Women Writers of Folklore and the Fantastic: Juana Manuela Gorriti

Today’s featured writer is Juana Manuela Gorriti (1818-1892), possibly the first published writer of fantasy in Latin America [1].

Juana Manuela Gorriti
Juana Manuela Gorriti (1818-1892).
Source: Wikimedia

During her lifetime, she was also the most widely read woman writer in Latin America [2]. I don’t honestly know how well known she is today, but she definitely deserves attention for (among other things) her contributions to gothic literature. In this post, I’ll talk about some of Gorriti’s gothic pieces, and share a translation of a short ghost story from her later writing.

Juana Manuela Gorriti came from a politically active family in Argentina. Her father, José Ignacio de Gorriti, was a hero of the Argentine war of independence from Spain, and a supporter of the Unitarian faction of Argentine politics [3]. When the opposing Federalist faction overthrew the Unitarian government of Argentina, the Gorriti famiily escaped to Bolivia.

In Bolivia, Juana Manuela met and married Manuel Isidro Belzu, who eventually became President of Bolivia. The marriage was not happy, and Gorriti separated from Belzu and moved to Peru, where she began her literary life.  She started a school, edited journals, and published not only in Peru, but in Chile and Argentina as well. While in Lima, she began to host tertulias, or salons, which were attended by prominent cultural and literary figures of the day, both men and women–especially women, for Gorriti was a feminist and encouraged women to join in the intellectual and political life of their countries.

In 1878 she returned to Argentina, establishing herself in the literary and cultural circles of her native country, while maintaining connections with the (many) notable women writers of the period from all over South America. She died in Buenos Aires in 1892.

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Las Rayas by Horacio Quiroga

In the introduction to their fantastic (and huge) anthology The Weird: A Compedium of Strange and Dark Stories (2011), Ann and Jeff VanderMeer talk about “unease and the temporary abolition of the rational” as components of the Weird. With respect to modern (twentieth and twenty-first century) fiction, they write:

The Weird, in a modern vernacular, has also come to mean fiction in which some other element, like weird ritual or the science fictional, replaces the supernatural while providing the same dark recognition of the unknown and the visionary.

The thought 1904 jpg Blog
The Thought, Mikalojus Konstantinas Ciurlionis (1904). Source: WikiArt

There is a particular feeling, they go on to say, that a certain piece of fiction gives to aficionados of the Weird, a feeling that makes us go “yes, that piece, it’s Weird.” When I read “Las rayas,” by Horacio Quiroga, I definitely got that feeling.

Quiroga isn’t represented in The Weird anthology, but perhaps he ought to have been. He wasn’t in Jorge Luis Borges’ anthology The Book of Fantasy, either, and Borges must certainly have been familiar with his work. Though obviously the fantastic and the weird aren’t (always) the same thing. Quiroga’s work is mostly non-supernatural–also true of Poe, who Quiroga greatly admired–but much of it (like Poe) is extremely unsettling, with illness or madness, or the brutality of jungle life contributing to that sense that here, in this story, you have indeed relinquished the rational.

“Las rayas” struck me as particularly weird. It’s a story about an inexplicable graphomania and its tragic outcome. So of course, I wanted to translate and share it. It seemed straighforward enough, but turned out to be challenging for a reason I hadn’t anticipated.

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Bellamore’s Triple Theft

My schedule is about to get super busy, but I squeezed off another translation of a short Quiroga tale.

Dexter Horton National Bank interior ca 1920 SEATTLE 170

This is Quiroga’s go at ratiocination-based detective fiction, in the style of Edgar Allan Poe’s C. Auguste Dupin. The title of the story, “El triple robo de Bellamore,” seems to be a play on “El doble crimen,” the Spanish title for “The Murders in the Rue Morgue”–at least the title of the translation that Quiroga read.

Or, possibly, this is Quiroga’s gentle mockery of ratiocination, and how implausible these elaborate chains of reasoning would be in reality. You decide.

Enjoy.


All the Quiroga stories I’ve translated so far, in the order I did them.

Image: Dexter Horton National Bank interior, ca. 1920. Source: Wikimedia.

The Other’s Crime

As promised in my last post, I’ve just finished a translation of the title story from Horacio Quiroga’s 1904 collection, El crimen del otro.

464px Ligeia Clarke
Harry Clarke, Illustration for “Ligeia” from Poe’s Tales of Mystery and Imagination (1919). Source: Wikimedia

Many of the stories in El crimen del otro are direct homages to Poe, and this one in particular is practically a love letter. It was a challenge for me to translate, partly because it’s appreciably longer than previous stories that I’ve attempted, and partially because neither of the characters in this tale are mentally stable. Much of what they say to each other straddles the border of nonsense, and it was not easy to, first, decipher what they were saying, and then to try to render it into “sensible nonsense” in English. Hopefully I’ve not botched it too much.

The fun thing about this story is picking out all the references to various Poe tales. Most of the titles transliterated into Spanish, so it wasn’t too hard to match them. Apparently the version of “The Murders in the Rue Morgue” that Quiroga read was titled “El double crimen” (The double crime)–this cleared up the title of another Quiroga story for me: “El triple robo del Bellamore” (The triple theft of Bellamore), which is a riff on Poe’s Dupin stories. I plan to translate that story, too, as time allows.

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Horacio Quiroga and Edgar Allan Poe

Earlier this year I got quite interested in the short stories of the Uruguyan author Horacio Quiroga (1878-1937), and I started translating and posting some of his stories. One of Quiroga’s literary influences was Edgar Allan Poe, with whom he shares a morbid fascination with death and madness. I’m sure Quiroga’s frequent themes of addiction and illness are also partially influenced by Poe, as well.

Horacio Quiroga 1900
Horacio Quiroga, circa 1900. Source: Wikimedia

Quiroga published his breakout collection Cuentos de amor, de locura y de muerte (Tales of Love, Madness and Death) in 1917. By then, his voice was coming into its own, merging Quiroga’s love for Poe with other literary interests, in particular de Maupassant and Kipling, along with Quiroga’s own life experiences living in the jungle province Misiones, in Argentina. But his earlier work shows Quiroga’s love for Poe much more strongly. Several of the stories in his 1904 collection, El crimen del otro (The Crime of Another) are direct homages to Poe’s short stories.

I translated one of Quiroga’s earliest stories back in July, but never posted it here. You can read it at the Ephemera blog:

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Two More Stories by Horacio Quiroga

I’ve put two more Horacio Quiroga translations up on the Ephemera blog:

  • The Spectre (El espectro): Every night, two lovers go to the movies. Even though they’re dead.
  • Juan Darién: A rescued orphan jaguar cub magically turns into a human, and tries to live among other humans.
Detail from magazine article on The Money Corral
Detail of an ad in Moving Picture World, May 1919 for the film The Money Corral (1919), starring William S. Hart. Source: Wikimedia

This brings the total number of stories I’ve translated so far up to six, and I hope to keep going.

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Reading Horacio Quiroga

Exploring the dark tales of this Uruguayan author.

I recently found Horacio Quiroga’s short story “The Dead Man” in Clifton Fadiman’s 1986 collection The World of the Short Story, and it’s given me a new hobby: tracking down all of his short stories that I can find.

Horacio Quiroga 1897
Horacio Quiroga, 1897.
Source: Wikimedia

I’ve seen Quiroga’s stories compared variously to Edgar Allan Poe, Ambrose Bierce, William Faulkner, and Rudyard Kipling; he himself acknowledged the influences of Poe, Kipling and de Maupassant on his work. Like Poe, he had a theory of the perfect short story (one he often contradicted in his own work). Also like Poe, and he was incredibly obsessed with death, and fascinated with madness as well.

This morbid viewpoint is not surprising, given Quiroga’s own life history. His father accidentally shot himself on a hunting trip and later his stepfather deliberately shot himself (apparently, Quiroga witnessed it). In 1900, when Quiroga would have been about twenty-one, his two brothers died of typhoid fever. The following year, one of Quiroga’s best friends, Federico Ferrando, was challenged to a duel. Since Ferrando knew nothing about guns, Quiroga offered to check Ferrando’s gun for him — and accidentally shot and killed Ferrando in the process. Though Quiroga was found innocent of any crime, his own feelings of guilt led him to leave his native Uruguay for Argentina.

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