克里斯蒂娜-里维拉-加尔萨 小说家

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Cristina Rivera Garza
Fiction Writer | Class of 2020
Exploring culturally constructed notions of language, memory, and gender from a transnational perspective.


Portrait of Cristina Rivera Garza

Title
Fiction Writer
Affiliation
Department of Hispanic Studies, University of Houston
Location
Houston, Texas
Age
56 at time of award
Area of Focus
Fiction and Nonfiction Writing
Website
University of Houston: Cristina Rivera Garza
Personal Website
Social
Facebook
Twitter
Published October 6, 2020
ABOUT CRISTINA'S WORK
Cristina Rivera Garza is a fiction writer interrogating culturally constructed notions of language, memory, and gender from a transnational perspective. Born in Mexico and a resident of the United States for over two decades, Rivera Garza is a prolific and multifaceted author of fiction, essays, and scholarship, including nearly twenty works in Spanish. Her novels, three of which have been translated into English, are deeply informed by her training as a historian and frequently feature characters who stumble upon images, texts, or people that disturb the supposed clarity of the historical record.

In No One Will See Me Cry (2003, trans. Andrew Hurley; originally published as Nadie me verá llorar, 1999), which is set during the Mexican Revolution at the Castañeda Insane Asylum, a morphine-addicted photographer becomes obsessed with a patient whom he believes to be a prostitute he knew years earlier. His efforts to piece together her past through the asylum’s records and conversations with the woman and other patients give voice to those whose search for individuality and freedom were thwarted by a repressive society. The narrator of The Iliac Crest (2017, trans. Sarah Booker; originally published as La cresta de Ilión, 2002) also embarks on a search through the archives of a state medical institution for information about a woman—in this case, a mysterious figure who appears on his doorstep claiming to be Amparo Dávila, a famous Mexican writer. Rivera Garza delivers a subtle and disturbing dissection of the rampant violence against women in Mexico since the 1990s through the character of Amparo, who multiplies and inhabits a number of different bodies throughout the novel. The shifting characters and narrative swerves destabilize both the reader and the narrator, whose increasing uncertainty about his gender short circuits the binary patterns of thought and language that underwrite traditional gender constructions. Rivera Garza’s most recently translated novel, The Taiga Syndrome (2018, trans. Suzanne Jill Levine and Aviva Kana; originally published as El mal de la taiga, 2012), follows a female detective in search of a man and a woman who have fled to the taiga—an unforgiving and labyrinthine forest akin to the setting of many fairy tales. The detective’s attempts to decipher the cryptic clues left behind by the missing woman become the vehicle for an exploration of the ways in which time and emotion warp memory.

Rivera Garza’s alternative and fluid conceptions of identity, gender, and relationships are increasingly important at a time when marginalized and border communities are being dehumanized.

BIOGRAPHY
Cristina Rivera Garza received a BA (1987) from the National Autonomous University of Mexico and PhD (1995) from the University of Houston. She was affiliated with San Diego State University (1997–2004), ITESM-Campus Toluca (2004–2008), and the University of California at San Diego (2008–2015) prior to joining the faculty of the University of Houston in 2016, where she is a distinguished professor in the Department of Hispanic Studies and leads the graduate Spanish-language creative writing concentration. Her recent publications in Spanish include Autobiografía del algodón (2020), the poetry collection La fractura exacta (2020), and the audiobook Ciudad XY (2020), and additional works translated into English include the essay collections The Restless Dead: Necrowriting and Disappropriation (2013/2020), Grieving: Dispatches from a Wounded Country (2011/2020), and La Castañeda Insane Asylum: Narratives of Pain in Modern Mexico (2010/2020).

IN CRISTINA'S WORDS
CristinaRivera-Garza:


Writing is a critical practice. We write because we belong—to the territories we pass through, to our communities, to a range of languages. That's why I say there is no solitude in writing. Writing is pure accompaniment. I grew up moving from one place to the next, a granddaughter of migrant men and women who eventually made the U.S.-Mexico border their home. There is, as Gloria Anzaldúa once said, a tradition of long walks in my family. This constant movement, this ceaseless search, this persistent inquiry is at the core of my relationship to writing. Writing affects the way we perceive and act upon the world. Writing, too, is direct action.



克里斯蒂娜-里维拉-加尔萨
小说家 | 2020级
从跨国角度探索文化上构建的语言、记忆和性别概念。


克里斯蒂娜-里维拉-加尔萨的画像

标题
小说家
所属机构
休斯顿大学西语研究系
工作地点
休斯顿，德克萨斯州
年龄
获奖时56岁
重点领域
小说和非小说写作
网站
休斯顿大学。克里斯蒂娜-里维拉-加尔萨
个人网站
社会
脸书
推特
发表于2020年10月6日
关于克里斯蒂娜的作品
克里斯蒂娜-里维拉-加尔萨是一位小说家，从跨国的角度审视文化上构建的语言、记忆和性别概念。里维拉-加尔萨出生于墨西哥，在美国居住了二十多年，是一位多产的、多方面的小说、散文和学术著作的作者，包括近20部西班牙语作品。她的小说（其中三部已被翻译成英文）深受她作为历史学家所接受的训练的影响，并经常以偶然发现的图像、文本或人物为主角，扰乱了历史记录的所谓清晰性。

在《没有人会看到我哭泣》（No One Will See Me Cry）（2003年，译者：安德鲁-赫尔利；原书名为《娜塔莉》）中。安德鲁-赫尔利（Andrew Hurley）；最初出版时名为Nadie me verá llorar，1999年），故事发生在墨西哥革命时期的卡斯塔涅达精神病院，一个对吗啡上瘾的摄影师迷恋上了一个病人，他认为这个病人是他多年前认识的一个妓女。他努力通过疯人院的记录以及与该女子和其他病人的对话来拼凑她的过去，为那些寻求个性和自由而被压抑的社会所阻挠的人发声。The Iliac Crest》（2017年，译者：Sarah Booker；原名La cresta de Ilión，2002年）的叙述者也开始在一家国家医疗机构的档案中寻找关于一个女人的信息--在这种情况下，一个神秘人物出现在他家门口，声称是墨西哥著名作家Amparo Dávila。里维拉-加尔萨通过安帕罗这个人物，对1990年代以来墨西哥猖獗的针对妇女的暴力行为进行了微妙而令人不安的剖析，安帕罗在整部小说中出现了许多不同的身体。角色的变化和叙述的转折破坏了读者和叙述者的稳定，他对自己的性别越来越不确定，使支撑传统性别结构的思想和语言的二元模式短路。里维拉-加尔萨最近翻译的小说《泰加综合症》（2018年，译者：苏珊-吉尔-莱文和阿维瓦）。小说讲述了一位女侦探寻找逃到泰加森林的一男一女的故事--泰加森林是一个无情的、迷宫般的森林，类似于许多童话故事的背景。侦探试图破译失踪女子留下的神秘线索，这成为探索时间和情感扭曲记忆的方式的载体。

里维拉-加尔萨对身份、性别和关系的另类和流动概念，在边缘化和边境社区被非人化的时代越来越重要。

个人简历
克里斯蒂娜-里维拉-加尔萨在墨西哥国立自治大学获得学士学位（1987年），在休斯顿大学获得博士学位（1995年）。她曾在圣地亚哥州立大学（1997-2004年）、ITESM-托卢卡校区（2004-2008年）和加州大学圣地亚哥分校（2008-2015年）工作，然后于2016年加入休斯顿大学的教师队伍，她是西班牙研究系的杰出教授，领导研究生西班牙语创意写作专业。她最近出版的西班牙语作品包括《藻类自传》（Autobiografía del algodón）（2020年）、诗集《La fractura exacta》（2020年）和有声读物《Ciudad XY》（2020年），其他翻译成英文的作品包括散文集《不安的死者：死亡写作和挪用》（2013/2020）、《悲伤》。2011/2020），以及《La Castañeda Insane Asylum: Narratives of Pain in Modern Mexico（2010/2020）》。

克里斯蒂娜的话
克里斯蒂娜-里维拉-加尔萨。


写作是一种批判性的实践。我们写作是因为我们属于我们经过的地区，属于我们的社区，属于一系列的语言。这就是为什么我说写作中没有孤独感。写作是纯粹的伴奏。我长大了，从一个地方到另一个地方，我是移民男女的孙女，他们最终把美国-墨西哥边境作为自己的家。正如格洛丽亚-安扎尔杜阿（Gloria Anzaldúa）曾经说过的那样，在我的家庭中有一个长途跋涉的传统。这种不断的运动，这种无休止的寻找，这种持续的探究是我与写作关系的核心。写作影响着我们对世界的感知和行动。写作，也是直接行动。