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The stories collected in The Book of Fantasy, in Daniel Balderston’s translation, range from ghost and horror stories to mysteries with twist revelations, to the more deeply and less explicably strange. a (very good) introduction. Summary note Two key figures of Argentine twentieth-century literature are brought together in this study which bridges generations and genres; cult poète maudit Alejandra Pizarnik and publicity-shy literary legend Silvina Ocampo. Ocampo was born in Buenos Aires, the youngest of the six children of Manuel Ocampo and Ramona Aguirre. Certainly he has been humiliated, but has he also been hurt, or even murdered? We work to shine a light on stories that build bridges, tear down walls, and speak truth to power. “The world is not magical. Its editors were three Argentinian bibliophiles: Silvina Ocampo, her husband Adolfo Bioy Casares, and their best friend, Jorge Luis Borges. She went on to publish many books of poetry and short … The Rumpus is a place where people come to be themselves through their writing, to tell their stories or speak their minds in the most artful and authentic way they know how. The Impostor is, in a sense, Poe’s William Wilson stood on its head: that is, the doppelgänger’s side of the story. Some people sit by the door upstairs searching for some cool air on the hottest days … Ocampo’s embittered, gossipy narrator creates an unpleasant portrait of the event, during which the girl is arranged in various poses as a photographer commemorates the occasion: An aunt objected: “And if her feet come out wrong?”, “Don’t worry,” responded the friendly Spirito. With Marcello Antony, Andrea Murucci, Roberto Carnaghi, Ivo Cutzarida. This income helps us keep the magazine alive. And if you go in search of a world without memories in order to forget, there is nothing that will block our eyes or our ears. Without giving away too much, fans of Adolfo Bioy Casares’s The Invention of Morel (1940) will probably appreciate the appended conclusion of “The Impostor.” In her novella, Ocampo plays at a strikingly similar ending structure, but I would argue she handles it to greater effect than Bioy Casares. Along with a biting, sarcastic humor, this story offers a cinematic quality that might inspire Wes Anderson. Her hefty volume comes to us from New York Review Books (NYRB) Classics and features several stories translated into English for the first time by Daniel Balderston. Their powers cause them anxiety, and also rob life of its interest. . Translated from the Spanish by Daniel Balderston. Flow of fluids provides an inexhaustible supply of natures patterns. She was educated at home by tutors. At the end of the story the watchmaker is missing and the contents of his shop have been driven away in a van. The two grow close, but the narrator’s essential treachery adds tension to the development of their relationship, as does the growing sense that an unpleasant secret lies at the story’s heart; “I felt as if I were blind”, Luis writes in his journal: “During the day, the intense light, and at night, the darkness, both obscured my vision.” Like a painter (she studied with Giorgio de Chirico and Fernand Léger), Ocampo understands the power of distortion, as when Luis notices his friend Armando’s bedroom: “all of the room’s angles were askew and it was far too long”, while at one point, playing detective in the nearest town to the ranch, he takes a walk that describes the quintessential Ocampo transition: a journey from normality into strangeness that might be the work of external or internal forces. In 1940 a book was published in Buenos Aires that drew together a vast array of fantastic tales, from Petronius and Pu Songling to Edgar Allan Poe and Kafka. 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