From Publishers Weekly
A playfully convoluted new work from Argentinean Martínez (
Santa Evita) follows an American graduate student to Buenos Aires on the trail of an unrecorded authentic tango singer named Julio Martel. In May 2001, Bruno Cadogan ("shitting" in Argentinean argot) arrives in Buenos Aires to hear Martel and complete his dissertation on Jorge Luis Borges's essays on tango. But who is Julio Martel? With the help of a scruffy young kiosk worker named El Tucumano, Bruno finds a room in a low-end boarding house near "the Aleph" of Borges's tale (e.g., a point in space that contains all other points) and begins to scour the city, gripped by out-of-control inflation, for signs of the singer. He plots a map of Martel sightings and elicits from Martel's lover and others tortuous stories of the singer's life: born prematurely in 1945, Martel suffers from hemophilia; he desired, as he made a name for himself in the unstable mid-1970s years of the Perón dictatorship, only to sound like the earlier star tango singer, Carlos Gardel. As each tale winds elaborately into the next, Martinez's work becomes an affecting, affectionate nod to Borges—and his beloved, damaged Buenos Aires as the "aleph" of the universe.
(May) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
--This text refers to an out of print or unavailable edition of this title.
*Starred Review* The Argentine author of
The Peron Novel (1988) and its sequel,
Santa Evita (1996), presents another history- and culture-drenched novel about another famous Argentine figure--writer Jorge Luis Borges--and one of the most signature features of Argentine society, the tango. This complicated novel's conceit is that a young American man by the name of Bruno Cadogan is writing a Ph.D. dissertation on Borges' essays on the tango and goes to reside for a while in Buenos Aires to find occasions to listen to master tango singer Julio Martel, who sings tango songs of a much earlier era, never records his voice, and whose appearances are sporadic and spring up in odd places around the city, his prematurely -broken-down body making a strange host to such a mesmerizing vocal instrument. As Borges' writing was keyed to places and events around the Buenos Aires he knew so well despite his blindness, Cadogan seeks to find a pattern to Martel's unannounced appearances that will also provide a key to understanding the city's dramatic past. This discursive, digressive novel, at once oblique and tantalizing, crammed as if it were a scrapbook with anecdotes about Argentine's past and present, is, in the end, a magical impression of the chimera that is Buenos Aires.
Brad HooperCopyright © American Library Association. All rights reserved
--This text refers to an out of print or unavailable edition of this title.