Horror in Enríquez’s fiction often hinges upon brief phrases that endow banal observation with disgust’s cloying sheen. Translating Enríquez’s lyrical vernacular - heavy with the slang and cadences of the Río de la Plata and Northeastern reaches of Argentina - is no simple feat. Megan McDowell also translated Enríquez’s previous collection, Things We Lost in the Fire (originally published in 2016), and has done a similarly outstanding job here she is currently translating Enríquez’s best work yet, the Herralde Prize–winning Nuestra parte de noche ( Our Part of the Night).Įnríquez’s prose is always subtle in its suggestiveness, distilling poetic flashes and vernacular dialect into an ideal web that sublimates unadulterated, awesome fear with language of everyday life. The Dangers of Smoking in Bed, published originally in 2009, was Mariana Enríquez’s first major collection of short stories, laying the groundwork for a transformation of Latin American literature’s relationship with the horror genre. Gone is the wonder and inventive positivity, replaced with the misery of putrefaction and pain, unrelenting pain. Mariana Enríquez’s Buenos Aires, meanwhile, is scarred by decades of austerity, squalor and inequality, deadly misogyny, and the disappearance of around 30,000 people during the dictatorship. GABRIEL GARCÍA MÁRQUEZ’S Macondo was wondrously haunted by the whimsical phantoms of authoritarianism and imperialism, conjuring up magical visions of lemon and silver that enchanted US readers.
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