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Author:
• Sunday, March 01st, 2015

Juan Gabriel Vasquez was born on the northern outskirts of Bogotá, Colombia in 1973. He studied in Bogotá’s Anglo-Colombian school, then studied law in his native city at the University of Rosario. After graduating, he went to France to study Latin American literature at the Sorbonne in Paris from 1996 to 1998. He had in mind to pursue a literary career despite the fact that his father, who was a lawyer, wanted him, like his younger sister, to follow in his footsteps.

Vasquez has received several awards and prizes. In 2014 he received the International IMPAC Dublin award, as well as the Prix Roger Caillois in France and the Alfaguara Prize in Spain. He also received the Qwerty Prize in Barcelona for the best narrative Spanish language book and the Books and Letters Foundation Award in Bogotá in 2007 for best fiction book for Historia secreta de Costaguana, published in English in 2010. Vasquez is one of the most acclaimed writers, his books have been translated into several languages.

Vasquez has written a few novels as well as a brief biography of Joseph Conrad. He also translated works by E.M. Forster, John Dos Pasos and Victor Hugo to Spanish. After living in France and Belgium he now lives with his publisher and publicist’s wife and their young twin daughters in Barcelona.

The Secret History Of Costaguana is set between the nineteenth and early twentieth centuries. It’s a mixture of reality and fiction in which the narrator, the novel’s main protagonist, José Altamirano, addresses the readers and his daughter Eloisa as a lawyer pleading before a jury. He makes arguments recounting the period during which the construction of the Panama canal was underway and makes claims that Joseph Conrad’s depiction of this historical era was filled with falsehoods.

The Frenchman, Ferdinand de Lesseps, who successfully built the Suez Canal in Egypt, that opened in November 1869 after 10 years of construction, thought he could achieve the same success by building the Panama canal. The French began excavating in 1882 but hit by tropical diseases such as yellow fever and malaria which decimated the crew and after nine years of persistence, corruption, miscalculation, fraud and loss of about twenty thousand lives, the project failed. The French effort ended in bankruptcy and a scandal coupled with a court case in France against Ferdinand de Lesseps, his son Charles and other people involved in the project who were found guilty.

Notwithstanding this defeat, the USA’s interest in the Panama canal was sustained and under the presidency of Theodore Roosevelt, The Panama Canal Company sold all its property to the United States which completed the Canal. It was opened in 1914 and “Colombia guaranteed the United States complete control of a 10-kilometre-wide zone between Colón and Panama City. The cession was for a space of one hundred years and in exchange, the United States would pay ten million dollars”.

The Colombian, Miguel Altamirano, saw it all and after his death his illegitimate son José Altamirano continued to witness all these events. The father being more optimistic than his son believed in the Panama canal project and as a journalist kept writing how everything was running smoothly, deliberately omitting mention of the appalling work conditions and the deaths of the workers.

José Altamirano, disheartened and sickened by all he has been through, leaves Panama for London in 1903. Soon after his arrival in London he is introduced to the British writer, Joseph Conrad, who has some difficulties moving forward with his novel Nostromo. The story is centered around a silver mine instead of a Panama canal and Nostromo is an Italian expatriate. The setting is South America in the mining town of Sulaco, an imaginary port resembling Panama in the occidental region of a fictional country resembling Colombia which he calls: Costaguana.

José Altamirano will be of great help to Conrad by disclosing the oppression, revolution and armed conflict he witnessed, including the political conspiracies and corruptions during “the one thousand one hundred and twenty-eight days of relentless slaughter” which he endured there and which destroyed him psychologically, leaving him with a guilty conscience.

In Vasquez’s novel the British Joseph Conrad is portrayed as a character and when Conrad’s Nostromo is published in a weekly magazine in 1904, Altamirano is appalled to note that the author has not mentioned him anywhere in his story. He says to him in anger: “You, Joseph Conrad, have robbed me” he waves “the Weekly in the air, and then threw it down on his desk. Here he whispered…I do not exist…My tale lived there, the tale of my life and my land, but the land was another, it had another name, and I had been removed from it, erased…obliterated without pity.”
Conrad answers him: “This, my dear sir, is a novel” it’s not the story of your country, “it’s the story of my country. It’s the story of Costaguana.”

Through the voice of José Altamirano we recognise the voice of Vasquez who says: “History is a tale somebody has told us from a biased point of view; it’s only one possibility among many. Novels give another version, recover truths that have been repressed. The task is to make Latin America’s past come alive so we can gain some control over our future.”

This truth will be delivered by Vasquez himself. As an amendment to Joseph Conrad’s Nostromo, Vasquez provides his readers, without “transformation or distortion”, the real history of this dark and tumultuous period of his own country which led Colombia’s province of Panama to secede in 1903, as well as the root and rift between the conservatives and the liberals during these bleak years.

Vasquez novel is a reaction against the magical realism genre, commonly used by south American novelists. Altamirano says derisively in the novel: “this is not one of those books where the dead speak or where beautiful women ascend to the sky, or where priests rise above the ground after drinking a steaming potion.”

The Secret Story Of Costaguana is a well documented and informative novel about the history of Colombia during the period of the building of the Panama canal. José Altamirano is an astute and sardonic story-teller, the only flaw of the book being the plethora of names of characters and politicians the reader needs to keep up with, a number that is well above average even by the standards of South American literature.

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Author:
• Sunday, March 30th, 2014

Marie Ndiaye is a French national, born in 1967 in Pithiviers, France to a French mother and a Senegalese father. Her parents separated when she was one-year-old with her father leaving for Africa and her eldest brother and herself being brought up in the Parisian suburb of Bourg-la-Reine by their teacher mother.

After finishing primary and secondary schools, NDiaye went to the Sorbonne to study linguistics, which led to her obtaining a grant from the French Academy to stay in the Villa Médicis in Rome.

NDiaye started writing in her teens with her first novel, “Quant au riche avenir”, published in 1985 when she was eighteen years old. She is the most widely read and critically acclaimed, living French writer. To date she has written adults’ and children’s novels, short stories, plays, an essay and a screen play. She received the prix Femina in 2001 for “Rosie Carpe” and the distinguished prix Goncourt in 2009 for Three Strong Women. Her stage play: “Papa doit manger”, became part of the repertory of the prestigious, Comédie Française in 2003.

Marie NDiaye left France in 2007 after Nicolas Sarkozy became president and currently lives with her husband and their three children in Berlin.

Three Strong Women was originally published in French in 2009 and in English in 2012.

Three women, three different fates and two countries: France and Senegal. In the three novellas that form this book, three women: Norah, the lawyer, Fanta, the former literature teacher and Khady Demba, the uneducated servant who becomes a childless widow, all fight against the adversity of life with an unparalleled obsessive determination.

The three stories are loosely intertwined. When Norah, in the first story, is urgently called by her estranged, unloving, overbearing, uncaring father, to leave Paris and join him in Senegal to defend her imprisoned brother, Sony, in court, she meets Khady who works in her father’s house as a maid. Norah is in her late thirties, a successful lawyer in Paris and has a seven-year-old daughter, Lucie. Norah has a complicated life. She has been living a frustratingly unhappy year of her life with her unruly, unemployed, German partner, Jakob, and his seven-year-old daughter, Grete.

In the second story, the Senegalese, Fanta, like her husband Rudy, a French literature teacher in the reputable lycée Mermoz in Dakar, has to quit her job for a teaching position in France promised by Rudy. She follows her disgraced French husband to his native province, la Gironde, in the south west of France with their young son Djibril. Once in France and without a job, Fanta becomes unhappy and reclusive. We learn about her through her lonely failure of a husband, Rudy, who feels remorse for inflicting his low self-esteem torment on his wife. He is depressed, paranoid and suffers from chronic haemorrhoids.

The same Khady Demba, the maid in the first story reappears a few years later in the third story as a destitute, childless widow. She is forced by her in-laws to emigrate to France and send them money after receiving help from a distant cousin, Fanta, who is regarded as being rich because she is teaching and therefore earning a good salary.

Khady Demba, like Norah and Fanta, is not easily deterred in the face of adversity. With an imponderable pride and a discreet unshakeable assurance, she keeps telling herself: I am me, Khady Demba. She is young, healthy and unstoppable. She knows she has nothing, really nothing to lose and additionally she has been told by her mother-in-law before leaving, that if things go wrong she is not to return back to live with them.

The author gives an insight into three types of migration between Africa and Europe and in the case of Khady Demba, the big problem of loss of life among the “Boat people” who are putting themselves in danger in the hope of better living conditions in “rich” European countries.

Through her lengthy (paragraph length) sentences and her incomparable style of writing, NDiaye describes in depth and with great accuracy, in her triptych, the suffering, unhappiness, despair and endurance as well as the distress and painful life of three women. The three protagonists don’t share the same background but nevertheless have a determination for survival and enduring hardship in common, in order to reach their target and impose their identity in a patriarchal world.