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1 of 1 copy available
1 of 1 copy available
At the age of eighty-five, Aurora Venturini stunned Argentine readers when her darkly funny and formally daring novel, Cousins (Las primas), won Página/12's New Novel Award. She had already written more than forty books, but it was only then, in 2007, that she was widely recognized as a paradigm-shifting voice in Spanish-language literature.
Cousins, widely regarded as Venturini's masterpiece, is the story of four women from an impoverished, dysfunctional family in La Plata, Argentina, who are forced to suffer through a series of ordeals, including illegal abortions, miscarriages, sexual abuse, disfigurement, and murder, narrated by a daughter whose success as a painter offers her a chance to achieve economic independence.
Neighborhood mythologies, family, female sexuality, vengeance, and social mobility through art are explored and scrutinized in the unmistakable voice of Yuna—a voice whose unconventional style can be candid, brutal, sharp, and utterly breathtaking. With the translation of Cousins into several languages for the first time, Aurora Venturini is now being discovered internationally and championed as a major voice in Latin American literature.
Contains mature themes.
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    • Publisher's Weekly

      March 27, 2023
      Argentine writer Venturini makes her posthumous English-language debut with a sordid and morbidly funny tale of sexual violence, first published in 2007 when she was 85. Yuna is a gifted art student in La Plata, Argentina, who supports her disabled younger sister, Betina, and their single mother. Under the auspices of her professor José, Yuna becomes a rising star. But despite her reputation and success as an artist, she struggles to protect Betina and their cousins Carina and Petra from sexual predators, including a neighbor and another character whose misdeeds are a surprise. Yuna narrates her family’s tragedies in spiraling and sometimes spectacular run-on sentences, professing that punctuation tires her out. Through keen and quirky observations, she finds humor in the darkness, “The end of everything is dessert. I once thought when looking at a dead gentleman in a coffin enveloped by the big embroidered napkin, or whatever it is, that he looked like a dessert being served up to someone.” Cousin Petra, a sex worker, teaches Yuna that while the men in their orbit commit rape as naturally as breathing, there is always room for revenge while the wronged yet live. Short, sharp, and startling, this will surely have readers eager to see more of Venturini’s special derangement. Agent: Sandra Pareja, Massie & McQuilkin Literary.

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  • English

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