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Things We Lost in the Fire: Mariana Enriquez

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Rather than going after individual men, the burning women take on society as a whole. As it turns out, what we lose in the fire is our humanity… Dicho esto, hay veces que la presión social me puede. Este es el caso de esta autora y de este el libro. Pues bien, no es que perdiera tiempo (me lo leí en nada) ni dinero (lo compré de segunda mano muy barato), pero tampoco me habría perdido ninguna joya. A lo largo de estos cuentos volví a encontrar el estilo característico de Enriquez, una autora que logra hacer que lo cotidiano sea perturbador y los lugares cobren vida. Sin embargo, aquí no logré conectar con ninguna de las historias, era empezar a leer y pasar horas releyendo la misma página sin lograr que las palabras se convirtieran en imágenes o que las desgracias de los personajes me provocaran empatía. Me forcé tanto a seguir leyendo que me provoqué un bloqueo lector —es por eso que he estado sacando y poniendo libros de la estantería "leyendo"—, y el resultado siempre era el mismo. Me daba igual lo que pasara en cada historia. Si salvo alguna, quizá, es Carne, un relato sobre el fanatismo. Book Genre: Contemporary, Fiction, Gothic, Horror, Magical Realism, Short Stories, Spanish Literature The girls had opened the casket to feed on Espina's remains with devotion and disgust; around the grave, pools of vomit bore witness to their efforts."

Things We Lost in the Fire | Granta Things We Lost in the Fire | Granta

And there are many similarities with “Rambla Trieste” featuring Argentinians in Barcelona (as you may expect from the title) but a district haunted by the ghosts of the child victims of crimes. Stylistically my preference was for those that centered around bizarre but more real-world obsession, notably Meat about two teenage girls with an infatuation with a pop star that, post his suicide, they extend to the anthropophagic, and Where Are You, Dear Heart about a woman with a literary-inspired (Helen Burns from Jane Eyre, Ippolit from The Idiot) fetish for pulmonary and then later cardiac patients. Young women in Enriquez’s stories have a distinctly irreverent shade to their characters, often rebelling against societal expectations, explicit instructions, and parental guidance. In Adela’s House, a young girl enters an abandoned house against the advice of her parents and her own instincts, and never resurfaces, ‘not alive or dead’. Once again, her disappearance is never solved, and the people who loved her are destroyed by the loss. In The Inn, two girls experience a ghostly encounter while trying to set up a prank in empty guest rooms. When about to lie down together, a symbol for the sexual relationship that the main character, Florencia, would like to pursue with her friend, Rocío, they are interrupted by the cacophony of men shouting, car motors, boots stomping – the ghostly sound of state terror and horrific political crimes. There is a sense that the blossoming of these girls’ sexuality and self-knowledge is interrupted by Argentina’s tumultuous recent history, a sense of the impact of intergenerational trauma. A un cuento no debe faltarle ni sobrarle nada, debe ser redondo, como un globo perfecto. Mi impresión es que Enriquez infla el globo con un gas potente que inmediatamente inicia un prometedor ascenso que augura un vuelo audaz y vistoso (El carrito, Rambla triste, El mirador, Chicos que vuelven) que al final no se produce: el globo sufre un pinchazo abrupto y cae hecho un guiñapo.The effect is so immersive that the details begin to feel like the reader’s own nightmares. The stories here are not formally connected but together they create a sensibility as distinctive as that found in Denis Johnson’s Jesus’ Son or Daisy Johnson’s Fen. They are a portrait of a world in fragments, a mirrorball made of razor blades.

Things We Lost in the Fire: Stories - Goodreads Things We Lost in the Fire: Stories - Goodreads

Los peligros de fumar en la cama" de Mariana Enríquez es una colección de cuentos maravillosamente extraños e inquietantes. Cada historia se enfoca en un elemento macabro, ya sean fantasmas, niños perdidos que regresan misteriosamente, fetiches, obsesiones, etc. The Intoxicated Years" was published in Granta. [8] "Spiderweb" appeared in The New Yorker. [9] Contents [ edit ] StoryMariana Enriquez’s Things We Lost in the Fire (review copy courtesy of Portobello Books) is a collection of twelve excellent stories set in the writer’s home country. While Enriquez occasionally takes us outside Buenos Aires, with one piece set in the humid north and another in a holiday town on the coast, most unfold in the capital. In Enriquez’s hands, Buenos Aires becomes a pulsating, living entity, a place where people can be chewed up and spat out after any false step, with danger lurking around every corner. Mariana Enríquez, el terror en lo cotidiano". 2017-04-29. Archived from the original on 2017-04-29 . Retrieved 2023-06-29. La experiencia ha sido como si, tras numerosos estudios geológicos favorables, decidiera por fin excavar una mina con la que siempre me había mostrado reticente. Cada una de las exploraciones a sus galerías llamaban a la esperanza para terminar pocos metros después de forma frustrante: la mayoría de las extracciones resultó ser ganga y no pude encontrar la mena que hiciera rentable la empresa, si bien hallé alguna veta prometedora (El algibe, Dónde estás corazón —sin duda, el mejor de todos— y Carne)… nada más. I will begin by stating the story that did capture my interest, was called 'Where are you, dear heart?' and it involved a female with a rather intense fetish with irregular heart rhythms, and she regularly put headphones in, listening to different heart rhythms, and then often masturbated until she bled. I'll admit, I was interested but certainly I wasn't expecting it. I'll never be able to listen to my ectopic beats on a monitor the same again, I'm afraid.

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