Faces in the Crowd

Faces in the Crowd In Mexico City a young mother is writing a novel of her days as a translator living in New York In Harlem a translator is desperate to publish the works of Gilberto Owen an obscure Mexican poet And

  • Title: Faces in the Crowd
  • Author: Valeria Luiselli
  • ISBN: 9781566895341
  • Page: 326
  • Format: Paperback
  • In Mexico City, a young mother is writing a novel of her days as a translator living in New York In Harlem, a translator is desperate to publish the works of Gilberto Owen, an obscure Mexican poet And in Philadelphia, Gilberto Owen recalls his friendship with Lorca, and the young woman he saw in the windows of passing trains Valeria Luiselli s debut signals the arrivalIn Mexico City, a young mother is writing a novel of her days as a translator living in New York In Harlem, a translator is desperate to publish the works of Gilberto Owen, an obscure Mexican poet And in Philadelphia, Gilberto Owen recalls his friendship with Lorca, and the young woman he saw in the windows of passing trains Valeria Luiselli s debut signals the arrival of a major international writer and an unexpected and necessary voice in contemporary fiction.

    • Faces in the Crowd BY Valeria Luiselli
      326 Valeria Luiselli
    • thumbnail Title: Faces in the Crowd BY Valeria Luiselli
      Posted by:Valeria Luiselli
      Published :2019-05-03T19:30:49+00:00

    About "Valeria Luiselli"

    1. Valeria Luiselli

      Valeria Luiselli was born in Mexico City in 1983 and grew up in South Africa Her novels and essays have been translated into many languages and her work has appeared in publications including the New York Times, Granta, and McSweeney s Some of her recent projects include a ballet libretto for the choreographer Christopher Wheeldon, performed by the New York City Ballet in Lincoln Center in 2010 a pedestrian sound installation for the Serpentine Gallery in London and a novella in installments for workers in a juice factory in Mexico She lives in New York Cityffeehousepress authors v

    412 thoughts on “Faces in the Crowd”

    1. If you dedicate your life to writing novels, you’re dedicating yourself to folding time.Literature has a seemingly magical ability to fill the cracks of reality with fiction, creating a monument to the human condition. Valeria Luiselli’s impressive first novel, Faces in the Crowd in the English translation or Los Ingrávidos (‘The Weightless’) in the original Spanish, is a sagacious statement to the powers of literature, openly examining the mechanics of writing as if in an exhibition of [...]

    2. My fear is that I won’t, although more likely, I can’t, do this one the justice it deserves. Imagine this, if you will,but after the insertion of an additional hand, each hand drawing another, three hands simultaneously drawing one of the other hands. Now with that firmly in mind, forget it, and imagine three stories told by one or another (or each) character; that’s Faces in the Crowd.A contemporary Mexican mother, living in Mexico City, is writing a novel. A Mexican woman who works as a [...]

    3. This novel has a structure like these matryoshka dolls, it’s a story within a story and then again another story and lines between them are quite indistinct. Luiselli writes with short paragraphs, mixes time plans, shifts from one city to another, changes perspective and narrators and trying to capture the transience of the moment spins chaotic, yet poetic and dreamlike tale populated with recognizable characters and nameless figures as well. A dense, porous novel. Like a baby's heart .In the [...]

    4. Like Valeria, I stare at the faces in the crowd; the crowd of short paragraphs hurrying across the surface of this book, intermingling with the innate desire to escape the mound without any considerable collision. Like each paragraph, I anoint a barren, precise tone; a tone synthesizing topical fervor and ornate truants, rendering authenticity to a near magical premise.Like the topical fervor, I vacillate between two worlds; the fact that I am fictionalizing and the fiction that I am factualizin [...]

    5. After a month of work, removing everything extraneous, only two poignant lines survived, comparing faces in the crowd to petals on a dark bough. It's called poetry, this act of boiling down the soup of words until only the essence, the perfume, the ineffable remains. Names, plot twists, locations, historical dates becomes not irrelevant, but universal: light and darkness, inside and outside, life and death. It is so easy to write a thousand pages of picaresque adventures, with the reader strappe [...]

    6. Who’s who? More pertinent who is telling this story. Whoever it so might be is telling it with the grand combination of piercing precision and poetry. She is as much a poet as a writer of prose.Much has been written about this book. Much theory and much of it a deserved praise. My first read didn’t coincide with the majority or even my own mental image. Rather than Luiselli sitting at her writing desk, she sits at a loom where silken braided wool of dizzying color unfolds across the wood pla [...]

    7. Ways to begin a book: I heard a fly buzz when I died.Of course all life is a process of breaking down.The novel will be narrated in the first person, by a tree a woman with a brown face and dark shadows under her eyes, who has perhaps died. The first line will be: "I heard a fly buzz when I died."It all happened in another city and another life.Presentiment is that long shadow on the lawn.Beware! If you play at ghosts, you become one.

    8. Arranged in short stream-of-consciousness style vignettes, this book is pretending not to be a novel, though what it is in disguise as is hard to pin down; is it a journal? A memoir? I am not very patient with plotless characterless fiction and I increasingly skimmed, but I did enjoy the presence of the toddler; his leavening questions and opinions. What distinguishes the book from others and makes it contemporary is its close-to-the-boneness, its disturbingly risky-seeming self-referentiality. [...]

    9. Literature has produced a lot of interesting ideas for the world. It has also produced a lot of interesting experiments with words. Often, I'm satisfied if a book can do one of those two things well, but I feel throughly outwitted now that Valeria Luiselli has done both and twice. Yes, I read the book twice. Cover to cover. One time immediately after the other. I haven't done that since Harry Potter in middle school.At the heart of the novella is a puzzle. The flux between fact and fiction. Vale [...]

    10. لعلها من أجمل قراءات العام.**تحديث (22 فبراير 2018)«وجوه في الزحام»: مطاردة الأدباء وتعريف جديد للأدب والكتابة والحياة.تكتب فاليريا لويزيلي (1983 – الآن) روايتها الأولى بما لا يذكرني سوى بلوحة موريتز إيشر «رسم الأيدي» التي أطلقها للملأ سنة 1948. إذ سنجد رواية ما بعد حداثية تتكون من 150 [...]

    11. A neck sprain from whiplash, a headache, some nerve pain, a few pills—probably not the best time to read "a horizontal novel, told vertically. A novel that has to be told from the outside in order to be read from within."Three pulsating stories, fragmented narratives occurring on the page in delicately punctuated prose portraits, flowing out of and into each other, sometimes emerging softly like streams, sometimes crashing against each other like rough waves. A puzzling occurrence. This is "a [...]

    12. The space of the iterative, the recursion of self-reflexivity, the echo chamber of the nesting doll, the post-modern-modernity of the intertextual, all of these empty structural descriptors are sonorously instantiated in Luiselli's debut. The narrator claims that she "once read in a book by Saul Bellow that the difference between being alive and being dead is just a matter of viewpoint: the living look from the center outward, the dead from the periphery to some sort of center." (23) And then we [...]

    13. ~~This book is a city full of commingling phantoms, looking simultaneously outward from the narrators' perspective(s), and looking inward from the peripheral boundary horizons of narratorial ghosts. I can't believe this is her first novel, it's so absolutely perfect! (For a working definition of my idea of literary perfection, please see my review of Luiselli's Sidewalks, which might just as well serve as a review of this book, if alongside every mention of "cities" and "language" in that review [...]

    14. This book looked a fascinating read but soon proved to be all too dreamlike for me.It didn't hold my interest and even after a quick skim through looking for something magical to captivate me, as authors sometimes take a while to warm up, I was still left lukewarm in my thoughts.On to another book life is too short

    15. Una novela contada en fragmentos, tanto que para mí se queda todo como en chiquito. Tiene momentos muy lindos, pero me parece un poco rebuscada la estructura y cosas que cuenta, no llega a fluir, está muy ocupada siendo ingeniosa todo el tiempo. Me queda la sensación de que se mantiene alejada de todo lo que cuenta, le falta vida, o mugre, o algo. Es como muy novela de escritora que sabe mucho, pero no se siente natural, me cuesta creerle. La cito a ella, porque dice algo que me parece que de [...]

    16. Hasta la fecha había leído dos libros de Valeria Luiselli (Ciudad de México, 1983): Papeles falsos y La historia de mis dientes. Los ingrávidos es con diferencia el que más me ha gustado de los tres. Una lectura apresurada de esta novela puede llevarnos a considerarla como una divertida fantasmada, con personajes que se difuminan, pierden cuerpo y gravidez hasta su desaparición. Bajo esa apariencia superficial, si dedicamos algo más de tiempo a releer ciertos fragmentos, podemos apreciar [...]

    17. The apparition of these faces in the crowd;Petals on a wet, black bough.Ezra Pound There is a moment early in this novel, in a conversation between the narrator and her son, where she states she is writing a ghost story. The quick conversation finds her admitting that everyone in the story is alive, and that there are no ghosts in the story. This is a fairly apt description of this novel, which frequently references ghosts, and could in fact be said to be haunted, but (arguably) contains no actu [...]

    18. Intelligent and beautiful, but challenging to follow. It's incredibly smart and has great, moving lines, but it does get confusing. Maybe that's just me. I enjoyed it regardless.

    19. Horray! All along I thought that these sorts of pretentious, overhyped, numb, intellectually empty, stylistically overwrought novels that tout conservative suburban values in the guise of urban sophistication were the exclusive provenance of irritating white hipster boys who live in Brooklyn. But Luiselli has proven that these exercises in dullness that are lapped up by the literati can be churned out by non-white hipster girls who live in Manhattan, too! This is what I call progress!

    20. all novels lack something or someone. in this novel there's no one. no one except a ghost that i used to see sometimes in the subway sinuous and singular a novel as valeria luiselli's faces in the crowd (los ingrávidos) is, it is all the more remarkable on account of it being a debut - and a most assured one at that. the mexican novelist and essayist's first fiction entwines multiple narratives and perspectives, shifting between them with the ease and gracefulness of a writer far beyond her yea [...]

    21. [LIKE] Es una novela con una propuesta interesante debido a sus cambios de tiempo (evidentemente fundada en "Pedro Páramo", no sólo estructural sino temáticamente). [UNLIKE] No me gustan los libros, o mejor, los escritores que develan tan rápido sus artificios literarios. No es una mala novela, ni ella una escritora desprolija, pero la historia vertical de la novela y las narraciones horizontales que la atraviesan, se ven veladas por una evidente pretensión de genialidad.

    22. Luiselli can do no wrong for me, so her gritty quirky wide ranging smart story(ies) are cool, sad, entertaining, mind opening. This ‘novel’ seems like short stories to me. See her essays too, that seem like Garcia marquez short stories to me too :) Sidewalks

    23. Kitap kurgunun gerçeklikle çarpıştığı, okuyucuyu bilinmezlik kaosuyla harmanlayan, olay içinde olay döngüsüyle farklı ama yorucu bir hikaye sunuyor. Dingin bir zaman dilimi gerekiyor bu kitap için. Yinelenen cümleler bir süre sonra akıcılıktan uzaklaşıp yük olmaya başlıyor. Doğru bir zamanda tercih edilmesi belki algıyı farklılaştırabilir.

    24. Valeria Luiselli is one of the bright lights of the younger generation of Mexican writers, one that has come of age as the culture, especially of Mexico City, has become more cosmopolitan and intensely urban, leaving its rural and even indigenous roots behind. The points of reference for this work are not Octavio Paz and Carlos Fuentes. Both of those writers, in essays and poetry or fiction, grappled with how the trauma of the Mexican past and the constraints of their Mexican present would flow [...]

    25. ¡Ay, Harlem! ¡Ay, Harlem! ¡Ay, Harlem!No hay angustia comparable a tus rojos oprimidos,A tu sangre estremecida dentro del eclipse oscuro,A tu violencia granate, sordomuda en la penumbra,A tu gran rey prisionero, con un traje de conserje.(El rey de Harlem, Federico García Lorca, 1928-29)This is Valeria Luiselli's first book but the second one of hers that I have read. I have to admit that I liked "The History of my Teeth" much better but understand her writing style much better having read th [...]

    26. Kurmaca ile gerçekliğin birbirinin içine geçtiği, birbirine paralel ya da dikey üç belki beş (nereden baktığınıza göre değişen bir durum) hikayenin anlatıldığı bir roman bu.İlkin bu çok katmanlı yapıyı, eğlenceli bulduğumu söyleyebilirim. Fakat bir müddet sonra yazarın neyi anlattığı, neyden bahsettiği üzerine çok fazla düşünmeniz, sürekli olarak bir cümle, bir kelime ile anlatılmak istenileni yakalama ihtiyacı hissediliyor, haliyle çok yorucu bir süre [...]

    27. A jovem escritora mexicana Valeria Luiselli, nascida em 1983, escreveu o seu primeiro romance “Rosto na Multidão” em 2011.Um romance fragmentado “Um romance horizontal, contado verticalmente. Um romance que se tem de escrever de fora para se ler de dentro.”, com três histórias que se sobrepõem e convergem; duas narradas pela jovem editora, no passado e no presente e uma pelo poeta mexicano Gilberto Owen, que nos anos 20 deambulou, mais ou menos como um fantasma, por Nova Iorque, envo [...]

    28. A beautiful, lyrical, and quirky novella that explores creative identities and temporal and spatial literary horizons that first resembles fragmented modernistic discourse; then it acquires a post-modern flair, later magical realism of her Latin predecessors, and eventually a slightly absurdist Kafkaesque ending.In a way, it does remind me of How to be both; to be fair, the novella Faces in the Crowd is about the two authors who are writing about each other in several temporal planes; no wonder, [...]

    29. If I could write, this is the kind of book I'd want to write. Full of lyrical descriptions, a bit confusing, slightly pretentitous yet also very honest and raw. 4.5Zapustiti življenje. Razstreliti vse. Ne, ne vsega: razstreliti kvadratni meter, ki ga zavzemaš med ljudmi. Še bolje: pustiti prazne stole pri mizah, ki si si jih delil s prijatelji, ne na metaforičen način, ampak resnično pustiti stol, za prijatelje postati praznina, dopustiti, da se krog tišine razširi naokrog in napolni s p [...]

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