Month: July 2014

OT: Marisa Monte e Paulinho da Viola – Dança da solidão

Dance of Loneliness in English

OT: Mayra Andrade – Dispidida

John Grant, in a comment to my previous post: The danger of a single story, has brought to my attention this great singer:

Mayra Andrade is a Cape Verdean singer who lives and records in Paris. Although she was born in Cuba, Andrade’s parents are both Cape Verdean, and she and her family returned to Cape Verde a few days after her birth. Andrade spent the first years of her life in Cape Verde, but because her father was a diplomat for the Cape Verdean government, she travelled extensively with her family and lived in many countries during her childhood. Hence, during her childhood, she lived in Senegal, Angola, and Germany. However, she spent around two months of the year in the Cape Verdean island of Santiago. Andrade moved to Paris in 2002 when she was 17 years old and has lived there ever since. She is multilingual, but most of the lyrics of the songs on her albums are in her native Cape Verdean Creole language. The first song she remembers singing is “O Leãozinho” by the Brazilian musician Caetano Veloso, whom she has cited as a musical influence. (Information taken from Wikipedia)

The danger of a single story

Sorry if you’ve heard this before. I thought it was worth sharing.

Chimamanda Adichie: El peligro de una sola historia. Video en Ted.com (en inglés, con subtítulos en español)

Review: Euro Noir by Barry Forshaw

Esta entrada es bilingüe, para ver la versión en castellano desplazarse hacia abajo

Pocket Essentials an imprint of Oldcastle Books, 2014. Kindle edition. (604 KB). ISBN: 978-1-84344-247-9. 256 pages. ASIN: B00J75NBO6.

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Following my previous blog entry here I’ve spent a few hours in the company of Barry Forshaw and his new book Euro Noir. A pocket essential guide, as suggests its subtitle, to European Crime Fiction, Film and TV. The guide is divided into nine chapters, each of a different extension, covering Italy; France; Germany, Austria and Germany; Spain and Portugal; Greece; The Netherlands; Poland; Romania; and Scandicrime Revisited. In addition it has an Introduction and six Appendices: 1. Publishing Translated Crime Fiction, 2. The Petrona Perspective, 3. Crossing the Bridge with Sofia Helin, 4. Jørn Lier Horst: Language – Hero – Environment, 5. Selected Top Crime Novels by Country and 6. Selected Top Crime Films and TV by Country. In essence, Euro Noir follows the same structure as Barry Farshaw’s previous pocket guide, Nordic Noir, you can find my review here. Though, this time, I miss an Index at the end. 

Despite the fact that Barry Forshaw hardly needs any presentation, it’s worth to remember here that he’s one of the UK’s leading experts on crime fiction and film. His latest books are Nordic Noir, British Crime Film and British Gothic Cinema. Other work includes Death in a Cold Climate: A Guide to Scandinavian Crime Fiction, The Rough Guide to Crime Fiction, Euro Noir and the Keating Award-winning British Crime Writing: An Encyclopedia, along with books on Italian cinema and the first biography of Stieg Larsson. He writes for various national newspapers, edits Crime Time (www.crimetime.co.uk), and is a regular broadcaster. He has been Vice Chair of the Crime Writers’ Association, and has taught an MA course at City University on the history of crime fiction. (Oldcastle Books)

In my view, this is an easy-to-read guide, amusing and entertaining. The aficionado will thus be able to widen her/his knowledge of the current state of crime fiction in other European countries. What’s certainly a highly commendable task. Besides. Barry Forshaw has had the ability to follow the advice of some local experts, with whom he has gathered. As he states himself in the Introduction:

The idea is to present a user-friendly, wide-ranging snapshot of the best achievements (both on the printed page and on screen) of crime not originally written (or played) in English. However, unlike my earlier Nordic Noir (where even in 160 pages it was possible to present a largely inclusive survey), such comprehensive coverage would obviously be impossible in an area which has been producing splendid work from a variety of countries for so many years and with the space available to me in Euro Noir. I’ve tried to pack in as much as I can. I’ve concentrated on Western Europe and I’ve had to be selective, with an emphasis on the contemporary rather than the classic.

I cannot overlook the Appendix in which Maxine Clarke (Petrona) is mentioned. Despite the time elapsed since she is no longer with us, her memory continues to be present among all who once, consider ourselves her friends. She will be forever in our memories. 

But let me finish with a more cheerful note and highlight the contribution of my dear friends, Karen Meek at Euro Crime, Kat Hall at Mrs Peabody Investigates and Sara Ward at Crimepieces. Let me suggest you a visit to their blogs, you won’t regret it and you’ll thank me if you don’t know them yet.

My rating: A (I loved it) 

Oldcaste Books

Q&A with International Crime Fiction aficionado and critic Barry Forshaw

Amazon.es

Euro Noir de Barry Forshaw

Como continuación a mi entrada de blog anterior aquí he pasado unas horas en compañía de Barry Forshaw y su nuevo libro Euro Noir. Una guía esencial de bolsillo, como sugiere su subtítulo, sobre novela negra europea, Cine y Televisión. La guía se divide en nueve capítulos, cada uno de una extensión diferente, cubriendo Italia; Francia; Alemania, Austria y Alemania; España y Portugal; Grecia; Países Bajos; Polonia; Rumanía; y un nuevo repaso a la Novela Negra Nórdica. Además cuenta con una Introducción y seis apéndices: 1. La edición de novelas negras traducidas, 2. La perspectiva de Petrona, 3. Cruzando el puente con Sofia Helin, 4. Jørn Lier Horst: Idioma – Héroe – Ambiente, 5. Una selección de las mejores novelas negras por países y 6. Una selección de las mejores películas y series policíacas por paises. En esencia, Euro Noir sigue la misma estructura que la guía de bolsillo anterior de Barry Farshaw, Nordic Noir, usted puede encontrar mi reseña aquí. Aunque, esta vez, echo de menos un índice al final.

A pesar de que Barry Forshaw no necesita ninguna presentación, vale la pena recordar aquí que es uno de los principales expertos en novela negra y cine del Reino Unido. Sus últimos libros son Nordic Noir, British Crime Film y British Cinema Gothic. Otros trabajos incluyen Death in a Cold Climate: A Guide to Scandinavian Crime Fiction, The Rough Guide to Crime Fiction, Euro Noir y el laureado con el Premio Keating British Crime Writing: An Encyclopedia, junto con libros sobre cine italiano y la primera biografía de Stieg Larsson. Escribe para varios periódicos nacionales, edita Time Crime (www.crimetime.co.uk), y es un presentador habitual. Ha sido Vicepresidente de la Asociación Británica de Escritores de Novelas Policíacas, la CWA, y ha impartido un curso de maestría en la Universidad de la City sobre la historia de la novela negra. (Oldcastle Books, mi traducción libre).

En mi opinión, esta es una guía de fácil lectura, divertida y entretenida. El aficionado podrá así ampliar sus conocimientos sobre la situación actual de la novela policíaca en otros países europeos. Lo que es sin duda una tarea muy encomiable. Además. Barry Forshaw ha tenido la habilidad de seguir los consejos de algunos expertos locales, con quienes se ha reunido. Como él mismo señala en la introducción:

La idea es presentar una amplia gama de instantánes fáciles de utilizar con los mejores logros (tanto en letra impresa como en pantalla) de novelas policíacas no escritas (o rodadas) originalmente en Inglés. Sin embargo, a diferencia de mi anterior libro Nordic Noir (donde incluso en 160 páginas era posible presentar un amplio sondeo), una cobertura tan completa, obviamente, sería imposible en un área que ha estado produciendo espléndidas obras en diversos países durante tantos años y con el espacio que podía disponer en Euro Noir. He tratado de incluir todo lo que me ha sido posible. Me he concentrado en Europa Occidental y he tenido que ser selectivo, haciendo un mayor hincapié en lo contemporáneo frente a lo clásico. (Mi traducción libre). 

No puedo pasar por alto el Apéndice en el que menciona a Maxine Clarke (Petrona). A pesar del tiempo transcurrido desde que ya no está con nosotros, su recuerdo sigue presente entre todos los que una vez, nos consideramos sus amigos. Ella estará siempre en nuestra memoria.

Pero permítanme terminar con una nota más alegre y destacar la contribución de mis queridas amigas, Karen Meek en Euro Crime, Kat Hall en Mrs Peabody Investigates y Sara Ward en Crimepieces. Dejeme que les sugiera una visita a sus blogs, no se arrepentirán y me lo agradecerán si no los conocen todavía.

Mi valoración: A (Me encantó)