With a few notable exceptions, South American countries are generally poorly served when it comes to having their literature translated into the world’s most published language. If you want to venture beyond Colombian, Argentinian or Brazilian literature, you quickly find that quite a few nations only have a handful of their authors’ works available in English.
Bolivia is a case in point. When I cast about for something to read from there in 2012, there seemed to be very little choice. In the end, on the recommendation of the country’s most celebrated contemporary writer, Edmundo Paz Soldán, who graciously responded to my request for thoughts on lesser-known Bolivian writers I might discover, I plumped for the striking and savage short-story collection Sangre dulce/Sweet Blood by Giovanna Rivero Santa Cruz.
Five years later when a translation of another short-story collection by a female Bolivian writer came onto my radar through #WITMonth, I thought it might make an interesting comparison.
A brief summary of the content of some of the stories in Liliana Colanzi’s Our Dead World, translated by Jessica Sequeira, immediately shows up common ground between the authors. Stories of mental breakdown, maternal cruelty, child death, indigenous slavery and suicide make up the meat of this collection; like Rivero, Colanzi has an eye for the darker side of life.
The similarities don’t end there, for Colanzi’s writing possesses a similar muscularity and violence to Rivero’s. She has no hesitation in plunging us into disturbing scenes – such as the brutal killing of a pig, which opens the story ‘Alfredito’. These she fleshes out in precise and alarming detail, revealing that cruelty lives not in the summary of the things we do but in the moment-by-moment choices to deny, impose, withhold or force.
As with Rivero’s work – and indeed a number of the other Latin American works I’ve read – mental illness and the uncanny loom large. The world is never quite stable or trustworthy. The wave that travels through a university campus, triggering a spate of student suicides, is never explained. Neither are the spooky animals glimpsed by a homesick space traveller on Mars.
What gives Colanzi’s writing its own unique flavour, however, is her love of unusual perspectives. From ‘Family Portrait’, in which the surfacing of longstanding grudges between generations is told largely through the eyes of the photographer’s assistant helping to set up a group photograph, to ‘Story with Bird’, in which the narrator steps back briefly from events to envisage a time when humankind is extinct and other unimaginable beings inhabit the earth, the writer delights in showing us her characters from surprising angles.
The most delicious example is the way she crashes together space time and quotidian human existence at the start of ‘Meteorite’:
‘The meteroid traced the same orbit in the solar system for fifteen million years until the movement of a comet pushed it toward Earth. Even so, it took another twenty thousand more years before it collided with the planet, during which time the world passed through an ice age, mountains shifted and the waves gave land masses a new shape. Innumerable life forms died out forever, while others battled ferociously, adapted and repopulated the Earth. When the object at last entered the atmosphere[…] the igneous ball, a meter and a half in diameter, fell on the outskirts of San Borja. Its spectacular descent from the heavens was witnessed by a couple at home, arguing at five-thirty in the morning.’
Sometimes this playfulness topples into the outright weird. There are digressions and odd turns of events that feel too loosely threaded through the narratives. And, as is almost always the case with collections of this kind, certain of the stories are more successful than others.
On the whole, though, this is an arresting book. Its pieces work together to remind us that, although we are small, short-lived organisms in a vast and ancient universe, we nevertheless have the capacity to do startling things.
Our Dead World (Nuestro mundo muerto) by Liliana Colanzi, translated from the Spanish by Jessica Sequeira (Dalkey Archive Press, 2017)