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NATIONAL AUTONOMOUS UNIVERSITY OF MEXICO
UNAM is the largest publishing house in the Spanish-speaking world. Its production averages 1200 printed titles and 500 electronic titles per year. It publishes literature, and state-of-the-art research in Spanish for all sciences and humanities. It translates the most within Mexican publishing industry, and it has been the publishing house of the most outstanding academic writers in Modern Mexico.
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FictionWHY I CAN'T WRITE
How to survive in a world where you can’t pay rent, can’t afford to focus, be healthy or to remain principled. Dijana Matković tells a powerful story of searching for a room of her own in the late stages of capitalism.
by DIJANA MATKOVIĆ
It is a coming-of-age story for Generation Z. How to grow up or even live in a world where no steady jobs are available, you can’t pay your rent and can’t afford medical or living expenses. Moreover, it touches on how to be a socially engaged artist in such a world, and more so, a woman in a post-me too world? Dijana, a daughter of working-class immigrants, tells the story of her difficult childhood and adolescence, how should became a journalist and later a writer in a society full of prejudices, glass ceilings and obstacles. How she gradually became a stereotypical ‘success story’, even though she still struggles with writing, because she can’t afford a ‘room of her own’. Dijana is a daughter of working-class immigrants, who came to Slovenia in the eighties in search of a better future. The family is building a house but is made redundant from the local factory when Yugoslavia is in the midst of an economic crisis. When her parents get divorced, Dijana, her older sister and mother struggle with basic needs. She is ashamed of their poverty, her classmates bully her because of her immigrant status, but mostly because of her being ‘white trash’. In the local school she meets teachers with prejudices against immigrants, but is helped by a librarian who spots her talent. When Dijana goes to secondary school, she moves in with her older sister who lives in Ljubljana, the capital of Slovenia. Her sister is into rave culture and Dijana starts to explore experimenting with drugs, music and dance. At the secondary school, she is again considered ‘the weird kid’, as she isn’t enough of a foreigner for other immigrant kids because she is from the country, yet she isn’t Slovenian enough for other native kids. She falls even deeper into drug addiction, fails the first year of school and has to move back to live with her mother. She takes on odd jobs to make ends meet. Whilst working as a waitress she encounters sexism and sexual violence from customers and abuse from the boss. She finishes night school and graduates. She meets many ‘lost’ people of her generation along the way, who tell her their stories about precarious, minimum wage jobs, lack of opportunities, expensive rent, etc. Dijana writes for numerous newspapers but loses or quits her job, because she isn’t allowed to write the stories she wants or because of the bad working conditions or the blatant sexual harassment. Due to the high rent in the capital, Dijana has to move to the countryside to live with her mother. She feels lonely there, struggles with anxiety and cannot write a second book, because she is constantly under pressure to make a living. She realises that she must persevere regardless of the obstacles, she must follow her inner truth and by writing about it, try to create a community of like-minded people, a community of people who support each other – all literature/art is social.
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FictionY avait-il des limites si oui je les ai franchies mais c'était par amour ok
by Michelle Lapierre-Dallaire
WERE THERE LIMITS IF SO I CROSSED THEM BUT IT WAS OUT OF LOVE OK? In this uncompromising work of autofiction, the author attempts to reconcile herself to a world that endlessly denies her voice, her femininity and her trauma. Summary Michelle’s life starts in early childhood with unspeakable abuse that will haunt her into adulthood. The narrator suffers from borderline personality disorder, which blurs the line between excessive behaviour and hypersensitivity, revealing a woman furiously attached to the need to love and be loved. The first book by Michelle Lapierre is disarmingly, unsettlingly frank. A rare incursion into the borderline psyche, Were There Limits… features a kaleidoscope of barely bearable scenes and luminous reflections on mental illness, family, romantic relationships—told in breathtakingly beauty prose. *** French sample : https://flipbook.cantook.net/?d=%2F%2Fwww.entrepotnumerique.com%2Fflipbook%2Fpublications%2F111787.js&oid=255&c=&m=&l=&r=&f=pdf See other PDF for English sample.
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Like Me
by Emmi-Liia Sjöholm
An unabashedly open and frank novel about growing into womanhood and becoming a mother. A dazzling autofictional debut for the new generation. Emmi-Liia Sjöholm writes about her own life, including sex, the need the please others, and the struggle to assert one’s independence, with perfect clarity. The story resonates on several levels, and the book is a brutally honest description of real life where one’s past is always present: having an abortion at the age of fourteen, becoming a stepmother in her twenties, love, lust, having a child, searching for a woman’s place in the world, and eventually finding yourself. Candid yet firmly rooted on the ground, there is a lot to read between the lines. This is prose you feel and breathe rather than just read.
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September 2017Sous le rideau, la petite valise brune
by Thiry, Françoise
During the winter of 1966, a Boeing 707 of Sabena arriving from Bujumbura landed on Belgian soil. A half-asleep girl, holding a small brown suitcase in her hand, trotted behind a flight attendant, who handed it over to a man wearing a white shirt with a funny white collar, a black suit, and on the back of the jacket a small golden cross. The hostess greets "Monseigneur" before splitting the crowd and disappearing. The heroine of the novel is a Métis child of a Burundian mother and an unknown Belgian father, taken from her maternal family to be, like many others, given in adoption to a "good Catholic family" in Belgium. Throughout the narration, the hidden part of the narrator questions her "licit" part in the hope that one day both will join. The reader follows the slow metamorphosis of the child and the amputation of his memory until his fierce struggle against oblivion, his efforts to "reattach" his broken halves lead to the discovery of his astonishing identity. To raise the curtain, to open the padlock of the little brown suitcase, is to traverse a singular journey imbricated in a collective history long shelved in the cupboard, a secret of state and a secret of Church: the forced rapt of the half-breeds, “the children of shame” born under Belgian colonization before the Independences. A moving and lucid autofiction, which shows to what extent a religious institution can place itself above the laws and make suffer in the name of a distorded pseudo-morals.
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Ya-Nina (Me, Nina)
by Yanina Sokolova, Olha Kupriyan
An autobiographical novel about a cancer survivor, a woman with a life-threatening disease. The heroine learns to live anew: to love herself and her body, to hear her own desires, and to rebuild relationships with her loved ones. She learns to talk about her fears, to ask for support and help, and to trust others. The authors describe Yanina Sokolova’s personal story. Yanina fought cancer and was able to reach remission. She founded her own social project, "Ya-Nina" (a play on her name and the Ukrainian word for “I” — “Ya”), and started several charity campaigns to help cancer patients and their families. The main goal of her project is changing the attitudes of cancer patients towards themselves, as well as changing the societies’ attitude towards cancer patients. This book is a central part of the project.
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March 2020A Girl Passing Through
by Cécile Balavoine
New York, September 1997. The young Cécile is a student at NYU (New York University). One of her professors is a famous writer: Serge Doubrovsky, pope of autofiction. A very strong filial relationship quickly develops between the young girl and the professor and very soon, she moves in his flat. Indeed, he moves to Paris and sublets her his New York apartment. Over the years, the young woman and the aging writer see each other regularly, here and there, in Paris or New York, they dine together, get to know each other more and more intimately by exchanging on literature and life. They have no secrets from each other, there is absolute trust between them. Pygmalion or surrogate father, Doubrovsky alias Doudou is neither for Cécile. At least she likes to believe it and to make him believe it. But perhaps she is deluding herself... When Serge suddenly offers to Cécile to marry him and give him "the prestige of his name", their beautiful story changes and their paths diverge...
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FictionJune 2019The Morals of the Doily
Coming out to a Sicilian mother
by Alberto Milazzo
Three siblings have a frenemy to fight: Manon, their mother – a Sicilian woman who spends her days deep-frying eggplants, and whose life follows her own peculiar motto: “Happiness is possible only when based on the average of our mutual sorrows”. Manon’s universe is all about a code of conduct made of high morals, piety and the myth of unhappiness; But their children challenge this strict set of rules through a series of failures, a divorce and – worst of all – a sexual orientation that is not at all proper. When the modern world suddenly strikes Manon’s life, will she be able to face such a deep revolution?Witty, moving and thought-provoking, The Morals of the Doily is an autobiographical novel that shifts between exhilarating pages and epic drama.
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True storiesJuly 2022My Father's Shoes
by Andreas Schäfer
A book about farewells, grief, father-son relationships, and the lasting influence they have on our lives and behaviour How can you let your father go if it is you who has to decide the moment? Moving, Candid, Poetic, and Sensitive In early 2018, Andreas Schäfer’s father comes to visit him in Berlin. He has recently learned that the cancer he recovered from long ago has returned, but he has no complaints. He goes to the opera, takes a trip to the sea, sits on his son’s sofa and says, bewilderedly: “There’s something in my head!” But what is it? What is there in the father’s head? He goes back to Frankfurt, where he has lived alone since separating from his Greek mother decades ago. He also goes to the biopsy alone, seemingly determined not to give up his lone wolf-lifestyle until the last possible moment. On the day of the examination, the Chief Neurosurgeon gets in touch and tells Schäfer that his father has suffered a brain haemorrhage: “Your father is going to die,” he says. “He is in an induced coma. You have to decide when to switch off the machine.” How to cope when the life of one's own father being placed in one's hands? How to say goodbye when you are supposed to decide the timing yourself? ‘Die Schuhe meines Vaters’ is a book about fathers and sons and the unexpected ways of mourning that is as harrowing as it is heartfelt. Sincerely, poetically and sensitively, Andreas Schäfer tells of his own state of shock – but above all he approaches the father, the passionate traveller, the war traumatised, willed to be happy and lost at the same time, and their special, not always easy relationship.
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FictionApril 2019Cuentos completos (Full Stories)
by Hebe Uhart
Hebe Uhart (Moreno, Buenos Aires Province, 1936–Buenos Aires, 2018) spent a life-time in writing and publishing. She developed a body of work that embodies a way of looking, of being and of being in the world. Uhart’s is the kind of writer that opens itself up to an awed wonder at the mysteries of the world, relationships, growth and decay, change. There is no solemnity or simplicity in her narratives, but a keen, penetrating intelligence, without sarcasm, never patronising and always bathed in understanding and kindness: a kind of primordial egalitarianism where anything, any being, becomes thought-provoking and is worthy of attention. Her ever-present humour is that of someone who deeply experiences a moment of discovery and moves on to the next. Hebe Uhart tells us what she sees and hears, and an important area of her work is bound up with her experience; with the biography of a girl descended from Italians and Basques and raised in Moreno, a small town in Buenos Aires Province; an unhappy teenager, a young teacher in a small-town school and a student of Philosophy in the capital, Buenos Aires. But her style of narrating experience is a long way from the ‘literature of self’ or ‘autofiction’ as practiced today. This painstaking exploration of her own history, her family and her closest bonds is also tied to her relationships with everyday objects and activities. Her narratives are also open to other areas of experience: jobs, social life, discussions on various subjects, friendships and couples, the plant and animal realms, domestic routines and travel.
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FictionNovember 2021Les grands espaces
by Annie Perreault
In the North, Anna sets out across Lake Baikal, a huge stretch of ice twenty-five million years old. When she collapses from fatigue, a man known as the Grizzly goes to her rescue and brings her to his den. The two loners gradually open up to each other, recounting their nomadic lives, loss of friends, and relationship with the great outdoors. In the West, fiery Eleonore dreams of surfing the waves, gaining some freedom, and having a torrid love affair with Soviet cosmonaut Yuri Gagarin. It’s the early sixties, and the girl’s wild spirit will soon be reined in by family obligations and later by the controversial practices of Dr. Walter Freeman. In the East, back in the nineties, a young Anna shares a compartment aboard the Trans-Siberian with Gaby, a globetrotter from California. The two girls soon form a friendship that will be rocky but life-changing. In the South, an invisible writer pieces together fragments from her life that have filtered into her novel. The artistic process she reveals is a graceful and subtle form of autofiction that evokes Deborah Levy’s writing. All these characters share a desire to follow their instincts and a need to reconcile their hunger for space and adventure with their roots and the ties that bind them. In this powerful road novel, Annie Perreault has created a fragmentary and polyphonic work, a tale of daring journeys across landscapes too vast to feel at home in. To see all the information about this title: https://editionsalto.com/droits-rights/les-grands-espaces/
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FictionGranby au passé simple
by Akim Gagnon
In Granby, Past Tense, we find Akim, his brother and his Pop in the modest mobile home in Granby where he grew up. In this incredibly tender novel and behind Akim’s trashy bravado, we discover ordinary small town misery: unemployment, the father’s solitude and depression, cloyingly close quarter and hygiene that’s thrown out the window, adolescent ineptitude, and the resulting tensions… The Gagnons’ house is full of cracks— both literally and figuratively. Faced with this excruciating spectacle, young Akim seeks refuge in movies, theatre classes and especially the lens of his camera, through which he attempts to remix reality to better tell its story, if not escape it. At once trashy, tender and hilarious, Granby, Past Tense casts a sad yet empathetic eye on depression and anxiety, father-son relationships and poverty.
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Art & design styles: Conceptual artAugust 2021Sting in the Tale
Art, Hoax, and Provocation
by Antoinette LaFarge
An illustrated survey of artist hoaxes, including impersonations, fabula, cryptoscience, and forgeries, researched and written by an expert “fictive-art” practitioner. The shift from the early information age to our 'infocalypse' era of rampant misinformation has given rise to an art form that probes this confusion, foregrounding wild creativity as a way to reframe assumptions about both fiction and art in contemporary culture. At its center, this “fictive art” (LaFarge’s term) is secured as fact by employing the language and display methods of history and science. Using typically evidentiary objects such as documentary photographs and videos, presumptively historical artifacts and relics, didactics, lectures, events, and expert opinions in technical language, artists create a constellation of manufactured evidence attesting to the artwork’s central narrative. This dissimulation is temporary, with a clear “tell” often surprisingly revealed in a self-outing moment. With all its attendant consequences of mistrust, outrage, and rejection, this genre of art with a sting in its tale is a radical form whose time has come.
