I was standing, waiting for it." - C茅sar Aira, The Literary Conference
May 10, 2025
The very possibility of the disaster cast over my being a demonic splendor. In my role as a writer, I am inoffensive.
Of late, I have been reading quite a few genre- bending or rather genre-defining books, such as Rien Ne Va Plus, The Invention of Morel and Nostalgia, the The Literary Conference stands out among these as a book which does not care about the 鈥榞enres鈥� at all. The author abhors any sort of superfluousness since he manages to weave the magic through just around ninety odd pages as he packed so much in those pages that entire universe could be felt in this microcosm. It is my first stint with the author, as I came to know about him through 欧宝娱乐 itself, but it will definitely not be the last. The pleasure it provided to my literary senses kept me mesmerized for hours through a hypnotic spell which took over my consciousness to force me to ponder upon the adroitness of the author to bring up the cosmos out of nothingness.
There are some authors who are unbound to any sort of norms or dogmas, essentially about what is to be defined as literature and what not, C茅sar Aira certainly sits on epitome of the that limitlessness. He pushes the boundary of literature by discarding the long-standing conventions and take a flight through surrealism with a dab of horror and satire riding upon the postmodernist traits of meta fiction, to broil out an Avant-grade literature. He uses clear unemotional and realistic tone with straight forward narration to create an unusual and fantastical experience through mundane events.
source
The narrator, whose name is C茅sar too, is a playwright who travels to Macuto, a coastal town in Venezuela. The narrator, making his way through his life, built upon the heavy dose of Venezuelan and Caribbean literature he read throughout his life, gets a happenstance to come up against the centuries old puzzle of Macuto Line which many revered personalities have failed to solve. However, our narrator here, having the mental configuration of right mix, gets a cue from his literary expeditions and strikes the right chord to solve the enigma, and destiny bows down in response to his ingenuity to put treasure at his feet. The narrator proposes to the reader that he would use the recently earned treasure to write a story with a minimalistic approach about the expeditions of a scientist. The senses of the reader may get activated and feel an air of comic filling his literary muzzle.
At this point, the reader is relatively unaware of the possibilities which may come up in the second part of the book; however, he starts the second part with charged enthusiasm, having a glimpse of the potency of the author鈥� s dexterous pen. It is only in the aftermath that the reader may ponder upon realizing the metaphorical meaning of Macuto line, if there are any at all; it may represent the odyssey to find out the real treasure which may be lying beneath the superficial life we devise for ourselves, or it may also represent something else or nothing at all. Nonetheless, the reader holds his breath and dives into the sea of unbound possibilities of the world of author.
If I could love, just like that, without the universe getting turned upside down, the only persistent condition that made reality real was contiguity: that things were next to things, in rows or on plates鈥o, it was impossible, I couldn鈥檛 believe it.
The narrator starts part two by announcing about the literary conference he is being invited to, the reader braces himself for something paramount as he jumps up with childlike zest while reference to the title of book transpires . He introduces an Argentinean scientist to the readers, the scientist who eyes to dominate the world through cloning of a perfect individual who would give him limitless unrestricted power through his experiments. The narrator splinters the shield between him and the reader, and throws a glimpse into his consciousness as he mentioned that the real power resides in a person whose acquisition is high culture comprises of philosophy, history, literature, and the classics. The narrator hereby mocks the desire of the scientist to dominate the world. Nevertheless, the reader moves on with surging eagerness to further delve into the universe of the scientist, but he is taken aback by the detonating declaration that the scientist is the narrator himself. The reader is hereby surreptitiously reminded of the disclosure by the narrator initially that he would write a story which takes its logic from a prior story which in turn would provide the logic to another story and thus ad infinitum.
I have discovered that every human being, every living being in reality, in addition to everything he has to show for himself by way of material and spiritual possessions, has style he used to manage those possessions.
The reader is thereby stung by startling revelation that the narrator is scientist, on which the story is based, and the writer of the story, and therefore, essentially the creator of the universe concocted by the author. We see that the otherwise oblivious narrator rises from the dungeons of nothingness to make his being felt by playing an active role in this process of procreation. The scientist cum narrator chooses a subject for his cloning excursion by scanning through various probable options who may provide him the best available specimen of humanity to satisfy his desire to overpower the world and who else could be better alternative here than the Mexican literary giant- Carlos Fuentes. What follows is a series of bizarre events ranging from surreal, fantastic developments to extravagant, out of the world comic phenomena with a touch of cautious horror.
The story or rather story within story act as recreational ground through which the narrator expresses his reflections upon literature, art, nature of humanity and various other aspects. The narrator, given unleash by the author, devotes ample time of his borrowed existence to discussing the reality and fiction, the distinction between them if any, through his well-reasoned digressions, Dadaism is also touched upon in this regard perhaps expressing nonsense and irrationality of the story and thereby life per se.
Overall, the author manages to weave the scared space of self- referential, metafictional postmodernist literature thereby suggesting how art communicates with the reality. He touches upon the various human emotions which define humanity, such as love, desire, lust, dominance and others through this carefully crafted and utterly hilarious tale. The author bends the traditions here and keeps the reader on his feet by changing the course of things through logical explorations to produce this little gem in contemporary literature.
The strangeness that made everything sparkle came from me. Worlds rose out of my bottomless perplexity.
Of late, I have been reading quite a few genre- bending or rather genre-defining books, such as Rien Ne Va Plus, The Invention of Morel and Nostalgia, the The Literary Conference stands out among these as a book which does not care about the 鈥榞enres鈥� at all. The author abhors any sort of superfluousness since he manages to weave the magic through just around ninety odd pages as he packed so much in those pages that entire universe could be felt in this microcosm. It is my first stint with the author, as I came to know about him through 欧宝娱乐 itself, but it will definitely not be the last. The pleasure it provided to my literary senses kept me mesmerized for hours through a hypnotic spell which took over my consciousness to force me to ponder upon the adroitness of the author to bring up the cosmos out of nothingness.
There are some authors who are unbound to any sort of norms or dogmas, essentially about what is to be defined as literature and what not, C茅sar Aira certainly sits on epitome of the that limitlessness. He pushes the boundary of literature by discarding the long-standing conventions and take a flight through surrealism with a dab of horror and satire riding upon the postmodernist traits of meta fiction, to broil out an Avant-grade literature. He uses clear unemotional and realistic tone with straight forward narration to create an unusual and fantastical experience through mundane events.
source
The narrator, whose name is C茅sar too, is a playwright who travels to Macuto, a coastal town in Venezuela. The narrator, making his way through his life, built upon the heavy dose of Venezuelan and Caribbean literature he read throughout his life, gets a happenstance to come up against the centuries old puzzle of Macuto Line which many revered personalities have failed to solve. However, our narrator here, having the mental configuration of right mix, gets a cue from his literary expeditions and strikes the right chord to solve the enigma, and destiny bows down in response to his ingenuity to put treasure at his feet. The narrator proposes to the reader that he would use the recently earned treasure to write a story with a minimalistic approach about the expeditions of a scientist. The senses of the reader may get activated and feel an air of comic filling his literary muzzle.
At this point, the reader is relatively unaware of the possibilities which may come up in the second part of the book; however, he starts the second part with charged enthusiasm, having a glimpse of the potency of the author鈥� s dexterous pen. It is only in the aftermath that the reader may ponder upon realizing the metaphorical meaning of Macuto line, if there are any at all; it may represent the odyssey to find out the real treasure which may be lying beneath the superficial life we devise for ourselves, or it may also represent something else or nothing at all. Nonetheless, the reader holds his breath and dives into the sea of unbound possibilities of the world of author.
If I could love, just like that, without the universe getting turned upside down, the only persistent condition that made reality real was contiguity: that things were next to things, in rows or on plates鈥o, it was impossible, I couldn鈥檛 believe it.
The narrator starts part two by announcing about the literary conference he is being invited to, the reader braces himself for something paramount as he jumps up with childlike zest while reference to the title of book transpires . He introduces an Argentinean scientist to the readers, the scientist who eyes to dominate the world through cloning of a perfect individual who would give him limitless unrestricted power through his experiments. The narrator splinters the shield between him and the reader, and throws a glimpse into his consciousness as he mentioned that the real power resides in a person whose acquisition is high culture comprises of philosophy, history, literature, and the classics. The narrator hereby mocks the desire of the scientist to dominate the world. Nevertheless, the reader moves on with surging eagerness to further delve into the universe of the scientist, but he is taken aback by the detonating declaration that the scientist is the narrator himself. The reader is hereby surreptitiously reminded of the disclosure by the narrator initially that he would write a story which takes its logic from a prior story which in turn would provide the logic to another story and thus ad infinitum.
I have discovered that every human being, every living being in reality, in addition to everything he has to show for himself by way of material and spiritual possessions, has style he used to manage those possessions.
The reader is thereby stung by startling revelation that the narrator is scientist, on which the story is based, and the writer of the story, and therefore, essentially the creator of the universe concocted by the author. We see that the otherwise oblivious narrator rises from the dungeons of nothingness to make his being felt by playing an active role in this process of procreation. The scientist cum narrator chooses a subject for his cloning excursion by scanning through various probable options who may provide him the best available specimen of humanity to satisfy his desire to overpower the world and who else could be better alternative here than the Mexican literary giant- Carlos Fuentes. What follows is a series of bizarre events ranging from surreal, fantastic developments to extravagant, out of the world comic phenomena with a touch of cautious horror.
The story or rather story within story act as recreational ground through which the narrator expresses his reflections upon literature, art, nature of humanity and various other aspects. The narrator, given unleash by the author, devotes ample time of his borrowed existence to discussing the reality and fiction, the distinction between them if any, through his well-reasoned digressions, Dadaism is also touched upon in this regard perhaps expressing nonsense and irrationality of the story and thereby life per se.
Overall, the author manages to weave the scared space of self- referential, metafictional postmodernist literature thereby suggesting how art communicates with the reality. He touches upon the various human emotions which define humanity, such as love, desire, lust, dominance and others through this carefully crafted and utterly hilarious tale. The author bends the traditions here and keeps the reader on his feet by changing the course of things through logical explorations to produce this little gem in contemporary literature.
The strangeness that made everything sparkle came from me. Worlds rose out of my bottomless perplexity.
January 5, 2024
亘丿丕賷丞 丕賱賲氐丕賱丨丞 馃 賲毓 兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷
乇睾賲 兀賳賴丕 賱賷爻鬲 兀丿亘 禺賷丕賱 毓賱賲賷 亘丕賲鬲賷丕夭貙 賮賴賷 賲賲夭賵噩丞 亘賰孬賷乇 賲賳 丕賱賮賱爻賮丞 賵乇亘賲丕 丕賱賯賱賷賱 賲賳 丕賱賴乇丕亍 兀賷囟丕.
丕賱乇賵丕賷丞 鬲爻鬲丨囟乇 賮賷 孬賳丕賷丕賴丕 賯囟丕賷丕 丕賱毓亘賯乇賷丞 賵丕賱兀丿亘 賵丕賱丕爻鬲賳爻丕禺 賲賳 禺賱丕賱 兀丿賷亘 丨丕賱賲 賵賱賰賳賴 毓丕賱賲 賲噩賳賵賳 兀賷囟丕
賷丐丿賷 賴賵爻賴 亘丕爻鬲賳爻丕禺 丕賱兀丿亘丕亍 賵丕賱毓亘丕賯乇丞 廿賱賶 禺胤兀 賰丕乇孬賷.
賵乇睾賲 兀賳 丕賱乇賵丕賷丞 賱丕 鬲鬲毓丿賶 佟贍贍 氐賮丨丞 廿賱丕 兀賳賴丕 賰孬賷賮丞 丕賱賲毓丕賳賷 賵鬲鬲乇賰 兀孬乇丕 亘丕賱賯丕乇卅貙 賵鬲丿禺賱賰 賮賷 毓丕賱賲 睾乇丕卅亘賷 賲賱賷卅 亘丕賱丕賳丿賴丕卮貙 賵毓丕賱賲 毓亘孬賷 爻賵乇賷丕賱賷.
丕賱鬲賯賷賷賲:佶/伽
乇睾賲 兀賳賴丕 賱賷爻鬲 兀丿亘 禺賷丕賱 毓賱賲賷 亘丕賲鬲賷丕夭貙 賮賴賷 賲賲夭賵噩丞 亘賰孬賷乇 賲賳 丕賱賮賱爻賮丞 賵乇亘賲丕 丕賱賯賱賷賱 賲賳 丕賱賴乇丕亍 兀賷囟丕.
丕賱乇賵丕賷丞 鬲爻鬲丨囟乇 賮賷 孬賳丕賷丕賴丕 賯囟丕賷丕 丕賱毓亘賯乇賷丞 賵丕賱兀丿亘 賵丕賱丕爻鬲賳爻丕禺 賲賳 禺賱丕賱 兀丿賷亘 丨丕賱賲 賵賱賰賳賴 毓丕賱賲 賲噩賳賵賳 兀賷囟丕
賷丐丿賷 賴賵爻賴 亘丕爻鬲賳爻丕禺 丕賱兀丿亘丕亍 賵丕賱毓亘丕賯乇丞 廿賱賶 禺胤兀 賰丕乇孬賷.
賵乇睾賲 兀賳 丕賱乇賵丕賷丞 賱丕 鬲鬲毓丿賶 佟贍贍 氐賮丨丞 廿賱丕 兀賳賴丕 賰孬賷賮丞 丕賱賲毓丕賳賷 賵鬲鬲乇賰 兀孬乇丕 亘丕賱賯丕乇卅貙 賵鬲丿禺賱賰 賮賷 毓丕賱賲 睾乇丕卅亘賷 賲賱賷卅 亘丕賱丕賳丿賴丕卮貙 賵毓丕賱賲 毓亘孬賷 爻賵乇賷丕賱賷.
丕賱鬲賯賷賷賲:佶/伽
March 26, 2025
"El hilo de Macuto" del pr贸logo podr铆a significar, palabra por palabra, "el texto de Aira". Me parece que estas cuatro palabras forman, de manera lac贸nica, una imagen definitoria de su entero trabajo. El libro contiene en clave parab贸lica la ilustraci贸n del modo inspirado en el cual este autor 煤nico, y probablemente hasta por s铆 mismo imprevisible, escribe. Aira es consciente de su unicidad y fiel a ella, porque esta es m谩s que 茅l: es un conjunto en el cual el autor solo ocupa una parte y tambi茅n est谩 dependiente de la entidad medio ajena (hecha de experiencias, memorias, saberes, imaginaci贸n y mucho m谩s) que lo impulsa a crear. Un acto del cual Aira se hace responsable, en una actitud extra帽amente modesta, como si no escribiera, sino solo transcribiera lo que se debe, por lo cual 茅l es, sin embargo, el 煤nico llamado. Se podr铆a decir, m谩s simplemente, que Aira tiene un Daimon, como lo ten铆a S贸crates. Y, como el Daimon es un genio casi ajeno, Aira puede ser modestamente genial:
Famosamente, Aira escribe en movimiento continuo y sin retornos: no vuelve a escribir nada, no edita. Sigue un flujo libre punteado por peque帽as revelaciones, giros inesperados, y el todo se concreta en esas ficciones que son, cada una, como un intrincado hilo con sus nudos. Aira es un artesano inspirado, el aprendiz diligente de su Daimon. Cada revelaci贸n es interceptada y despu茅s literalmente manipulada (con las manos), hecha 鈥渙bjeto鈥�, nudo, cap铆tulo. Despu茅s, otra revelaci贸n sigue, para formar otro imprevisible cap铆tulo y as铆 hasta que el libro entero, como un hilo, est谩 hecho. Si el comienzo del hilo no se parece a su final, Aira no lo pod铆a saber; eso sucede por c贸smica causalidad. 脡l, al terminar la obra, solo puede decir: 鈥淒e pronto, todo ca铆a en su lugar. Yo, que nunca comprendo nada si no es por cansancio, por renuncia, de pronto lo comprend铆a todo.鈥� Otro ejemplo de su actitud y de su modo de hacer, m谩gicamente pragm谩tico, est谩 aqu铆:
Entusiasmado con la lectura 鈥斺€渆ntusiasmo鈥� significa etimol贸gicamente 鈥渋nspirado por un dios鈥濃€� y en homenaje a Aira, decid铆 escribir esta rese帽a despu茅s de leer solo la primera parte, 隆o once p谩ginas! El libro ciertamente va a cambiar mucho en la segunda parte, que, en realidad, es el "objeto de este relato", y yo no puedo esperar a ver c贸mo. Voy a descubrirlo 鈥攜 os deseo que vosotros tambi茅n lo hag谩is鈥� en cuanto ponga este 煤ltimo punto.
No es que yo sea un genio ni un superdotado, qu茅 va. Todo lo contrario. Lo que pasa (tratar茅 de explicarlo) es que cada mente se conforma de acuerdo con sus experiencias y memorias y saberes, con la suma total, y la acumulaci贸n personal铆sima de todos los datos que la han hecho ser lo que es la hace 煤nica. Cada hombre es due帽o de una mente con poderes que pueden ser grandes o peque帽os pero que siempre son 煤nicos, propios de 茅l. Y lo hacen capaz de una 芦haza帽a禄, banal o grandiosa, que s贸lo 茅l habr铆a podido realizar. Aqu铆 todos hab铆an fallado porque hab铆an apostado a un simple progreso cuantitativo de la inteligencia y el ingenio, cuando lo que se necesitaba era una medida cualquiera de ambos, pero de la calidad apropiada. Mi inteligencia, lo he comprobado a mis expensas, es muy reducida. Apenas si me ha alcanzado para mantenerme a flote en las aguas procelosas de la vida. Pero es 煤nica en su calidad, y no es 煤nica porque yo me haya propuesto que lo sea, sino porque as铆 tiene que ser.
Famosamente, Aira escribe en movimiento continuo y sin retornos: no vuelve a escribir nada, no edita. Sigue un flujo libre punteado por peque帽as revelaciones, giros inesperados, y el todo se concreta en esas ficciones que son, cada una, como un intrincado hilo con sus nudos. Aira es un artesano inspirado, el aprendiz diligente de su Daimon. Cada revelaci贸n es interceptada y despu茅s literalmente manipulada (con las manos), hecha 鈥渙bjeto鈥�, nudo, cap铆tulo. Despu茅s, otra revelaci贸n sigue, para formar otro imprevisible cap铆tulo y as铆 hasta que el libro entero, como un hilo, est谩 hecho. Si el comienzo del hilo no se parece a su final, Aira no lo pod铆a saber; eso sucede por c贸smica causalidad. 脡l, al terminar la obra, solo puede decir: 鈥淒e pronto, todo ca铆a en su lugar. Yo, que nunca comprendo nada si no es por cansancio, por renuncia, de pronto lo comprend铆a todo.鈥� Otro ejemplo de su actitud y de su modo de hacer, m谩gicamente pragm谩tico, est谩 aqu铆:
Lo que quiero destacar es que no me limit茅 a resolver especulativamente el enigma, sino que lo hice tambi茅n en la pr谩ctica. Quiero decir: despu茅s de comprender qu茅 era lo que hab铆a que hacer, fui y lo hice. Y el objeto respondi贸. El Hilo, un arco tenso desde hac铆a siglos, lanz贸 al fin su flecha, y trajo a mis pies el tesoro oculto, volvi茅ndome rico en un instante. Lo que fue muy pr谩ctico, porque siempre he sido pobre, y 煤ltimamente lo hab铆a sido m谩s que nunca.
Entusiasmado con la lectura 鈥斺€渆ntusiasmo鈥� significa etimol贸gicamente 鈥渋nspirado por un dios鈥濃€� y en homenaje a Aira, decid铆 escribir esta rese帽a despu茅s de leer solo la primera parte, 隆o once p谩ginas! El libro ciertamente va a cambiar mucho en la segunda parte, que, en realidad, es el "objeto de este relato", y yo no puedo esperar a ver c贸mo. Voy a descubrirlo 鈥攜 os deseo que vosotros tambi茅n lo hag谩is鈥� en cuanto ponga este 煤ltimo punto.
February 19, 2014
I am not kidding when I say that Cesar Aira is the most fiercely free writer I have read. He is one whose greatness relies on the vehemence against great tome-y literature. I have described his writing methods in reviews of other books by him, so I won't go into those. Suffice it to say that he is almost always writing a manifesto for his style, which includes a liquid and senseless plot that the narrator keeps tangling and untangling (the efforts are for all to see). You read the manifesto and a slapdash execution of that manifesto, and emerge from the work bemused and altered. There is nothing even remotely close to the Cesar Aira experience. Do not ignore him, for he is one writer who has done something genuinely 'new' in fiction writing.
Impossible to talk of the story / plot itself when one talks of Cesar Aira. It's so inconsequential. Just know that weird, senseless stuff happens all the time, and weird, senseless arguments are given to explain it. In this book, Aira seems to particularly ridicule literary greatness, but that too seems incidental, and even perfunctory. His books efface themselves. They are an exercise in amnesia. Completely unmemorable, but somehow devoid of the negativity of that adjective.
Impossible to talk of the story / plot itself when one talks of Cesar Aira. It's so inconsequential. Just know that weird, senseless stuff happens all the time, and weird, senseless arguments are given to explain it. In this book, Aira seems to particularly ridicule literary greatness, but that too seems incidental, and even perfunctory. His books efface themselves. They are an exercise in amnesia. Completely unmemorable, but somehow devoid of the negativity of that adjective.
July 31, 2012
C茅sar Aira is the Roomba of literature. Like the little robotic vacuum cleaner that goes off in all directions, he keeps going straight forward until he bumps against an obstruction, then that straight line becomes a series of Ptolemaic epicycles that delight in their wild divagations.
As the result of pure chance, the narrator -- also called C茅sar -- discovers a pirate treasure that makes him fabulously rich. As a combination playwright and mad scientist, he decides to clone the Mexican author Carlos Fuentes (who was still alive in 1996 when The Literary Conference was first written). He does this by using a nano-wasp of his own devising, which he uses to extract one of the Mexican author's cells while he is attending a literary conference in Venezuela. Atop a mountain, he sets his cloning machine into action while he attends the literary conference himself, where an early play of his about Adam and Eve is being performed.
I will not say at this point exactly how the cloning experiment goes awry, but it does so, in a most apocalyptic way.
Midway through the book, Aira, tongue-in-cheek, talks about his writing style:
Too true, and so Aira's Rococo Roomba rolls over the literary landscape, I find myself in a new world where anything can happen. And does!
As the result of pure chance, the narrator -- also called C茅sar -- discovers a pirate treasure that makes him fabulously rich. As a combination playwright and mad scientist, he decides to clone the Mexican author Carlos Fuentes (who was still alive in 1996 when The Literary Conference was first written). He does this by using a nano-wasp of his own devising, which he uses to extract one of the Mexican author's cells while he is attending a literary conference in Venezuela. Atop a mountain, he sets his cloning machine into action while he attends the literary conference himself, where an early play of his about Adam and Eve is being performed.
I will not say at this point exactly how the cloning experiment goes awry, but it does so, in a most apocalyptic way.
Midway through the book, Aira, tongue-in-cheek, talks about his writing style:
But my mania -- to be constantly adding things, episodes, paragraphs, to be constantly veering off course, branching out -- is fatal. It must be due to insecurity, fear that the basics are not enough, so I have to keep adding more and more adornment until I achieve a kind of surrealistic rococo, which exasperates me more than it does anybody else.Far from seeing this as "fatal" or "exasperating," it is to be an endless source of delight. This is the fourth Aira I have read so far, and I cannot seem to stop. As Roberto Bolano once said, "Once you start reading Aira, you don't want to stop."
Too true, and so Aira's Rococo Roomba rolls over the literary landscape, I find myself in a new world where anything can happen. And does!
June 6, 2023
This is a very fast-paced science fiction, fantasy, horror and love story thriller with a considerable amount of humour added in for good measure. It is astonishing how much C茅sar Aira packed into fewer than 100 pages!
October 29, 2017
螉蟽蠅蟼 慰 渭蠈谓慰蟼 蟿蠈蟽慰 伪纬伪蟺畏渭苇谓慰蟼 螒蟻纬蔚谓蟿委谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼. 螠蔚蟿维 蟿慰 谓蠉蠂蟿蔚蟼 蟽蟿慰 桅位蠈蟻蔚蟼, 蟿慰 危蠀谓苇未蟻喂慰 位慰纬慰蟿蔚蠂谓维喂蟼 渭蔚 伪蟺慰纬蔚委蠅蟽蔚. 螣 蟿蟻蠈蟺慰蟼 蟺慰蠀 蟺伪委味蔚喂 渭蔚 蟿慰 渭蠀伪位蠈 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏, 蔚委谓伪喂 魏维蟿喂 蟺慰蠀 位伪蟿蟻蔚蠉蠅 蟽蟿慰谓 蟿蟻蠈蟺慰 纬蟻伪蠁萎蟼 蟿慰蠀. 螠蟺慰蟻蔚委 谓伪 蔚委谓伪喂 渭喂魏蟻维 蟽蔚 苇魏蟿伪蟽畏 蟿伪 纬蟻伪蟺蟿维 蟿慰蠀, 伪位位维 苇蠂蔚喂 蟺慰位蠉 蟽蠀渭蟺蠀魏谓蠅渭苇谓伪 渭畏谓蠉渭伪蟿伪. 螤蟻慰蟿蔚委谓蔚蟿伪喂!!!
January 3, 2023
爻夭丕乇 賲鬲乇噩賲貙 賳賵蹖爻賳丿賴 賵 丿丕賳卮賲賳丿蹖 丌乇跇丕賳鬲蹖賳蹖 丕爻鬲 讴賴 乇賵蹖丕蹖 爻賱胤賴 亘乇 噩賴丕賳 乇賵 丿丕乇賴. 丿爻鬲诏丕賴蹖 丕禺鬲乇丕毓 讴乇丿賴 讴賴 賲賵噩賵丿 夭賳丿賴 鬲讴孬蹖乇 賲蹖鈥屭┵嗁� 賵 丕賵賳 丿乇 賮讴乇 丕蹖賳賴 讴賴 蹖讴 賳丕亘睾賴 乇賵 鬲讴孬蹖乇 讴賳賴. 亘乇丕蹖 丕蹖賳讴丕乇 賳賵蹖爻賳丿賴鈥屰� 爻乇卮賳丕爻 賲讴夭蹖讴蹖 讴丕乇賱賵爻 賮賵卅賳鬲爻 乇賵 丕賳鬲禺丕亘 賲蹖讴賳賴 賵 亘乇丕蹖 丿丕卮鬲賳 蹖讴 爻賱賵賱 丕夭 丕賵賳 亘賴 讴賳诏乇賴鈥屰� 丕丿亘蹖丕鬲 丿乇 賵賳夭賵卅賱丕 賲蹖乇賴 賵 倬爻 丕夭 丕賵賳 丕鬲賮丕賯丕鬲 噩丕賱亘蹖 亘乇丕卮 賲蹖鈥屫з佖�. 丿乇 丨蹖賳 鬲毓乇蹖賮 丿丕爻鬲丕賳 讴賲蹖 賴賲 丕夭 丕毓鬲賯丕丿丕鬲 賵 夭賳丿诏蹖 禺賵丿卮 亘乇丕賲賵賳 鬲毓乇蹖賮 賲蹖鈥屭┵嗁� 讴賴 賲蹖鬲賵賳賴 賯丕亘賱 鬲賵噩賴 亘丕卮賴.賴
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August 27, 2024How to Avoid Magic Realism, Surrealism, Logic, and Structure
Another spectacular book by C茅sar Aira. He's very uneven, but at his best, he has occasionally been the world's best writer. He can outpace conventional narration, magic realism, surrealism, absurdism, and philosophic fiction.
This time I'll zero in on a quality of his imagination that sets him apart from many other authors. This book begins with a short chapter describing how the author, a certain C茅sar, famous writer and "mad scientist," discovers the secret of the "Macuto Line," a mysterious braided cord on the coast of Venezuela. The Macuto Line, C茅sar says, was one of the world's wonders. It had been constructed by pirates to hide their treasure, but no one had succeeded in figuring out how to retrieve the treasure, which was somehow buried, at the end of the line, under water. C茅sar protests that he is not a universal genius, that there is no such thing as universal genius. But he has a particular combination of talents and weaknesses. He spends a couple of pages describing his theory of unique but unexceptional talents. He proposes a thought experiment: think of any three books you've read. There may be hundreds of other people in the world who have read those same books. Now add a book, and only a few people will have read those same four books. Add one or two more, and you will be the only one in the world who has read that particular combination of books. You aren't a genius for having done so, but you have skills and qualities of attention no one else has. Using this individual combination, C茅sar does something simple to the braided Macuto Line, and the treasure chest bursts out of its underwater cave and falls at his feet.
Now here's what's different about Aira: almost any other author would have made that an emblem, a theme, a leitmotif, a central subject. But "The Literary Conference" never returns to the subject, draws any conclusions from it, or proposes it as a key to C茅sar's character. The Macuto Line is actually more or less forgotten. It doesn't even function as an introduction to the logic or narrative of the book, but at the same time it isn't an absurdist episode that is meant to be read allegorically as a sign of the illogic of life. Nor is it a surrealist or magic realist moment that is intended to evoke the world's absurdity or mystery. (In other books, Aira does fall into the clich茅s of so-called magic realism, with its assumption or hope that every surrealist juxtaposition or moment of illogic is in itself meaningful or expressive.)
The Macuto Line is simply the reason the narrator is rich, and even that doesn't matter much for the novel. There's something peculiar about Aira's way of imagining fiction. The Macuto Line, and other things that happen in this book, are nominally in the magic realist tradition, but only in a superficial sense because they don't reveal any unconscious ideas (as in surrealism) or hidden natural sublime poetry (as in what's often identified as Latin American magic realism).
The abstract meditations Aira uses to introduce things like the Macuto Line are nominally examples of philosophic fiction, but he has no philosophic arguments to make, only stories to tell. It's not that he doesn't care about literary precedents, possibilities, and expectations, but that his imagination is apparently either entirely impossible to control鈥攐r he'd like to avoid controlling it as much as possible.
Revised August 2024
Another spectacular book by C茅sar Aira. He's very uneven, but at his best, he has occasionally been the world's best writer. He can outpace conventional narration, magic realism, surrealism, absurdism, and philosophic fiction.
This time I'll zero in on a quality of his imagination that sets him apart from many other authors. This book begins with a short chapter describing how the author, a certain C茅sar, famous writer and "mad scientist," discovers the secret of the "Macuto Line," a mysterious braided cord on the coast of Venezuela. The Macuto Line, C茅sar says, was one of the world's wonders. It had been constructed by pirates to hide their treasure, but no one had succeeded in figuring out how to retrieve the treasure, which was somehow buried, at the end of the line, under water. C茅sar protests that he is not a universal genius, that there is no such thing as universal genius. But he has a particular combination of talents and weaknesses. He spends a couple of pages describing his theory of unique but unexceptional talents. He proposes a thought experiment: think of any three books you've read. There may be hundreds of other people in the world who have read those same books. Now add a book, and only a few people will have read those same four books. Add one or two more, and you will be the only one in the world who has read that particular combination of books. You aren't a genius for having done so, but you have skills and qualities of attention no one else has. Using this individual combination, C茅sar does something simple to the braided Macuto Line, and the treasure chest bursts out of its underwater cave and falls at his feet.
Now here's what's different about Aira: almost any other author would have made that an emblem, a theme, a leitmotif, a central subject. But "The Literary Conference" never returns to the subject, draws any conclusions from it, or proposes it as a key to C茅sar's character. The Macuto Line is actually more or less forgotten. It doesn't even function as an introduction to the logic or narrative of the book, but at the same time it isn't an absurdist episode that is meant to be read allegorically as a sign of the illogic of life. Nor is it a surrealist or magic realist moment that is intended to evoke the world's absurdity or mystery. (In other books, Aira does fall into the clich茅s of so-called magic realism, with its assumption or hope that every surrealist juxtaposition or moment of illogic is in itself meaningful or expressive.)
The Macuto Line is simply the reason the narrator is rich, and even that doesn't matter much for the novel. There's something peculiar about Aira's way of imagining fiction. The Macuto Line, and other things that happen in this book, are nominally in the magic realist tradition, but only in a superficial sense because they don't reveal any unconscious ideas (as in surrealism) or hidden natural sublime poetry (as in what's often identified as Latin American magic realism).
The abstract meditations Aira uses to introduce things like the Macuto Line are nominally examples of philosophic fiction, but he has no philosophic arguments to make, only stories to tell. It's not that he doesn't care about literary precedents, possibilities, and expectations, but that his imagination is apparently either entirely impossible to control鈥攐r he'd like to avoid controlling it as much as possible.
Revised August 2024
April 11, 2017
Der Erz盲hler ist im Grunde eine schwer gest枚rte Pers枚nlichkeit, jemand dessen private Beziehungen desastr枚s sind, 眉berhaupt seine Beziehungen zu anderen (鈥濪as Gel盲chter schreckte mich auf. Ich hatte ganz vergessen, dass das Publikum ja auch reagieren konnte.鈥�) Dem entflieht er, der 脺bersetzer, in dem er St眉cke schreibt, R盲tsel um verborgene Sch盲tze l枚st und, denn Wissenschaftler ist er auch noch, Menschen klont. Nein, nicht irgendwelche Menschen, sondern . Denn, so der Plan, der k枚nne dem Erz盲hler die Arbeit des Denkens, Entscheidens abnehmen.
Es wimmelt in dem Buch vor absurden, tiefsinnigen, verr眉ckten Ideen. Es ist ein wahres Feuerwerk und obwohl das Buch so schmal ist und sich schnell wegliest, kann man an einigen Stellen lange verharren und 眉ber diese Ideen nachdenken. (Und manchmal vergeblich versuchen, ihnen zu folgen.)
Spannend auch, wie der Prozess des Schreibens eben dieser Geschichte reflektiert wird. Da werden einerseits klassische literarische Motive einbezogen, Piraten, verborgene, verr眉ckte Wissenschaftler, Rieseninsekten. Zu den zahlreichen ironischen Anmerkungen geh枚rt, dass der Erz盲hler dennoch bekennt, dass er 鈥瀍ine Abneigung hege, gegen das, was jetzt 鈥欼ntertextualit盲t鈥� genannt wird; [...] Ich mache mir die Arbeit, mir alles selbst auszudenken鈥�. Das widerspricht nicht nur der Verwendung bekannter Motive, sondern insbesondere der Tatsache, dass der Erz盲hler ein 脺bersetzer auch im 脺bertragenen Sinne ist und dies immer wieder thematisiert.
Und habe ich schon gesagt, dass der Erz盲hler dem Autor sehr nahe steht? Zumindest hei脽t er auch C茅sar. Vielleicht auch ein missratener Klon?
Und das Cover ist nat眉rlich wunderbar, was der Leser erst sp盲ter versteht.
Das ist mit Sicherheit nicht der letzte Aira, den ich lesen werde, auch wenn ich fast ein bisschen dankbar bin, dass (bislang) nicht alle seine B眉cher 眉bersetzt wurden. Seit den fr眉hen 90ern produziert er drei bis vier dieser Kurzromane pro Jahr, die Liste d眉rfte bereits un眉berschaubar sein. Vermutlich l盲uft sich diese Masche der Anh盲ufung von gescheiten Absurdit盲ten auch irgendwann tot, zun盲chst einmal bin ich aber neugierig auf mehr...
Es wimmelt in dem Buch vor absurden, tiefsinnigen, verr眉ckten Ideen. Es ist ein wahres Feuerwerk und obwohl das Buch so schmal ist und sich schnell wegliest, kann man an einigen Stellen lange verharren und 眉ber diese Ideen nachdenken. (Und manchmal vergeblich versuchen, ihnen zu folgen.)
Spannend auch, wie der Prozess des Schreibens eben dieser Geschichte reflektiert wird. Da werden einerseits klassische literarische Motive einbezogen, Piraten, verborgene, verr眉ckte Wissenschaftler, Rieseninsekten. Zu den zahlreichen ironischen Anmerkungen geh枚rt, dass der Erz盲hler dennoch bekennt, dass er 鈥瀍ine Abneigung hege, gegen das, was jetzt 鈥欼ntertextualit盲t鈥� genannt wird; [...] Ich mache mir die Arbeit, mir alles selbst auszudenken鈥�. Das widerspricht nicht nur der Verwendung bekannter Motive, sondern insbesondere der Tatsache, dass der Erz盲hler ein 脺bersetzer auch im 脺bertragenen Sinne ist und dies immer wieder thematisiert.
Und habe ich schon gesagt, dass der Erz盲hler dem Autor sehr nahe steht? Zumindest hei脽t er auch C茅sar. Vielleicht auch ein missratener Klon?
Und das Cover ist nat眉rlich wunderbar, was der Leser erst sp盲ter versteht.
Das ist mit Sicherheit nicht der letzte Aira, den ich lesen werde, auch wenn ich fast ein bisschen dankbar bin, dass (bislang) nicht alle seine B眉cher 眉bersetzt wurden. Seit den fr眉hen 90ern produziert er drei bis vier dieser Kurzromane pro Jahr, die Liste d眉rfte bereits un眉berschaubar sein. Vermutlich l盲uft sich diese Masche der Anh盲ufung von gescheiten Absurdit盲ten auch irgendwann tot, zun盲chst einmal bin ich aber neugierig auf mehr...
November 14, 2016
爻賷夭丕乇 丌賷乇丕 賴賵 賰丕鬲亘 兀乇噩賳鬲賷賳賷 賲乇賲賵賯貙 賲賳匕 毓丕賲 1975 賳卮乇 兀賰孬乇 賲賳 爻亘毓賷賳 乇賵丕賷丞貙 爻賷亘丿賵 賱賳丕 賴匕 丕賱乇賯賲 賰亘賷乇丕 噩丿丕 賱賵 賱丕 兀賳 兀賳賴 賱丕 賷鬲噩丕賵夭 丕賱賭 100 氐賮丨丞 賱賰賱 乇賵丕賷丞. 乇賵丕賷鬲賴 丕賱賲丐鬲賲乇 丕賱丕丿亘賷 賴賵 丕賱毓賲賱 丕賱兀賵賱 丕賱匕賷 鬲賲 毓乇囟賴 亘丕賱賱睾丞 丕賱毓乇亘賷丞 鬲乇噩賲賴丕 賱賳丕 丕賱爻賷丿 毓亘丿丕賱賰乇賷賲 亘丿乇禺丕賳貙 丕賱丕賲乇 丕賱匕賷 賷丿毓賵 廿賱賶 丕賱鬲賲賴賱 賮賷 丕賱丨賰賲 毓賱賶 丕賱乇賵丕賷丞 丿賵賳 鬲鬲亘毓 丕賱賲卮乇賵毓 丕賱匕賷 賷賳賴噩丞 丕賱賰丕鬲亘 賮賷 兀毓賲丕賱賴 丕賱兀禺乇賶貙 賮毓賳丿賲丕 賯賲鬲 亘丕賱亘丨孬 賵噩丿鬲 賳丿賮丕 氐睾賷乇丞 賴賳丕 賵賴賳丕賰 賵丨賵丕乇 賲鬲乇噩賲 賳卮乇 賮賷 毓丕賲 2009 亘兀賳 丌賷乇丕 賷毓丿 賲賳 丕賱噩賷賱 丕賱匕賷賳 兀丿禺賱賵丕 丕賱鬲賯丕賱賷丿 丕賱孬賯丕賮賷丞 丕賱丕賵乇賵亘賷丞 賮賷 丕賱丕丿亘 丕賱賱丕鬲賷賳賷 丕賱匕賷 鬲卮亘毓 賲丐禺乇丕 亘丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞貙 賲賲丕 噩毓賱賴 賲賳 丕賱孬丕卅乇賷賳 毓賱賶 賴匕賴 丕賱賲丿乇爻丞 丕賱丕丿亘賷丞.
亘胤賱 丕賱乇賵丕賷丞 賲丐賱賮 賵賲鬲乇噩賲 賵毓丕賱賲 賲噩賳賵賳貙 賷馗賴乇 毓賱賷賴 賰賲丕 賱賵 賰丕賳 兀爻賷乇丕 賱賳噩丕丨賴 丕賱匕賷 賷賳鬲賴賷 丿丕卅賲丕 賮賷 爻賷丕賯 丕賱賲睾丕賲乇丞 丕賱禺胤乇丞貙 鬲乇鬲賮毓 丿乇噩丞 丕賱丕丨丿丕孬 毓賳丿賲丕 賱亘 丿毓賵丞 丕賱賲丐鬲賲乇 丕賱丕丿亘賷 亘毓丿賲丕 鬲兀賰丿 賲賳 丕賳 丕賱賰丕鬲亘 賰丕乇賱賵爻 賮賵賷賳鬲爻 爻賷賰賵賳 賲賳 囟賲賳 丕賱丨囟賵乇 丨鬲賶 賷爻鬲賳爻禺 賲賳賴 噩賷卮丕 毓賳 胤乇賷賯 丕爻鬲禺丿丕賲 丕賱賱睾夭 丕賱毓賱賲賷 丕賱賲丨賷乇 "禺胤 賲丕賰賵鬲賵" 賱賷鬲賲賰賳 賲賳 丕賱爻賷胤乇丞 毓賱賶 丕賱毓丕賱賲貙 賵賱賰賳 鬲亘丿兀 丕賱賲卮賰賱丞 毓賳丿賲丕 賯丕賲 丕賱毓丕賱賲 賵賷丿毓賶 爻賷夭丕乇 丕賱丕爻鬲賳爻丕禺 亘胤乇賷賯 丕賱禺胤兀 丕賱禺賱賷丞 丕賱鬲賷 賱賷爻 賲賳 賮賵賷賳鬲爻 賵賱賰賳 賲賳 乇亘胤丞 毓賳賯賴 !
賱賲 鬲禺賱賵丕 賲賳 乇丐賶 賮賱爻賮賷丞 毓賲賷賯丞
亘胤賱 丕賱乇賵丕賷丞 賲丐賱賮 賵賲鬲乇噩賲 賵毓丕賱賲 賲噩賳賵賳貙 賷馗賴乇 毓賱賷賴 賰賲丕 賱賵 賰丕賳 兀爻賷乇丕 賱賳噩丕丨賴 丕賱匕賷 賷賳鬲賴賷 丿丕卅賲丕 賮賷 爻賷丕賯 丕賱賲睾丕賲乇丞 丕賱禺胤乇丞貙 鬲乇鬲賮毓 丿乇噩丞 丕賱丕丨丿丕孬 毓賳丿賲丕 賱亘 丿毓賵丞 丕賱賲丐鬲賲乇 丕賱丕丿亘賷 亘毓丿賲丕 鬲兀賰丿 賲賳 丕賳 丕賱賰丕鬲亘 賰丕乇賱賵爻 賮賵賷賳鬲爻 爻賷賰賵賳 賲賳 囟賲賳 丕賱丨囟賵乇 丨鬲賶 賷爻鬲賳爻禺 賲賳賴 噩賷卮丕 毓賳 胤乇賷賯 丕爻鬲禺丿丕賲 丕賱賱睾夭 丕賱毓賱賲賷 丕賱賲丨賷乇 "禺胤 賲丕賰賵鬲賵" 賱賷鬲賲賰賳 賲賳 丕賱爻賷胤乇丞 毓賱賶 丕賱毓丕賱賲貙 賵賱賰賳 鬲亘丿兀 丕賱賲卮賰賱丞 毓賳丿賲丕 賯丕賲 丕賱毓丕賱賲 賵賷丿毓賶 爻賷夭丕乇 丕賱丕爻鬲賳爻丕禺 亘胤乇賷賯 丕賱禺胤兀 丕賱禺賱賷丞 丕賱鬲賷 賱賷爻 賲賳 賮賵賷賳鬲爻 賵賱賰賳 賲賳 乇亘胤丞 毓賳賯賴 !
賱賲 鬲禺賱賵丕 賲賳 乇丐賶 賮賱爻賮賷丞 毓賲賷賯丞
March 2, 2011
the literary conference, a slim work by the very productive c茅sar aira, is both fantastic and inventive. the argentinian author has written over sixty books, though, as yet, only five have been translated into english (a sixth, the seamstress and the wind, is slated for release early this summer). this novella, defying easy categorization, incorporates elements from a number of different genres.
aira's main character, a translator and playwright, sets about fulfilling his dream of world domination through the assumed role of the mad scientist. his plans are to be brought to fruition through the cloning of the great mexican novelist, carlos fuentes. the consequences of his plan deviate from their intended course, transforming the story in a wholly unanticipated way. to reveal the outcome, of course, would be poor sportsmanship, but suffice it to say that not a single reader could possibly expect the turns the story takes.
aira's unique approach to writing literature and upending traditional convention is readily apparent. as more of his catalog becomes available in english, we ought to be treated to an even greater display of his imagination and talent. while the literary conference is by no means a masterpiece, it is certainly an original and intriguing work. for whatever strange reason, it kept reminding me of both bioy's the invention of morel and the 1980s arcade game marble madness.
as a result, perfection has to find its own way. we can't find perfection. the miracle is that it happens at all. life is generous that way, it always is.
aira's main character, a translator and playwright, sets about fulfilling his dream of world domination through the assumed role of the mad scientist. his plans are to be brought to fruition through the cloning of the great mexican novelist, carlos fuentes. the consequences of his plan deviate from their intended course, transforming the story in a wholly unanticipated way. to reveal the outcome, of course, would be poor sportsmanship, but suffice it to say that not a single reader could possibly expect the turns the story takes.
aira's unique approach to writing literature and upending traditional convention is readily apparent. as more of his catalog becomes available in english, we ought to be treated to an even greater display of his imagination and talent. while the literary conference is by no means a masterpiece, it is certainly an original and intriguing work. for whatever strange reason, it kept reminding me of both bioy's the invention of morel and the 1980s arcade game marble madness.
as a result, perfection has to find its own way. we can't find perfection. the miracle is that it happens at all. life is generous that way, it always is.
December 13, 2016
丕賱賲丐鬲賲乇 丕賱兀丿亘賷
賱丿賷 卮睾賮 亘兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷貙 賵賲毓 匕賱賰 賱丕夭丕賱鬲 賯乇丕亍丕鬲賷 賮賷賴 賯丕氐乇丞貙 乇亘賲丕 賱兀賳賴 賲馗賱賵賲 鬲乇噩賲賷丕賸貙 賱賴匕丕 丕賯鬲賳賷鬲 禺賱丕賱 丕賱毓丕賲 丕賱賲丕囟賷 兀賴賲 賲丕 氐丿乇 賮賷 兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷 賲賳 爻丿丕爻賷丞 (Dune) 賱賮乇丕賳賰 賴乇亘乇鬲貙 賱兀賴賲 賲丐賱賮丕鬲 廿爻丨丕賯 毓馗賷賲賵賮貙 賱兀賴賲 丕賱毓賳丕賵賷賳 丕賱鬲賷 鬲鬲氐丿乇 賯賵丕卅賲 賴匕丕 丕賱賳賵毓 賲賳 丕賱兀丿亘貙 賵賱丿賷 乇睾亘丞 賮賷 賲賳丨 賴匕丕 丕賱兀丿亘 賲爻丕丨丞 賲賳 賯乇丕亍丕鬲賷 丕賱爻賳賵賷丞.
賷賲孬賱 兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷 亘丕賱賳爻亘丞 賱賷 賲夭賷噩 賲孬賷乇 賲賳 丕賱禺賷丕賱 賵丕賱賮賱爻賮丞 賵丕賱毓賱賲貙 賲丨丕賵賱丞 賱丕賰鬲卮丕賮 噩賵賴乇 丕賱廿賳爻丕賳 賵賯賷賲賴 賲賳 禺賱丕賱 賯氐丞 賲噩賳賵賳丞 丿丕卅賲丕賸貙 鬲丿賵乇 兀丨丿丕孬賴丕 賮賷 賲毓賲賱 兀賵 賲噩鬲賲毓 丿賷爻鬲賵亘賷 兀賵 賮賷 賲噩乇丞 亘毓賷丿丞貙 賷賲孬賱 兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷 賳賵毓 賲賳 丕賱丕賳賮賰丕賰 毓賳 丕賱賵丕賯毓 賵丕賱賲噩鬲賲毓 丕賱禺丕賳賯賷賳.
兀賵賱 賯乇丕亍丞 賱爻賷夭丕乇 丌賷乇丕 賵丕賱匕賷 賷亘丿賵 賱賷 賳爻禺丞 兀囟毓賮 賲賳 賰賵乇鬲 賮賵賳賷睾賵鬲貙 賷賰鬲亘 丌賷乇丕 乇賵丕賷鬲賴 丕賱賯氐賷乇丞 賴匕賴 賱丕賴孬丕賸 賮賷賲丕 賷亘丿賵貙 賲毓鬲賲丿丕賸 毓賱賶 賲賵囟賵毓丞 丕賱毓丕賱賲 丕賱賲噩賳賵賳 丕賱匕賷 賷乇賷丿 丕賱爻賷胤乇丞 毓賱賶 丕賱毓丕賱賲貙 賷賰鬲卮賮 賴匕丕 丕賱毓丕賱賲 賰賳夭丕賸 賷賳賯匕賴 賲賳 丕賱賮賯乇貙 賷丨囟乇 賲丐鬲賲乇丕賸 兀丿亘賷丕賸 賮賷 賲賳胤賯丞 噩亘賱賷丞 賵賴賵 賷胤賲丨 廿賱賶 丕爻鬲賳爻丕禺 丕賱兀丿賷亘 丕賱賲賰爻賷賰賷 丕賱卮賴賷乇 賰丕乇賱賵爻 賮賵賷賳鬲爻 賱賷爻鬲禺丿賲賴 賮賷 賲禺胤胤丕鬲賴貙 賰丕賳 賷賲賰賳 賱賱乇賵丕賷丞 兀賳 鬲賰賵賳 兀賮囟賱 亘賰孬賷乇 賲毓 卮賷亍 賲賳 丕賱鬲乇賰賷夭.
賱丿賷 卮睾賮 亘兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷貙 賵賲毓 匕賱賰 賱丕夭丕賱鬲 賯乇丕亍丕鬲賷 賮賷賴 賯丕氐乇丞貙 乇亘賲丕 賱兀賳賴 賲馗賱賵賲 鬲乇噩賲賷丕賸貙 賱賴匕丕 丕賯鬲賳賷鬲 禺賱丕賱 丕賱毓丕賲 丕賱賲丕囟賷 兀賴賲 賲丕 氐丿乇 賮賷 兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷 賲賳 爻丿丕爻賷丞 (Dune) 賱賮乇丕賳賰 賴乇亘乇鬲貙 賱兀賴賲 賲丐賱賮丕鬲 廿爻丨丕賯 毓馗賷賲賵賮貙 賱兀賴賲 丕賱毓賳丕賵賷賳 丕賱鬲賷 鬲鬲氐丿乇 賯賵丕卅賲 賴匕丕 丕賱賳賵毓 賲賳 丕賱兀丿亘貙 賵賱丿賷 乇睾亘丞 賮賷 賲賳丨 賴匕丕 丕賱兀丿亘 賲爻丕丨丞 賲賳 賯乇丕亍丕鬲賷 丕賱爻賳賵賷丞.
賷賲孬賱 兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷 亘丕賱賳爻亘丞 賱賷 賲夭賷噩 賲孬賷乇 賲賳 丕賱禺賷丕賱 賵丕賱賮賱爻賮丞 賵丕賱毓賱賲貙 賲丨丕賵賱丞 賱丕賰鬲卮丕賮 噩賵賴乇 丕賱廿賳爻丕賳 賵賯賷賲賴 賲賳 禺賱丕賱 賯氐丞 賲噩賳賵賳丞 丿丕卅賲丕賸貙 鬲丿賵乇 兀丨丿丕孬賴丕 賮賷 賲毓賲賱 兀賵 賲噩鬲賲毓 丿賷爻鬲賵亘賷 兀賵 賮賷 賲噩乇丞 亘毓賷丿丞貙 賷賲孬賱 兀丿亘 丕賱禺賷丕賱 丕賱毓賱賲賷 賳賵毓 賲賳 丕賱丕賳賮賰丕賰 毓賳 丕賱賵丕賯毓 賵丕賱賲噩鬲賲毓 丕賱禺丕賳賯賷賳.
兀賵賱 賯乇丕亍丞 賱爻賷夭丕乇 丌賷乇丕 賵丕賱匕賷 賷亘丿賵 賱賷 賳爻禺丞 兀囟毓賮 賲賳 賰賵乇鬲 賮賵賳賷睾賵鬲貙 賷賰鬲亘 丌賷乇丕 乇賵丕賷鬲賴 丕賱賯氐賷乇丞 賴匕賴 賱丕賴孬丕賸 賮賷賲丕 賷亘丿賵貙 賲毓鬲賲丿丕賸 毓賱賶 賲賵囟賵毓丞 丕賱毓丕賱賲 丕賱賲噩賳賵賳 丕賱匕賷 賷乇賷丿 丕賱爻賷胤乇丞 毓賱賶 丕賱毓丕賱賲貙 賷賰鬲卮賮 賴匕丕 丕賱毓丕賱賲 賰賳夭丕賸 賷賳賯匕賴 賲賳 丕賱賮賯乇貙 賷丨囟乇 賲丐鬲賲乇丕賸 兀丿亘賷丕賸 賮賷 賲賳胤賯丞 噩亘賱賷丞 賵賴賵 賷胤賲丨 廿賱賶 丕爻鬲賳爻丕禺 丕賱兀丿賷亘 丕賱賲賰爻賷賰賷 丕賱卮賴賷乇 賰丕乇賱賵爻 賮賵賷賳鬲爻 賱賷爻鬲禺丿賲賴 賮賷 賲禺胤胤丕鬲賴貙 賰丕賳 賷賲賰賳 賱賱乇賵丕賷丞 兀賳 鬲賰賵賳 兀賮囟賱 亘賰孬賷乇 賲毓 卮賷亍 賲賳 丕賱鬲乇賰賷夭.
September 3, 2017
賲賷爻賰賷賱丕賳賷...賲賷爻賰賷賱丕賳賷...賲賷爻賰賷賱丕賳賷...
鬲乇噩賲丕鬲 賴匕丕 丕賱丿丕乇 賱丕 睾亘丕乇 毓賱賷賴丕貙 賮丕賷賳賲丕 鬲噩丿 賰鬲丕亘丕賸 賲賳 鬲乇噩賲丞 丿丕乇 賲賷爻賰賷賱丕賳賷 賮丕賳賴 賱丕 亘丿賾 乇丕卅毓貙 賵賯丿 鬲毓乇賮鬲 毓賳 胤乇賷賯 賴匕丕 丕賱丿丕乇 丕賷囟丕賸 毓賱賶 賲鬲乇噩賲賷賳 丕賮匕丕匕 賰賲毓丕賵賷丞 毓亘丿 丕賱賲噩賷丿 賵毓亘丿 丕賱賰乇賷賲 亘丿乇禺丕賳 賵毓賱賷 丕賱賲噩賳賵賳賷.
毓賲賵賲丕賸 丕賱乇賵丕賷丞 噩賲賷賱丞 賵丕爻鬲孬賳丕卅賷丞貙 賱賲 丕賯乇兀 乇賵丕賷丞 亘賲孬賱 賴匕賴 丕賱丨賷賵賷丞 賵丕賱夭禺賲 賲賳匕 賵賯鬲 胤賵賷賱
鬲乇噩賲丕鬲 賴匕丕 丕賱丿丕乇 賱丕 睾亘丕乇 毓賱賷賴丕貙 賮丕賷賳賲丕 鬲噩丿 賰鬲丕亘丕賸 賲賳 鬲乇噩賲丞 丿丕乇 賲賷爻賰賷賱丕賳賷 賮丕賳賴 賱丕 亘丿賾 乇丕卅毓貙 賵賯丿 鬲毓乇賮鬲 毓賳 胤乇賷賯 賴匕丕 丕賱丿丕乇 丕賷囟丕賸 毓賱賶 賲鬲乇噩賲賷賳 丕賮匕丕匕 賰賲毓丕賵賷丞 毓亘丿 丕賱賲噩賷丿 賵毓亘丿 丕賱賰乇賷賲 亘丿乇禺丕賳 賵毓賱賷 丕賱賲噩賳賵賳賷.
毓賲賵賲丕賸 丕賱乇賵丕賷丞 噩賲賷賱丞 賵丕爻鬲孬賳丕卅賷丞貙 賱賲 丕賯乇兀 乇賵丕賷丞 亘賲孬賱 賴匕賴 丕賱丨賷賵賷丞 賵丕賱夭禺賲 賲賳匕 賵賯鬲 胤賵賷賱
October 3, 2018
螤蟻蠋蟿畏 蔚蟺伪蠁萎 渭蔚 蟿慰 苇蟻纬慰 蟿慰蠀 危苇蟽伪蟻 螁喂蟻伪 魏伪喂 未蔚谓 渭蟺慰蟻蠋 谓伪 蟺蠅 蠈蟿喂 尉蔚蟿蟻蔚位维胃畏魏伪 魏喂蠈位伪蟼. 韦慰 尾喂尾位委慰 尉蔚魏委谓畏蟽蔚 魏伪位慰蠉蟿蟽喂魏伪, 蔚谓蠋 蔚蟺委蟽畏蟼 苇谓伪 渭蔚纬维位慰 魏慰渭渭维蟿喂 蟽蟿慰 蟿苇位慰蟼 萎蟿伪谓 蟽蠂蔚未蠈谓 伪蟺慰位伪蠀蟽蟿喂魏蠈 (未蔚谓 渭蟺慰蟻蠋 谓伪 蟺蠅 魏维蟿喂 蟽蠂蔚蟿喂魏维, 纬喂伪蟿委 胃伪 蟺蟻慰未蠋蟽蠅 蟽蟿慰喂蠂蔚委伪 蟿畏蟼 蟺位慰魏萎蟼), 伪位位维 蟽蟿慰 蔚谓未喂维渭蔚蟽慰 胃伪 苇位蔚纬伪 蠈蟿喂 魏慰蠀蟻维蟽蟿畏魏伪 魏伪喂 尾伪蟻苇胃畏魏伪 慰位委纬慰谓 蟿喂. 螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蠈蟿喂 蟿慰 蠉蠁慰蟼 蟿畏蟼 纬蟻伪蠁萎蟼 未蔚谓 渭慰蠀 苇魏伪谓蔚 "魏位喂魏", 未蔚谓 渭蔚 维纬纬喂尉蔚, 伪谓 魏伪喂 尾苇尾伪喂伪 蟺伪蟻伪未苇蠂慰渭伪喂 蠈蟿喂 慰 螁喂蟻伪 苇蠂蔚喂 苇谓伪 魏维蟺慰喂慰 蟽蟿喂位. 螒位位维 渭维位位慰谓 蠈位伪 伪蠀蟿维 蟿伪... 蠁喂位慰蟽慰蠁喂魏维 蔚蟻蠅蟿萎渭伪蟿伪 蟺蔚蟻委 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼/渭畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼 (;) 魏伪喂 未蔚谓 蟽蠀渭渭伪味蔚蠉蔚蟿伪喂, 蠈蟿伪谓 伪蠁畏纬畏蟿萎蟼 蔚委谓伪喂 苇谓伪蟼 蔚蟽蟿苇蟿 蟿畏蟼 未喂伪谓蠈畏蟽畏蟼 渭蔚 蟿喂蟼 伪谓伪蟺蠈蠁蔚蠀魏蟿蔚蟼 未畏胃蔚谓喂苇蟼 蟿慰蠀, 伪蟺位维 渭蔚 伪蠁萎谓慰蠀谓 伪未喂维蠁慰蟻慰. 螘谓蟿维尉蔚喂, 蠀蟺慰胃苇蟿蠅 蠈蟿喂 蟽伪谓 尾喂尾位委慰 苇蠂蔚喂 蟿慰 蔚谓未喂伪蠁苇蟻慰谓 蟿慰蠀, 魏伪胃蠋蟼 魏伪喂 未喂维蠁慰蟻伪 渭畏谓蠉渭伪蟿伪 蟺蔚蟻委 蟿苇蠂谓畏蟼 魏伪喂 蟺慰位喂蟿喂蟽渭慰蠉 蟽蠀渭蟺蠀魏谓蠅渭苇谓伪 蟽蔚 蟽蠂蔚未蠈谓 蔚魏伪蟿蠈 蟽蔚位委未蔚蟼, 伪位位维 蟺喂胃伪谓蠈蟿伪蟿伪 未蔚谓 蔚委谓伪喂 纬喂伪 蠈位伪 蟿伪 纬慰蠉蟽蟿伪. 危蟿畏 尾喂尾位喂慰胃萎魏畏 渭慰蠀 苇蠂蠅 魏伪喂 蟿慰 "螔伪蟻维渭慰" (蟿慰 慰蟺慰委慰 蟺蔚蟻喂苇蠂蔚喂 未蠀慰 谓慰蠀尾苇位蔚蟼), 慰蟺蠈锟斤拷蔚 蟽委纬慰蠀蟻伪 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 未蔚谓 蟿慰谓 尉蔚纬蟻维蠁蠅.
March 17, 2021
To sum up: C茅sar, a translator who moonlights as a mad scientist, plans to take over the world by cloning a great genius - naturally, the Mexican author Carlos Fuentes. The artificial wasp he sends to get a cell from Fuentes accidentally grabs a bit of his silk tie, so it clones a suit and then spawns an army of silkworms, which then rampage all over M茅rida. Is this over the top? Sure. But writers being self-indulgent every so often is not a bad thing.
June 7, 2012
The main character in this book sets up a metaphor of himself as a Mad Scientist. But this metaphor is actually more apt for Cesar Aira himself, as his books always seem like experiments in the best sense of the word. But not the type of experimental writing (a la Joyce or Stein) that is more interested in pure language play (not that Aira isn鈥檛 interested in language, but it is only one part of his experiment)... In most experimental writing you at least have a sense of the experiment being somewhat finished, predetermined, or at least a manifestation of an aesthetic leaning that the author is trying to work out, the endpoint being the ultimate artistic vision. But here the writing style is more conventional. But it is precisely those conventions (of narrative, of language...) which are the alchemical ingredients in Cesar Aira鈥檚 mad scientist lab. These experiments have no predetermined ends, not even a hypothesis before the scientific process commences, they are simply 鈥榤ad鈥�--ideas and literary devices are used, or rather, bent, to accomplish no specific purpose but to see what the end result would be.
That is why to appreciate Cesar Aira, one must be him/herself a little obsessed, a little mad, or at least open to playfulness and adventure, and a little bit interested in 鈥榳hat would happen if...鈥�. His books may not all be good, but they鈥檙e always fascinating. Every once in a while his experiment succeeds beyond even his own wildest expectations, like in . But most of the time, he will fail, but fail so amazingly that you cannot help but love reading it...
This novel in particular presents 鈥楥esar Aira鈥� as a writer/translator/scientist, and in most cases I wouldn鈥檛 assume an autobiographical component to a book just because the name of the protagonist is the same as the name of the author (Cesar Aira appears in too). But in this case, I feel justified in at least reading into it a bit more. Not only is the mad scientist metaphor so apt for his playfulness, but also parts of this read as if he were looking back and musing on his own process.
If you鈥檝e ever been frustrated with his wacko plots, imagine what he feels about them! As I read Aira (the character in the book) talking about a performance of a play that he wrote many years ago, I imagined the real Aira鈥檚 voice talking (about his books):
More writers should include a review of their own work in their novels... it makes my job easier ;)
That is why to appreciate Cesar Aira, one must be him/herself a little obsessed, a little mad, or at least open to playfulness and adventure, and a little bit interested in 鈥榳hat would happen if...鈥�. His books may not all be good, but they鈥檙e always fascinating. Every once in a while his experiment succeeds beyond even his own wildest expectations, like in . But most of the time, he will fail, but fail so amazingly that you cannot help but love reading it...
This novel in particular presents 鈥楥esar Aira鈥� as a writer/translator/scientist, and in most cases I wouldn鈥檛 assume an autobiographical component to a book just because the name of the protagonist is the same as the name of the author (Cesar Aira appears in too). But in this case, I feel justified in at least reading into it a bit more. Not only is the mad scientist metaphor so apt for his playfulness, but also parts of this read as if he were looking back and musing on his own process.
If you鈥檝e ever been frustrated with his wacko plots, imagine what he feels about them! As I read Aira (the character in the book) talking about a performance of a play that he wrote many years ago, I imagined the real Aira鈥檚 voice talking (about his books):
Gone were the many doubts that I had written it, for there were my recurrent themes, my little tricks... the idea had been to create something equivalent to those figures that was both realistic and impossible, like Escher鈥檚 Belvedere, figures that look viable in a drawing but could not be built because they are but an illusion of perspective...I was able to sustain it in this play only through the strength of ambiguities...but my mania--to be constantly adding things, episodes, characters, paragraphs, to be constantly veering off course, branching out--is fatal. It must be due to insecurity, fear that the basics are not enough, so I have to keep adding more and more adornment until I achieve a kind of surrealist rococo, which exasperates me more than it does anybody else. It was like a nightmare (the mother of all nightmares) to watch the living defects of what I had written materialize in front of me...it was grotesque, repulsive; I was mortified... Difficult as it is to believe, people liked that crap. (p55-60)
More writers should include a review of their own work in their novels... it makes my job easier ;)
July 6, 2011
A sci-fi autofiction entertainment. One big LOL at revelation of the provenance of the beasts causing trouble toward the end. Inventive, unpredictable, cartoonish, forward-flowing, good-natured (sometimes to a twee-ish fault?), self-consciously whimsical (aware of yet unable to resist the temptation to follow the author's whim), metafictional, sometimes maybe a little too apt to explore the old reality/irreality questions (?), a tactic that bores a hole in my attention (see Bioy Casares's ). The first and last chapters were pretty great -- the rest sort of overly devoted to not particularly scintillating abstraction (in , Bolano does say that Aira is mostly dull -- funny they print another more positive Bolano quote on every Aira book). A little tale that means no harm, two pages turned down with good quotes re: writing I'll try to remember to type up later. Of the four Aira books I've read so far this comes in third. Worth reading but possibly forgettable despite (or because of?) the wacky plot? Recommended for fans of (tho this one's longer, denser) and maybe (tho this isn't up to his early level)?
March 29, 2024
Nothing could please me more than an appropriation of B-movie tropes in a mock-literary context by a wickedly talented author in the service of the absurd. Unfortunately, unless I'm missing something, this isn't it. Plotless and essayistic I can handle, if the author has something to say, or if he says nothing in a beautiful way. But Aira says nothing clumsily with maximum confusion. Dead, dull, uninspired 鈥� for this piece of empty bravado I reserve the special hatred we feel when someone we had trusted lets us down. Maybe I'm being unfair because my expectations were high after An Episode in the Life of a Landscape Painter, but if so it's unlikely I'll ever know it, because I don't plan on reading this book again. The worst reading experience I've had this year.
April 11, 2017
Kein Faden kann aus dem Nichts gekn眉pft werden, oder? Aus seiner Rippe sch枚pft Cesar eine Eschersche Konstruktion von Leben und Literatur, Original und F盲lschung. Die Textur der (Un)Wirklichkeit in allen Spielarten der Klonierung, am眉sant, verstiegen, befremdlich.
December 29, 2012
I came across this book by accident and decided to read it, despite reading some not-so promising reviews.The premise of the story is a mad scientist who tries to clone famous writer Carlos Fuentes. I enjoyed most things about this book; the storyline, the language used and the narrator's inner monologue in particular. It's a very enjoyable novella,and a quick read. I didn't care too much for how the book ended but I'm definitely interested to read more of Aira's books.
April 16, 2017
螆谓伪蟼 蔚蟽蟿苇蟿 蟿畏蟼 未喂伪谓蠈畏蟽畏蟼, 蟺慰蠀 伪谓蟿喂位伪渭尾维谓蔚蟿伪喂 蟺蠅蟼 慰 尾伪渭蟺喂蟻喂蟽渭蠈蟼 蔚委谓伪喂 蟿慰 魏位蔚喂未委 蟿畏蟼 蟽蠂苇蟽畏蟼 蟿慰蠀 渭蔚 蟿慰谓 蟽蠀谓维谓胃蟻蠅蟺慰. 危伪谓 尾伪渭蟺委蟻 胃蔚蠅蟻蔚委 蟿慰 蟽畏渭蔚委慰 蟽蟿慰 慰蟺慰委慰 蟽蠀纬蠂苇慰谓蟿伪喂 蠈位蔚蟼 慰喂 渭慰蟻蠁苇蟼 蔚蟺慰谓蔚委未喂蟽蟿慰蠀 蟺伪蟻伪蟽喂蟿喂蟽渭慰蠉 蟺慰蠀 蠂蟻蔚喂维味慰谓蟿伪喂 蟿畏 渭蔚蟿伪蠁慰蟻维 纬喂伪 谓伪 伪谓伪未蔚喂蠂胃慰蠉谓. 螒蠀蟿蠈 蟺慰蠀 蟻慰蠀蠁维蔚喂 伪蟺蠈 蟿慰蠀蟼 维位位慰蠀蟼 未蔚谓 蔚委谓伪喂 蠂蟻萎渭伪, 慰蠉蟿蔚 伪蟽蠁维位蔚喂伪, 慰蠉蟿蔚 胃伪蠀渭伪蟽渭蠈蟼. 螒蠀蟿蠈 蟺慰蠀 蟻慰蠀蠁维蔚喂 蔚委谓伪喂 蟽蟿喂位.... 螝慰蟻蠀蠁伪委伪 蟽蟿喂纬渭萎 畏 魏位蠅谓慰蟺慰委畏蟽畏 蟿畏蟼 纬蟻伪尾维蟿伪蟼 蟿慰蠀 桅慰蠀苇谓蟿蔚蟼
October 14, 2012
The Literary Conference borders on . . . no, delves into the ridiculous 鈥� in the best way possible. A superlative stylist (and being translated by the superlative Katherine Silver), Aira鈥檚 matter-of-fact tone somehow manages to stay in tact in a book that begins as a puzzle-adventure in Venezuela, turns into a mad-scientist take-over-the-world science-fiction, and ends as a B-movie 鈥� and still manages to be about the creation of art.
Allow me to elaborate:
In the first section, 鈥淭he Macuto Line,鈥� a relatively well known translator and author (named C茅sar) is making his way to a literary conference but has made a stop in Venezuela. Near his hotel is the famous Macuto Line, a rope that wraps around a rock and plunges into the ocean. This line, it is said, is a centuries old puzzle that, if solved, leads the way to buried treasure. The line was obviously made by a genius; it is itself a piece of art. No one, in all the years (and, thankfully, the line is still in tact despite the ocean and wind), has solved this great mystery.
"On stormy nights the wind made it sing, and those who heard it during a hurricane became obsessed for the rest of their lives with its cosmic howls. Sea breezes of all kinds had strummed this lyre with a single cord: memory鈥檚 handmaiden."
C茅sar arrives, takes a look at it, and solves it. He admits, 鈥淢y own intelligence is quite minimal, a fact I have ascertained at great cost to myself. It has been just barely adequate to keep me afloat in the tempestuous waters of life.鈥� Nevertheless, his individual experiences, the events and moods that build up him as an individual, suited him for this task. It鈥檚 an excellent, slightly insane, discourse on the complexity of the individual.
Immediately wealthy, he could now skip the literary conference and go anywhere in the world, waking up the next morning to immense luxury. But that is not part of his plan, so, on to the literary conference. On the way, our narrator tells us a story about a mad scientist who has it in his mind to take over the world. He then proceeds to 鈥渢ranslate鈥� this story for us: the mad scientist is, of course, himself 鈥� C茅sar, our narrator, a slightly respected author, newly wealthy, is, it turns out, a bit handy with the science of cloning. For some time he has been hatching a diabolical plan, the central feature of which is to figure out whom he could clone who would best help him take over the world. This discourse is hilarious, and C茅sar finally lands on the perfect candidate: Carlos Fuentes. Naturally. And since Fuentes is going to be at this literary conference, C茅sar鈥檚 new fame and wealth do not deter him.
What does all of this mean? Does it mean anything? Is Aira simply telling us a fun story? Perhaps, and if so, it is still worth the short time it takes to read it. Still, this is Aira, and this book is, among other things, self-conciously concerned with its own inception and with its own process:
"And (in conclusion) I have filled these plots with contents that have between them a relationship of only approximate equivalencies, not meanings."
Telling the reader that there is no such thing as 鈥渋n the meantime,鈥� C茅sar sets up his cloning station on a mountain (not for the atmospheric effect, as it might appear, but because the air is more conducive to the process) and, because it takes some time to create an army of Carlos Fuentes clones, he goes down to the town in the valley to wait 鈥渋n the meantime.鈥� In the chapters that come before the clone army descends upon the town, we go to parts of the literary conference, watch the staging of one of C茅sar鈥檚 plays he does not remember, and we have a funeral for a tiny insect. Events proceed to escalate, until C茅sar seems to realize that it鈥檚 all just a bit ridiculous, but 鈥�
"Since turning back is off limits: Forward! To the bitter end! Running, flying, gliding, using up all the possibilities, the conquest of tranquility through the din of the battlefield. The vehicle is language. What else? Because the valve is language."
Where does this lead us? Well, C茅sar himself will tell us:
"It seems like the insertion of a different plot line, from an old B-rated science fiction movie."
And, remember that I mentioned at the top that through all of this Aira maintains a matter-of-fact (though energized!) tone, delivering to us this ridiculous plot from the eyes (and mouth) of someone slightly above it all, but who is, I鈥檓 sure, having a blast. I don鈥檛 know what it all means 鈥� how the discourse on the individual relates to the cloned army, how the funeral connects to the plot, or, frankly, how the Macuto Line fits into the plot 鈥� but it is fun and interesting because such a frenzied writer is taking us there, and because this frenzied writer is showing us a bit of his mentality as he does so:
"Which reminds me of the answer to the questions I left hanging: how to measure the velocity of my thoughts. I am trying a method of my own invention: I shoot a perfectly empty thought through all the others, and because it has no content of its own, it reveals the furtive outlines 鈥� which are stable in the empty ones 鈥� of the contents of the others. The retrograde cloned mini-man, the Speedometer, is my companion on solitary walks and the only one who knows all my secrets."
I was talking to Barbara Eppler, president of New Directions, and she mentioned how she went to Argentina where, lucky her, Aira took her on a tour of some of the museums. Fittingly, they saw many museums in just a couple of hours. I must feel slightly similar after having read this book.
Allow me to elaborate:
In the first section, 鈥淭he Macuto Line,鈥� a relatively well known translator and author (named C茅sar) is making his way to a literary conference but has made a stop in Venezuela. Near his hotel is the famous Macuto Line, a rope that wraps around a rock and plunges into the ocean. This line, it is said, is a centuries old puzzle that, if solved, leads the way to buried treasure. The line was obviously made by a genius; it is itself a piece of art. No one, in all the years (and, thankfully, the line is still in tact despite the ocean and wind), has solved this great mystery.
"On stormy nights the wind made it sing, and those who heard it during a hurricane became obsessed for the rest of their lives with its cosmic howls. Sea breezes of all kinds had strummed this lyre with a single cord: memory鈥檚 handmaiden."
C茅sar arrives, takes a look at it, and solves it. He admits, 鈥淢y own intelligence is quite minimal, a fact I have ascertained at great cost to myself. It has been just barely adequate to keep me afloat in the tempestuous waters of life.鈥� Nevertheless, his individual experiences, the events and moods that build up him as an individual, suited him for this task. It鈥檚 an excellent, slightly insane, discourse on the complexity of the individual.
Immediately wealthy, he could now skip the literary conference and go anywhere in the world, waking up the next morning to immense luxury. But that is not part of his plan, so, on to the literary conference. On the way, our narrator tells us a story about a mad scientist who has it in his mind to take over the world. He then proceeds to 鈥渢ranslate鈥� this story for us: the mad scientist is, of course, himself 鈥� C茅sar, our narrator, a slightly respected author, newly wealthy, is, it turns out, a bit handy with the science of cloning. For some time he has been hatching a diabolical plan, the central feature of which is to figure out whom he could clone who would best help him take over the world. This discourse is hilarious, and C茅sar finally lands on the perfect candidate: Carlos Fuentes. Naturally. And since Fuentes is going to be at this literary conference, C茅sar鈥檚 new fame and wealth do not deter him.
What does all of this mean? Does it mean anything? Is Aira simply telling us a fun story? Perhaps, and if so, it is still worth the short time it takes to read it. Still, this is Aira, and this book is, among other things, self-conciously concerned with its own inception and with its own process:
"And (in conclusion) I have filled these plots with contents that have between them a relationship of only approximate equivalencies, not meanings."
Telling the reader that there is no such thing as 鈥渋n the meantime,鈥� C茅sar sets up his cloning station on a mountain (not for the atmospheric effect, as it might appear, but because the air is more conducive to the process) and, because it takes some time to create an army of Carlos Fuentes clones, he goes down to the town in the valley to wait 鈥渋n the meantime.鈥� In the chapters that come before the clone army descends upon the town, we go to parts of the literary conference, watch the staging of one of C茅sar鈥檚 plays he does not remember, and we have a funeral for a tiny insect. Events proceed to escalate, until C茅sar seems to realize that it鈥檚 all just a bit ridiculous, but 鈥�
"Since turning back is off limits: Forward! To the bitter end! Running, flying, gliding, using up all the possibilities, the conquest of tranquility through the din of the battlefield. The vehicle is language. What else? Because the valve is language."
Where does this lead us? Well, C茅sar himself will tell us:
"It seems like the insertion of a different plot line, from an old B-rated science fiction movie."
And, remember that I mentioned at the top that through all of this Aira maintains a matter-of-fact (though energized!) tone, delivering to us this ridiculous plot from the eyes (and mouth) of someone slightly above it all, but who is, I鈥檓 sure, having a blast. I don鈥檛 know what it all means 鈥� how the discourse on the individual relates to the cloned army, how the funeral connects to the plot, or, frankly, how the Macuto Line fits into the plot 鈥� but it is fun and interesting because such a frenzied writer is taking us there, and because this frenzied writer is showing us a bit of his mentality as he does so:
"Which reminds me of the answer to the questions I left hanging: how to measure the velocity of my thoughts. I am trying a method of my own invention: I shoot a perfectly empty thought through all the others, and because it has no content of its own, it reveals the furtive outlines 鈥� which are stable in the empty ones 鈥� of the contents of the others. The retrograde cloned mini-man, the Speedometer, is my companion on solitary walks and the only one who knows all my secrets."
I was talking to Barbara Eppler, president of New Directions, and she mentioned how she went to Argentina where, lucky her, Aira took her on a tour of some of the museums. Fittingly, they saw many museums in just a couple of hours. I must feel slightly similar after having read this book.
February 6, 2017
賲夭賷噩 毓噩賷亘 賲丕 亘賷賳 丕賱賵丕賯毓 賵 丕賱禺賷丕賱 賲丕 亘賷賳 丕賱亘爻丕胤丞 賵 丕賱賮賱爻賮丞 毓賲賱 賱丕 賷賲賰賳 丕賱丨賰賲 毓賱賷賴 賲賳 丕賱賯乇丕亍丞 丕賱兀賵賱賷 鬲丨鬲丕噩 賯乇丕亍丞 丕賱賲夭賷丿 賲賳 兀毓賲丕賱 爻賷夭丕乇 丌賷丕乇丕 賱賱丨賰賲 毓賱賷 胤亘賷毓丞 毓賲賱賴 賵 兀爻賱賵亘賴 丕賱乇噩賱 賷賳鬲賯賱 亘亘爻丕胤丞 賵丿賵賳 丕賷 賯賷賵丿 賲毓賷賳丞 兀丨賷丕賳丕 賳鬲賵賴 禺賱丕賱 丕賱賰賱賲丕鬲 賵丕賱兀賮賰丕乇 丕賱鬲賷 鬲卮毓乇 丕賳賴丕 賲爻鬲乇爻賱丞 賵賱賷爻鬲 賲賳馗賲丞 賵賱賰賳 賷賮丕噩賰 丕賳賴丕 賲乇鬲亘丞 亘卮賰賱 賲丕 兀賵 乇亘賲丕 賱丕
丕賱賲丐鬲賲乇 丕賱兀丿亘賷 賴賳丕 賴賵 禺賱賮賷丞 丕賱丕丨丿丕孬 賱毓賲賱賷丞 丕賱睾乇囟 賲賳賴丕 丕賱爻賷胤乇丞 毓賱賷 丕賱毓丕賱賲!! 賲賳 賯亘賱 毓丕賱賲 賰丕鬲亘 賲噩賳賵賳 賴賵 爻賷夭丕乇 丌賷丕乇丕
毓賳 胤乇賷賯 丕爻鬲賳爻丕禺 丕賱賰丕鬲亘
賵賱賰賳 丕賱兀賲賵乇 賱丕 鬲賲卮賷 亘賰賱 鬲賱賰 丕賱亘爻丕胤丞 丕賱賲乇噩賵丞 賵鬲鬲賮丕賯賲 丕賱兀賲賵乇 丕賱睾乇賷亘 丕賳 賲毓 亘胤 丕賱丕丨丿丕孬 賰孬賷乇丕 賮 丕賱賲賳鬲氐賮 賵賱賰賳賰 賲爻鬲賲乇 賱賲毓乇賮丞 賲丕匕丕 爻賷丨丿孬
賵賰賷賮 爻賷賳賴賷 鬲賱賰 丕賱賯氐丞 丕賱毓噩賷亘丞責
賵賱賰賳 丕賱賳賴丕賷丞 鬲丨賲賱 丕賱賰孬賷乇 賵丕賱賰孬賷乇 賲賳 丕賱亘爻丕胤丞 丕賱鬲賷 鬲噩毓賱賰 鬲賮賰乇 賮 丕賱丕賲乇 賲賳 噩丿賷丿
乇賵丕賷丞 亘爻賷胤丞 賵氐睾賷乇丞 兀鬲賲賳賷 兀賳 賷鬲賲 鬲乇噩賲丞 兀毓賲丕賱 兀禺乇賷 賱賴
丕賱賲丐鬲賲乇 丕賱兀丿亘賷 賴賳丕 賴賵 禺賱賮賷丞 丕賱丕丨丿丕孬 賱毓賲賱賷丞 丕賱睾乇囟 賲賳賴丕 丕賱爻賷胤乇丞 毓賱賷 丕賱毓丕賱賲!! 賲賳 賯亘賱 毓丕賱賲 賰丕鬲亘 賲噩賳賵賳 賴賵 爻賷夭丕乇 丌賷丕乇丕
毓賳 胤乇賷賯 丕爻鬲賳爻丕禺 丕賱賰丕鬲亘
賵賱賰賳 丕賱兀賲賵乇 賱丕 鬲賲卮賷 亘賰賱 鬲賱賰 丕賱亘爻丕胤丞 丕賱賲乇噩賵丞 賵鬲鬲賮丕賯賲 丕賱兀賲賵乇 丕賱睾乇賷亘 丕賳 賲毓 亘胤 丕賱丕丨丿丕孬 賰孬賷乇丕 賮 丕賱賲賳鬲氐賮 賵賱賰賳賰 賲爻鬲賲乇 賱賲毓乇賮丞 賲丕匕丕 爻賷丨丿孬
賵賰賷賮 爻賷賳賴賷 鬲賱賰 丕賱賯氐丞 丕賱毓噩賷亘丞責
賵賱賰賳 丕賱賳賴丕賷丞 鬲丨賲賱 丕賱賰孬賷乇 賵丕賱賰孬賷乇 賲賳 丕賱亘爻丕胤丞 丕賱鬲賷 鬲噩毓賱賰 鬲賮賰乇 賮 丕賱丕賲乇 賲賳 噩丿賷丿
乇賵丕賷丞 亘爻賷胤丞 賵氐睾賷乇丞 兀鬲賲賳賷 兀賳 賷鬲賲 鬲乇噩賲丞 兀毓賲丕賱 兀禺乇賷 賱賴
February 16, 2018
兀賰賲賱鬲 丕賱賯乇丕亍丞 禺賱丕賱 賳賴丕乇 賵丕丨丿 貙 丕賱乇賵丕賷丞 氐睾賷乇丞 丕賱丨噩賲 賵睾乇賷亘丞 亘毓囟 丕賱卮賷亍. 賮賷賴丕 禺賷丕賱 爻賷乇賷丕賱賷 賵賱賰賳賴丕 賲賰鬲賵亘丞 亘禺亘乇丞 賰丕鬲亘 賱丿賷賴 兀賰孬乇 賲賳 佟贍贍 乇賵丕賷丞 賱賷爻 賮賷賴丕 賲丕賴賵 賲賴賲貙 賵賱賰賳賴丕 丿乇爻 賮賷 賰賷賮賷丞 乇亘胤 丕賱賵丕賯毓 亘丕賱禺賷丕賱 賵丕賱賮賳胤丕夭賷丕 . 賲卮賵賯丞 賵賱賰賳 賱賷爻 賰孬賷乇丕
廿賳 丕賳賯胤丕毓 兀賷 賮賰乇丞 毓賳 丕賱馗乇賵賮 丕賱鬲賷 兀賳鬲噩鬲賴丕貙 賴賵 丕賱卮乇胤 丕賱囟乇賵乇賷 賱丕氐丕賱鬲賴丕 賵賳噩丕丨賴丕
賰賲 賷賳胤亘賯 賴匕丕 丕賱兀賯鬲亘丕爻 賲賳 丕賱氐賮丨丞 伲贍 毓賱賶 賮賰乇丞 賴匕丕 丕賱乇賵丕賷丞 丕賱賲賳賯胤毓丞 毓賳 卮乇賵胤 賵賱丕丿鬲賴丕 貙 賱丕 兀丿乇賷
賱丕 卮賰 丕賳 丕賱賰丕鬲亘 毓乇賮 丕賱賱睾丞 鬲毓乇賷賮賷丕 賱丕 賷亘鬲毓丿 毓賳 賲賮賴賵賲 噩丕賰 丿乇賷丿丕 丨賷賳 賷噩乇丿賴丕 賲賳 賲胤丕亘賯丞 丕賱賲毓賳賶 禺丕乇噩賴丕 賵亘賴匕丕 丨乇乇 賳賮爻賴 賲賳 賰賱 賲爻丌亍賱丞 賵丕賯毓賷丞.
賱丕 兀丨亘 丕丿亘 丕賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞 丕賱匕賷 賷丨丕賵賱 兀賳 賷賰賵賳 兀賵乇亘賷丕 . 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 賴賷 賲爻乇丨 丕亘丿丕毓 賴匕賴 丕賱賯丕乇丞
廿賳 丕賳賯胤丕毓 兀賷 賮賰乇丞 毓賳 丕賱馗乇賵賮 丕賱鬲賷 兀賳鬲噩鬲賴丕貙 賴賵 丕賱卮乇胤 丕賱囟乇賵乇賷 賱丕氐丕賱鬲賴丕 賵賳噩丕丨賴丕
賰賲 賷賳胤亘賯 賴匕丕 丕賱兀賯鬲亘丕爻 賲賳 丕賱氐賮丨丞 伲贍 毓賱賶 賮賰乇丞 賴匕丕 丕賱乇賵丕賷丞 丕賱賲賳賯胤毓丞 毓賳 卮乇賵胤 賵賱丕丿鬲賴丕 貙 賱丕 兀丿乇賷
賱丕 卮賰 丕賳 丕賱賰丕鬲亘 毓乇賮 丕賱賱睾丞 鬲毓乇賷賮賷丕 賱丕 賷亘鬲毓丿 毓賳 賲賮賴賵賲 噩丕賰 丿乇賷丿丕 丨賷賳 賷噩乇丿賴丕 賲賳 賲胤丕亘賯丞 丕賱賲毓賳賶 禺丕乇噩賴丕 賵亘賴匕丕 丨乇乇 賳賮爻賴 賲賳 賰賱 賲爻丌亍賱丞 賵丕賯毓賷丞.
賱丕 兀丨亘 丕丿亘 丕賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞 丕賱匕賷 賷丨丕賵賱 兀賳 賷賰賵賳 兀賵乇亘賷丕 . 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 賴賷 賲爻乇丨 丕亘丿丕毓 賴匕賴 丕賱賯丕乇丞
December 29, 2018
螘蠂蠅 蟿畏谓 伪委蟽胃畏蟽畏 慰蟿喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚委蠂蔚 魏维蟿喂 谓伪 蟺蔚喂 伪位位维 蟺谓委纬畏魏蔚 魏维蟿蠅 伪蟺慰 蟿伪 蟽蟿蟻蠋渭伪蟿伪 伪蔚蟻慰位慰纬喂伪蟼. 螤蟻蠋蟿畏 蠁慰蟻维 畏 蟺蟻蠅蟿慰蟺蟻慰蟽蠅蟺畏 伪蠁萎纬畏蟽畏 渭慰蠀 蠁维谓畏魏蔚 蟿蠈蟽慰 蔚纬蠅魏蔚谓蟿蟻喂魏畏.
December 31, 2018
睾乇賷亘丞 噩丿丕貙 賲丕亘賷賳 丕賱禺賷丕賱 丕賱毓賱賲賷 賵丕賱賮賱爻賮丞 賵鬲氐賳賷賮丕鬲 兀禺乇賶 賳爻鬲賰卮賮 賲睾丕賲乇丞 亘胤賱 丕賱乇賵丕賷丞貙 賰丕鬲亘 賵毓丕賱賲 賲賴賵賵爻 亘丕賱爻毓賷 賳丨賵 丕賱賰賲丕賱 賷乇賷丿 亘賳丕亍 噩賷卮 賲賳 丕賱賲爻鬲賳爻禺賷賳 賵丕賱爻賷胤乇丞 毓賱賶 丕賱毓丕賱賲.. 亘毓賷丿 毓賳 兀賷 乇丕丿毓 廿賳爻丕賳賷 兀賵 兀禺賱丕賯賷 賷賲囟賶 丕賱毓丕賱賲 丕賱賲噩賳賵賳 賯丿賲丕 賮賷 禺胤鬲賴 賮賴賱 爻賷賳噩丨責
賮毓賱丕 乇賵丕賷丞 睾乇賷亘丞 噩丿丕 賵賱賰賳賴丕 賲賲鬲毓丞 賮賷 丕賱睾丕賱亘.
賲賱丨賵馗丞: 賰丕賳 賴匕丕 禺鬲丕賲 賴丿賮 丕賱賯乇丕亍丞 丕賱禺丕氐 亘賷 賱爻賳丞 2018 賵丕賱丨賲丿 賱賱賴 :)
賮毓賱丕 乇賵丕賷丞 睾乇賷亘丞 噩丿丕 賵賱賰賳賴丕 賲賲鬲毓丞 賮賷 丕賱睾丕賱亘.
賲賱丨賵馗丞: 賰丕賳 賴匕丕 禺鬲丕賲 賴丿賮 丕賱賯乇丕亍丞 丕賱禺丕氐 亘賷 賱爻賳丞 2018 賵丕賱丨賲丿 賱賱賴 :)
December 14, 2017
丕賱鬲乇噩賲丞 丕賱兀賵賱賶 賱賱賰丕鬲亘 丕賱兀乇噩賳鬲賷賳賷 爻賷夭丕乇 兀賷乇丕 賱賱睾丞 丕賱毓乇亘賷丞, 賵丕賱賯乇丕亍丞 丕賱兀賵賱賶 賱賴, 乇賵丕賷丞 賯氐賷乇丞 (賳賵賮賷賱賱丕) 賵賱賰賳賴丕 兀丿禺賱鬲賳丕 賲亘丕卮乇丞賸 廿賱賶 毓賵丕賱賲賴 丕賱睾乇賷亘丞, 賰丕鬲亘 賷丨胤賲 丕賱賯賵丕毓丿 丕賱乇賵丕卅賷丞 賰賱賴丕 賵賷氐賳毓 賯賵丕毓丿賴 丕賱禺丕氐丞, 賷亘丿賵 賲禺鬲賱賮丕賸 賵賱丕 賷卮亘賴 廿賱丕 賳賮爻賴, 賳鬲賲賳賶 鬲乇噩賲丞 兀毓賲丕賱 兀禺乇賶 賱賴 賲賳 乇賵丕賷丕鬲賴 丕賱賰孬賷乇丞 .
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