Bøker av Cesar Aira

A divorce leads a man to Buenos Aires. In a trendy cafe he witnesses a minor accident involving Enrique, the owner of his guest house; this accident reunites Enrique with a childhood friend, with whom he had miraculously escaped from a raging fire in a miniature replica of a boarding school. So starts a true master-yarn from Booker finalist Aira.

It is 1837 and a brilliant German artist sets out to cross the mountains between Chile and Argentina. Perhaps nobody before him has been able to paint the sights that unfold: vast chasms, surreal plants and animals... But then something goes appallingly wrong. This is one of Aira's great works, filled with his baffling ability to veer between grandeur and absurdity. Each page fails to provide clues as to what lies in wait for the reader on the next.

In Festival, the genius postmodern sci-fi filmmaker Alec Steryx is the star guest of a film festival in an unnamed country. But he's brought a surprise: his nonagenarian mother. Everyone is baffled: Why? Half-blind and terminally cranky, she does nothing but complain, despite insisting on attending every screening and reception. As Steryx's mother gums up the works for the festival organizers, larger problems are in store ... A delightfully baroque comedy of errors, Festival, is, all at once, a loving parody of the institutions that support artists, a meditation on postmodern art, and a propulsive, lyrical, surreal adventure. In the far, far, future, a middle-aged father has fallen behind the times. Bemused and disturbed, he watches his children play the eponymous Game of the Worlds, a Total Reality war game that involves the annihilation of countless alien civilizations-which are at least as real as the narrator's own. As he debates the ethics of the game, struggles with his home's "intelligent system," and fumblingly manipulates his Discourse Corrector (a dead ringer for ChatGPT) on virtual beachside dates, an errant thought threatens to set a world-ending chain of logic into motion: the return of the Idea of God... Epic and domestic, madcap and musing by turns, this prescient novel reads like a message in a bottle from a bewitchingly strange yet all-too familiar future.

By profession I am a soldier, a general in the glorious Roman army. As a playwright, I think of myself as a sublime amateur.In Cesar Aira's new novel, Fulgentius, a sixty-seven-year-old imperial Roman general-"Rome's most illustrious and experienced"-is sent to pacify the remote province of Pannonia.He is a thoughtful, introspective person, a saturnine intellectual who greatly enjoys being on the march away from his loving family, and the sometimes deadly intrigues of Rome. Fulgentius is also a playwright (though of exactly one play) and in every city he pacifies, he stages a grand production of his farcical tragedy (written at the tender age of twelve) about a man who becomes a famous general only to be murdered "at the hands of shadowy foreigners." Curiously, what he had imagined as a child turns out to be the story of his life, almost. As the playwright-turned-general broods obsessively about his only work, the magnificent Lupine Legion-"a city in movement" of 6,000 men, an invincible corps of seasoned fighters wearing their signature wolfskin caps-kills, burns, pillages, and loots their way to victory. But what does victory mean?

Translated into English for the first time, On Contemporary Art, a speech by the renowned novelist César Aira, was delivered at a 2010 colloquium in Madrid dedicated to bridging the gap between writing and the visual arts. On Aira’s dizzying and dazzling path, everything comes under question—from reproducibility of artworks to the value of the written word itself. In the end, Aira leaves us stranded on the bridge between writing and art that he set out to construct in the first place, flailing as we try to make sense of where we stand. Aira’s On Contemporary Art exemplifies what the ekphrasis series is dedicated to doing—exploring the space in which words give meaning to objects, and objects shape our words. Like the great writers Walter Benjamin and Hermann Broch before him, Aira operates in the space between fiction and essay writing, art and analysis. Pursuing questions about reproducibility, art making, and limits of language, Aira’s unique voice adds new insights to the essential conversations that continue to inform our understanding of art.

Marcia is sixteen and unhappy. One day, she hears a shout: 'Wannafuck?' Startled, she turns and is confronted by punk girls Lenin and Mao. She's soon beguiled, but the two have little time for philosophical discussions of love: they need proof, and with their own savage logic the duo stage a hold-up in an unforgettable splatter-fest finale.

The elegant lime trees lining the main square of Colonel Pringles bring back memories of childhood in this charming fictional memoir by Man Booker International shortlisted Cesar Aira. A colourful mosaic of a small town, The Lime Tree is a playful portrait of the artist as a child and an invitation to visit the source of Aira's imagination.

In Korea, a little Buddhist monk dreams of the Western world. He meets the holidaying French couple Napoleon Chirac and Jacqueline Bloodymary and offers to be their guide, in the hope they will take him to Europe. But though our monk seems the very spirit of tourism, nothing is natural in this tour de force of Aira's twisted imagination.

In a small town in Argentina, a seamstress is sewing a wedding dress. All of a sudden she fears that her son has been kidnapped and driven off to Patagonia. She gives chase in a taxi. Her husband finds out and takes off after her - to the end of the world, to the place where monsters are born, and where the southern wind falls hopelessly in love.

Clarke, a nineteenth-century English naturalist, roams the pampas in search of that most elusive and rare animal: the Legibrerian hare, whose defining quality seems to be its ability to fly. The local Indians, pointing skyward, report recent sightings of the hare but then ask Clarke to help them search for their missing chief as well. On further investigation Clarke finds more than meets the eye:in the Mapuche and Voroga languages every word has at least two meanings.Witty, very ironic, and with all the usual Airian digressive magic, The Hare offers subtle reflections on love, Victorian-era colonialism, and the many ambiguities of language.

A delirious collection of short stories from the Latin American master of microfiction, César Aira-the author of at least eighty novels, most of them barely one hundred pages long-The Musical Brain & Other Stories comprises twenty tales about oddballs, freaks, and loonies. Aira, with his fuga hacia adelante or "flight forward" into the unknown, gives us imponderables to ponder and bizarre and seemingly out-of-context plot lines, as well as thoughtful and passionate takes on everyday reality. The title story, first published in the New Yorker, is the creme de la creme of this exhilarating collection.

Daily conversations in outdoor cafés with cultured friends can help make reality a little more real. Unfortunately, however, during one such conversation, one man spots a gold Rolex watch on a TV soap opera's goatherd. This seemingly small absurdity sets off alarms: strange sensations of deception, distress, and incipient madness. The two men's uneasiness soon becomes a nightmare as the TV adventure advances with a real-life plot - involving a mutant strain of killer algae - to take over the world! The Conversations, a reality within a fiction within a parallel reality, is hilariously funny and surprisingly touching.

César Aira's newest novel in English is not about a conventional doctor. Single,in his forties, and poor, Dr. Aira is a skeptic. His personality - his weaknesses,whims, and pet peeves - is summed up in a series of digressions and regressions but he has a very special gift for miracles. He no longer cares about miracles,however, and has no faith in them. Perhaps he is even a little ashamed about his supernatural powers. Such is Dr. Aira, who also has to confront his arch-enemy- chief of the Piñero Hospital, Dr. Actyn - who is constantly trying to prove that Dr. Aira is a charlatan. Poor Dr. Aira is indeed a worker of miracles, but César Aira - the magesterial author - sends the very human doctor stumbling toward the biggest trap of all, in this magical book.

César is a translator who's fallen on very hard times due to the global economic downturn; he is also an author, and a mad scientist hell-bent on world domination. On a visit to the beach he intuitively solves an ancient riddle, finds a pirate's treasure, and becomes a very wealthy man. Even so, César's bid for world domination comes first and so he attends a literary conference to be near the man whose clone he hopes will lead an army to victory: the world-renowned Mexican author, Carlos Fuentes. A comic science fiction fantasy of the first order, The Literary Conference is the perfect vehicle for César Aira's take over of literature in the 21st century.

The idea of the Native American living in perfect harmony with nature is one of the most cherished contemporary myths. But how truthful is this larger-than-life image? According to anthropologist Shepard Krech, the first humans in North America demonstrated all of the intelligence, self-interest, flexibility, and ability to make mistakes of human beings anywhere. As Nicholas Lemann put it in The New Yorker, "Krech is more than just a conventional-wisdom overturner; he has a serious larger point to make. . . . Concepts like ecology, waste, preservation, and even the natural (as distinct from human) world are entirely anachronistic when applied to Indians in the days before the European settlement of North America." "Offers a more complex portrait of Native American peoples, one that rejects mythologies, even those that both European and Native Americans might wish to embrace."-Washington Post "My story, the story of 'how I became a nun,' began very early in my life; I had just turned six. The beginning is marked by a vivid memory, which I can reconstruct down to the last detail. Before, there is nothing, and after, everything is an extension of the same vivid memory, continuous and unbroken, including the intervals of sleep, up to the point where I took the veil ." So starts Cesar Aira's astounding "autobiographical" novel. Intense and perfect, this invented narrative of childhood experience bristles with dramatic humor at each stage of growing up: a first ice cream, school, reading, games, friendship. The novel begins in Aira's hometown, Coronel Pringles. As self-awareness grows, the story rushes forward in a torrent of anecdotes which transform a world of uneventful happiness into something else: the anecdote becomes adventure, and adventure, fable, and then legend. Between memory and oblivion, reality and fiction, Cesar Aira's How I Became a Nun retains childhood's main treasures: the reality of fable and the delirium of invention.A few days after his fiftieth birthday, Aira noticed the thin rim of the moon, visible despite the rising sun. When his wife explained the phenomenon to him he was shocked that for fifty years he had known nothing about "something so obvious, so visible." This epiphany led him to write How I Became a Nun. With a subtle and melancholic sense of humor he reflects on his failures, on the meaning of life and the importance of literature.

"On a building site of a new, luxury apartment building, visitors looked up at the strange, irregular form of the water tank that crowned the edifice, and the big parabolic dish that would supply television images to all the floors. On the edge of the dish, a sharp metallic edge on which no bird would have dared to perch, three completely naked men were sitting, with their faces turned up to the midday sun; no one saw them, of course." - from GhostsGhosts is about a construction worker's family squatting on a building site. They all see large and handsome ghosts around their quarters, but the teenage daughter is the most curious. Her questions about them become more and more heartfelt until the story reaches a critical, chilling moment when the mother realizes that her daughter's life hangs in the balance.

Unmistakably the work of César Aira, Varamo is about the day in the life of a hapless government employee who, after wandering around all night after being paid by the Ministry in counterfeit money, eventually writes the most celebrated masterwork of modern Central American poetry, The Song of the Virgin Boy. What is odd is that, at fifty years old, Varamo "hadn't previously written one sole verse, nor had it ever occurred to him to write one."Among other things, this novella is an ironic allegory of the poet's vocation and inspiration, the subtlety of artistic genius, and our need to give literature an historic, national, psychological, and aesthetic context. But Aira goes further still - converting the ironic allegory into a formidable parody of the expectations that all narrative texts generate - by laying out the pathos of a man who between one night and the following morning is touched by genius. Once again Aira surprises us with his unclassifiable fiction: original and enjoyable, worthy of many a thoughtful chuckle, Varamo invites the reader to become an accomplice in the author's irresistible game.

The Seamstress and the Wind is a deliciously laugh-out-loud-funny novel. A seamstress who is sewing a wedding dress for the pregnant local art teacher fears that her son, while playing in a big semitruck, has been accidentally kidnapped and driven off to Patagonia. Completely unhinged, she calls a local taxi to follow the semi in hot pursuit. When her husband finds out what's happened, he takes off after wife and child. They race not only to the end of the world, but to adventures in desire - where the wild Southern wind falls in love with the seamstress, and a monster child takes up with the truck driver. Interspersed are Aira's musings about memory and childhood, and his hometown of Coronel Pringles, with a compelling view of the hard lot of this working-class town, situated not far from Buenos Aires.

Maxi, a middle-class, directionless ox of a young man who helps the trash pickers of Buenos Aires's shantytown, attracts the attention of a corrupt, trigger-happy policeman who will use anyone - including two innocent teenage girls - to break a drug ring that he believes is operating within the slum. A strange new drug, a brightly lit carousel of a slum, the kindness of strangers, gunplay... no matter how serious the subject matter, and despite Aira's "fascination with urban violence and the sinister underside of Latin American politics" (The Millions), Shantytown, like all of Aira's mesmerizing work, is filled with wonder and mad invention.