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Letters From Latin America: November 7, 2019
Reviews of poetry and fiction by Jorge Eduardo Eielson, Carmen Gimenez Smith and Brenda Lozano
Outstanding: Carmen Gimenez Smith
To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
PERUVIAN poet and artist Jorge Eduardo Eielson (1924-2006) travelled to Italy in 1951 for a summer holiday and decided to settle in Rome, where he wrote his poetic masterpiece Room in Rome (Cardboard House, £10).
Available for the first time in English, this collection shows Eielson’s ability to knot together many of the poet’s main themes as “quipus” (“talking knots”), recording devices made from strings historically used by cultures in Andean South America.
Eielson weaves personal history with geographic location, homosexual desire with longing, past and future, in a fashion that is as playful as it is profound.
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