Read Costa Rica: A Traveler's Literary Companion (Traveler's Literary Companions Book 1) By Barbara Ras,Oscar Arias
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Ebook About Journey into the Costa Rican imagination through twenty-six remarkable stories, selected and organized regionally for the curious traveler. Here, for the first time in English, the best of Costa Rica's writers conjure the country's allure and vitality, its coffee fields and palm groves, cicadas and songbirds, shrouded mountains and blazing savannas, while telling stories unique to Costa Rican life. Contributors include Alfredo Aguilar, Fernando Durán Ayanegui, Alfonso Chase, Quince Duncan, Fabián Dobles, Louis Ducoudray, Carlos Luis Fallas, Mario Gonzáles Feo, Joaquín Gutiérrez, Carlos Salazar Herrera, Max Jiménez, Carmen Lyra, Carmen Naranjo, Yolanda Oreamuno, Abel Pacheco, Julieta Pinto, Uriel Quesada, Samuel Rovinski, José León Sánchez, and Rima de Vallbona.Book Costa Rica: A Traveler's Literary Companion (Traveler's Literary Companions Book 1) Review :
This book came out in 1993 and was one of the first publications in this traveler's literary companion series, a beautiful attempt to introduce a wide range of foreign writers to English-language readers. It contained 26 works by 20 writers. There were 23 short stories and 3 excerpts from novels.The oldest writers in the collection were Carmen Lyra (1888-1949), Mario González Feo (1897-1969) and Max Jiménez (1900-47). The most recent were Alfonso Chase (1945-), Alfredo Aguilar (1959-) and Uriel Quesada (1962-). Others included Carlos Luis Fallas (1909-65), a writer of the working class and social protest who's been called one of the nation's most widely read authors; Yolanda Oreamuno (1916-56); Joaquín Gutiérrez (1918-2000); Fabián Dobles (1918-97) and Julieta Pinto (1922-), who were called major voices; Carmen Naranjo (1928-), who appears to be among the writers most frequently translated into English; Abel Pacheco (1933-), recently the nation's president; and Quince Duncan (1940-), who was described as a chronicler of Costa Rica's blacks. Of all the authors, five were women.As far as could be determined, the pieces ranged from the 1930s (Lyra, Jiménez, Oreamuno) to the 1990s (Naranjo, Chase). Three-fourths of the works came from the 1960s to 90s, the rest from the 1930s and 40s.The works covered the north and south, the Caribbean and Pacific coasts, the capital/the central valley, and a mountainous area in the north. A final section contained stories on the nation as a whole and was one of the strongest sections. In general, the longer pieces were most enjoyed.The introduction provided little background on the nation's literary development. Judging from info on the Internet, the modern literature dates to the late 1800s. Trends over the following decades have included influence from European literary traditions; an opposing preference for local themes; nationalism and social protest; modernism (with less impact than elsewhere in Latin America); realism; and occasionally magical realism.A number of the stories in the collection showed a great sensitivity to nature, focusing on the harvesting of fan palms, the screeching of cicadas, tropical rain, steam rising from the earth, the sound, smell and taste of the sea, as well as descriptions of trees, flowers, frogs, birds and lizards (Jiménez, Oreamuno, Quesada, Dobles, Rima de Vallbona, Aguilar, Naranjo, Fallas).A few employed magical realism -- applying to reality some exaggeration and absurdity, or blending hallucination and reality (Jiménez, Oreamuno, Naranjo, Aguilar). Others drew attention directly or in passing to social inequity or untoward foreign influence (Lyra, Dobles, Vallbona, José León Sánchez, Pacheco). One of these, by Sánchez, was written from the point of view of a young girl trying to escape poverty and showed well the many obstacles: lack of health, sanitation, nutrition, money, learning, sexual education, role models, and protection from those who meant harm.Another piece (Ducoudray) managed to combine protest with magical realism, in the form of mysterious pairs of wings brought by an unnamed company from overseas 90 years before, which claimed occasional victims and spread contagious diseases. Other stories were concerned more with urban alienation and sexual frustration (Samuel Rovinski) or the inability to fathom another person's motivations (Chase).Stylistically, among the more interesting pieces for this reader were one by Dobles, in the form of a diary kept by two Americans competing against an unnamed fruit conglomerate in the early 1900s. One by Pacheco, in the form of voices telling their stories in a manner akin to Spoon River Anthology. And a monologue by Gutiérrez, in which a man at the end of his rope recounted his adventures and rued the passing of time.In one connection or another, a handful of the stories mentioned the unnamed conglomerate, which the introduction identified as the American-owned United Fruit Company. One of the largest employers in Central America before World War II, it appears also in the pages of authors like Asturias, Neruda and García Márquez. In the present collection, it was shown building railroads to the interior, setting up company towns, driving small competitors out of business, and buying on favorable terms from local banana farmers. An excerpt in the collection from a novel by Fallas--Mamita Yunai (1941)--showed the comradeship of the hard-working construction gangs it employed.Readers who enjoy all these things ought to enjoy this collection, it's fine as a travel guide, and it's a very useful introduction to the nation's writing over the 20th century, for which there appear to be no other widely available collections in English.There wasn't the social satire of writers like Brazil's Machado de Assis or Mexico's Juan José Arreola, the concern with humorous tales and social customs of Peru's Ricardo Palma and the Dominican Republic's Juan Bosch, or the concern with Indian subjects of a writer like Mexico's Rosario Castellanos. The tragic sense of life in some of the pieces wasn't conveyed quite as powerfully for this reader as in the best writing of Uruguay's Horacio Quiroga, Brazil's Graciliano Ramos or Mexico's Juan Rulfo. And other pieces weren't as dazzling as the best magical realism from writers of the 1960s boom like Fuentes and Cortázar, a precursor such as Borges and successors like Puig and Arenas, or experimental on the order of Lezama Lima, Cabrera Infante, or Sarduy. Still, there was much to enjoy.Other collections containing Costa Rican writers include When New Flowers Bloomed: Short Stories by Women Writers from Costa Rica and Panama (1991) and Contemporary Short Stories from Central America (1994). I read this in preparation for a visit. It feels very relevant and reads in some sense like fables. It has more serious stories than humorous ones, but it does create familiarity with locations and gives you a sense of the people and their struggles. 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