PDF Download Comemadre, by Roque Larraquy Heather Cleary
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Comemadre, by Roque Larraquy Heather Cleary
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Review
Longlisted for the 2018 National Book Award for Translated LiteraturePublishers Weekly, Best Books of 2018 in Fiction“Shuttling between B-movie horror and exceedingly dark comedy, the novel is somehow both genuinely scary and genuinely funny, sometimes on the same page—a wickedly entertaining ride.” —Publishers Weekly, starred review“Grotesque, outrageous, and insanely funny, [Comemadre] has almost no equal in literature.” —BOMB“Sad, funny, and pitch-perfect.” —World Literature Today“The prose is distilled but rich—like dark chocolate.” —Chicago Tribune“Through his callous, narcissistic narrators, Larraquy interrogates the ethics of art and science, and the inhumanity we sanction in the name of intellectual achievement. Slyly funny and viscerally affecting, in a fluid translation by Heather Cleary, Comemadre is the medicine-meets-art horror story of my dreams.” —Huffington Post“The absurd is planted and buried throughout Comemadre, creating a sense of constant doubt and uncertainty. The writing is sparse and evocative, even as it takes considerable risks. The effect accomplishes a great deal in short spaces.” —Full Stop “Comemadre creates a full circle of the grotesqueries humans inflict upon one another in pursuit of immortality. . . . Read Larraquy to experience a strange waking dream from which there is no escape.” —Arkansas International“It’s a brief novel, but its impact is massive.” —Vol. 1 Brooklyn “In this dark, dense, surprisingly short debut novel by the Argentinian author, we’re confronted with enough grotesqueries to fill a couple Terry Gilliam films and, more importantly, with the idea that the only real monsters are those that are formed out of our own ambition.” —The Millions “Layered without growing dense, the book is crisply comic, scenes punctuated like punchlines. That it all happens within a mere 130 pages is a sort of magic trick—the dizzying kind where a body gets sawed in half.” —The A.V. Club“A deeply unnerving and morbidly fascinating novel.” —Booklist “Larraquy ventures into the gothic here, only to push beyond it into an even more disquieting realm of obsession, transformation, and the monstrous unknown.” —Words Without Borders“Funny, grotesque and smart.” —Brazos Bookstore“The gruesome content is handled with an absurdist touch.” —Publishers Weekly “A concise family saga by way of Dennis Cooper by way of a stress nightmare; it’s also eminently readable.” —Vol. 1 Brooklyn “Comemadre has wit in excess, spilling out over the pages, like an army of red ants, or the pools beneath a guillotine.” —Fanzine “A masterpiece in regards to dark comedy.” —Call Me [Brackets]“A strange, wild story-slash-philosophical-meander along the lines of art, life, love, and death.” —Remezcla “One of the most bizarre, darkly comic and fascinating books that I’ve read this year.” —Beyond the Epilogue“I love Comemadre. But here I am, days after reading, still asking myself what kind of book it is. Is it humor? Horror? Is it about art? Science? Philosophy? One thing is certain: it is just the kind of book that you’ll want to recommend to your friends over and over again, and here I am, still doing it!” —Samanta Schweblin“Like a beloved B movie, this is the campy horror show all my fellow sickos have been waiting for.” —Keaton Patterson“Larraquy has written a perfect novel: spare, urgent, funny, original, and infused with wonderfully subtle grace. I neglected my domestic duties to devour it.” —Elisa Albert“Moving from a sanatorium at the beginning of the twentieth century in which the doctors decide to use their patients as fodder for a deadly experiment, to an artist at the beginning of the twenty-first who pushes the fleshy manipulations of Chris Burden and Damien Hurst to a new extreme, Comemadre is a raucous and irreverent philosophical meditation on the relationship of the body to science and to art. Walking a line between parody and critique, this is a grotesquely funny and powerful book.” —Brian Evenson“Comemadre is one of the wildest and most disturbing novels I’ve read. With a language that dissects the world while describing it, Roque Larraquy constructs a dark fable about the annihilation of the body, about perversions of art and science. Heather Cleary’s magnificent translation does justice to this extravagant gem—composed like a Hieronymus Bosch diptych that sets us before the monsters of unleashed reason.” —Daniel Saldaña París“Comemadre is a sensory experience: images repeat, ‘confession’ has a smell, and obsession feels palpable. The two narrative threads within this wildly strange and perversely humorous novel map the expansive life of the mind, the drive to make a mark on history, and the impact of transgressions in art and science. If a Dalí painting could speak, it would tell us this violently charming tale of ants marching in perfect circles and bodies pushed beyond the limits of the possible.” —Elizabeth Willis, Avid Bookshop“I’m not entirely sure what the fuck just happened, but, whatever you might say about Roque Larraquy’s Comemadre, you sure as hell will have something to say. A dizzying, macabre, yet ultimately deliriously delicious tale of medical testing, decapitations, botanically-born flesh-eating larvae, unrequited love, deformities, and extreme art, Comemadre won’t soon be easily forgotten (if ever it is). Larraquy, an Argentinean screenwriter who has also penned two books (Comemadre being the first translated into English), is whirlwindishly creative and evidently possessed of a prodigious, if darkly tinged, imagination.Two distinct narratives, ultimately linked yet set 102 years apart, combine to grotesque and lasting effect. Larraquy writes fantastically and, however unlikely it may seem given its obsessive subjects, with considerable humor. The same unsettling, disquieting feeling one might be left with after engaging, say, Georges Bataille’s The Story of the Eye or fellow Argentinean author Samanta Schweblin’s Fever Dream is present in spades. Comemadre never flinches, however much its readers inevitably must. Comemadre lures, bedevils, and ultimately enamors—distending reality (and decency) in the process. Feral fiction at its finest, Larraquy’s Comemadre is beach reading if you inexplicably find yourself marooned with Piggy, Jack, Ralph, and the rest of Golding’s deserted island boys.” —Jeremy Garber, Powell’s Books“Part horror, part dark comedy, part philosophy.” —Unabridged BookstorePraise for Roque Larraquy:“Who the devil is this Roque Larraquy? His first book seems like an artifact written with four hands—amid laughter and hidden from everyone—by Jorge Luis Borges and Witold Gombrowicz. Or maybe not Gombrowicz, but Virgilio Piñera. Or maybe not Borges, but Villiers de L’Isle-Adam adapted by Paul Valéry (did you know Valéry spent his youth digging up skulls to make calculations?). What is certain is that this truly magnificent novel exudes intelligence, humor, cynicism, cruelty. Cold passion with unsettling—and unexpectedly moving—effects.” —Ignacio Echevarría“In spite of having all the necessary ingredients for a historical novel (the clinic, sordid and suburban; the positivist, anthropometric delusions), it’s not a historical novel; in spite of possessing, at first glance, the traits that generally mark ‘realistic fiction,’ (the cross between conceptual art, spectacle, and biopolitics; the gray areas of death, sickness and animalism as thresholds of humanity), something in its tone subjects the reality to a process of distancing treating it as a foreign body—alien—neither completely alive nor completely dead.” —Diego Peller, Bazar Americano“Larraquy spent seven years writing his first book . . . and another three passed before the appearance of his second. We don’t know how long it will take him to publish his next one, but we intuit that there will be a third and a fourth, because in what we’ve seen of his work up to now there is a discernible literary project—a project that’s difficult to define, for which terms like ‘story,’ ‘novel,’ or ‘poetry’ are insufficient.” —Maximiliano Tomas, La Nación
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About the Author
Roque Larraquy is an Argentinian writer, screenwriter, professor of narrative and audiovisual design, and the author of two books, La comemadre and Informe sobre ectoplasma animal. Comemadre will be his first book published in English.
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Product details
Paperback: 152 pages
Publisher: Coffee House Press; 1st edition (July 10, 2018)
Language: English
ISBN-10: 1566895154
ISBN-13: 978-1566895156
Product Dimensions:
5 x 0.5 x 7.8 inches
Shipping Weight: 5.6 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
5 customer reviews
Amazon Best Sellers Rank:
#223,146 in Books (See Top 100 in Books)
This book is fantastic. Very imaginative, extremely funny (but you need a perverse sense of humor) and very reader friendly thanks to Ms. Cleary's flowing translation. It's also philosophically thought provoking and short. 129 pages. Oh, don't worry. You get your money's worth. Along with fellow Argentinians Fresan and Saccomanno, Larraquy is now on the radarfor us gringos.
Like a musical giggle in absolute darkness, this wise, mischievous, elegant, sublime, twisty, monstrous book chills the marrow despite, no actually because of, never lapsing in taste or becoming unpleasant.
A plant that is filled with larvae that will disappear anything organic, but not in less than nine seconds. A character in this book definitely considered the actual time required to consume...
This novella is captivating, strange, and surprising. I love reading weird and new things, and this completely fit the bill.The story is separated in two halves, with the first set in a sanatorium in the early 1900s in Buenos Aires. A group of doctors are interested in what happens after death and they hatch a plan that seems less than legal involving guillotines and terminal cancer patients. It’s sort of like Martyrs meets something more bizarro and comedic, like Reanimator. The second half is set one hundred years later, where an avant-garde artist pushes the boundaries of body art.The book explores liminality, the real and unreal, the horrific of the unknown (or possibly knowing the unknown), the chaos of bodies, and how humans as a species continually attempt to live beyond what is meant for us.Death has always fascinated and repulsed humans. Does something lie beyond? How can we find out about it? Do we really want to find out about it? And perhaps that liminal, transitory space between life and death holds the answer—how can we hold on to life while seeing death and communicate back? On the other hand, the whole point of understanding death so well is really just to cheat it. And a way to cheat death, at least symbolically, is to leave your mark, to make sure that no one will ever forget you. These are the themes that came across as I read through both sections of Comemadre.I was completely captivated by the first section and found myself losing interest in the artists. If the book could have been longer, I would have liked to see how their narratives could have interplayed with each other more, perhaps with alternating chapters. But maybe that is a tired literary structure now.As it is, the section with the doctors felt somewhat unfinished and I just wanted to know more! The whole book has this air of weirdness, so it works, but I really lost all the momentum for the story at the switch. I wanted to know more about the creepy titular plant!I really appreciate Coffee House Press for offering an English translation of this unique work. I think this style of writing is gaining some steam for English-reading eyes, especially with successes like Samanta Schweblin’s Fever Dream, though it is nothing new to those who are writing it. I’m glad this book is now available to a wider audience and I hope its strangeness is appreciated!My thanks to the publisher for sending me an advance copy to read and review.
My favorite book of 2018 so far! A strange and grossly humorous look at the connections between the body, art, and science.
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