Argentina

How to review a book that pokes fun at critics? When the protagonist of María Gainza’s Portrait of an Unknown Lady reads reviews, she tends to ‘scan the first five or six lines, skip to the last two or three, and end up thinking, what’s with these people?’ When she becomes an art critic, she takes up the ‘language of the shyster, empty language, language just to occupy column inches’. And you can bet she has readers hanging on her every word – as we do in this story of the quest to find a legendary art forger who one day disappeared. It feels like the Argentine writer is having fun in the follow up to her dazzling debut Optic Nerve. A detective novel of sorts, this second novel is set in the Buenos Aires art world.

If you don’t know who Lionel Messi is you won’t enjoy this book much. If you do, you probably will. But if you know who Messi is and you’ve got at least a 2:1 in English, comp. lit. or similar, you are going to absolutely love it. This is definitely one for the football aficionado as well as for fans of fine writing. Messi is an Argentinian footballer who’s played for Barcelona for his entire professional career. He’s short. He’s modest. And he never takes a dive. Apart from his appalling tattoos, he’s the very opposite of what you might expect of the modern footballer — an Argentinian Roy of the Rovers.

Alberto Manguel is a kind of global Reader Laureate: he is reading’s champion, its keenest student and most zealous proselytiser, an ideal exemplar of the Reader embodied. And reading is not only his committed, devoted practice, but also the very subject of some of his best writing. His latest book to wander through this familiar domain was prompted by the traumatic experience of packing away his huge personal library, when he and his partner found themselves needing to downsize from a cavernous French barn (containing 35,000 volumes ‘in its prime’) to a small apartment in New York City.

The publication of César Aira’s The Lime Tree in Chris Andrews’s assured translation is a reminder that much of the Argentinian writer’s massive literary output — now more than 70 books — remains inaccessible in English. In this novella, which teases readers with suggestions of the autobiographical, Aira has one eye on his country’s past and the social effects of Juan Perón’s regime, and the other on the literary legacies of Proust. For Aira’s unnamed narrator, it is not the taste of lime blossom tea that spurs his fluid reminiscences, but a particular tree itself, ‘grown to an enormous size’ and central to the small-town landscape of his childhood in Coronel Pringles, where Aira himself was born.

During the military dictatorships of the 1970s, exile for many Latin American writers was not so much a state of being as a vocation. Some were given early warning of what might befall them if they stayed. The polemicist Eduardo Galeano remembered receiving an evening telephone call from the Argentine Anticommunist Alliance: ‘We’re going to kill you, you bastards.’ ‘The schedule for calling in threats, sir, is from six to eight,’ I answer. I hang up and congratulate myself... But I want to stand up and I can’t: my legs are limp rags. Other writers were not so lucky. Antonio di Benedetto was rounded up in the first wave of arrests in 1976 and sent to prison, where he was tortured over a period of 18 months.

In Delmore Schwartz’s story ‘In Dreams Begin Responsibilities’, a young man dreams he is watching his father and mother’s engagement onscreen from a seat in a cinema. Weeping at the certain knowledge of the pain to come, he’s patted on the back by a woman. ‘There, there,’ she says, ‘all of this is just a movie.’ In a way, this moment distils the challenge of all oneiric narratives — it’s a fiction within a fiction, one in which anything can happen, but without real-world consequences. In this dark, brilliantly controlled debut, the Argentinian Samanta Schweblin uses the fabric of a dream to weave a novel in which everything is at stake and at risk: identity, love and existence.

Bogotá airport, immigration form in hand. Tourist, migrant, businessman? Andrés Neuman ponders the descriptors, unsure which to tick. He opts for the second. ‘I’d like to be a migrant.’ The decision is telling, and frames much of what follows in this curious, delightful, if disjointed book. Neuman is hot property in contemporary Latin American literary circles. A former winner of Spain’s prestigious Alfaguara Prize and the National Critics Prize, he is tipped (by Roberto Bolaño, no less) to be one of a select ‘handful’ to take up where the ‘boom’ generation of Márquez, Cortázar, Fuentes and Borges left off.

‘Anything becomes interesting if you look at it long enough,’ said Gustave Flaubert. He might have been talking about this slim volume, which takes a slimmer subject and inflates it to an epic of noble proportions. The subject is unpromising. ‘This is the story of a man who took part in a dance contest,’ runs the opening line. It’s hardly one to set many hearts racing, especially since the event in question is no glitzy Strictly Come Dancing, screened on television for millions. Instead, Leila Guerriero’s focus is the world championships in malambo, an obscure Argentinian dance, whose annual apogee takes place in Laborde, a town of 6,000 inhabitants in the middle of the flat, fertile pampas.

I have never written much about the one-acre shaw of native trees I planted in 1994, even though it is the delight of my heart, especially when the wild cherries flame in autumn. That’s because I am well aware that en masse tree-planting is a niche activity, open only to the fortunate few. But no one can have envied Thomas Pakenham when, in 1961, he unexpectedly inherited Tullynally Castle in County Westmeath in central Ireland, with its 1,500-acre ‘demesne’ — a third of it park and garden — since he was heavily burdened with death duties. It took nearly 30 years to pay off the debts, before he could begin to concentrate on the delight of his heart, which is planting, caring for and observing the ways of trees as well as travelling the world to look at them.