Tag: Bill Swainson

  • The labyrinth

    Translated by Bill Swainson with Ángel Gurría-Quintana.

    2006 was an extraordinary year for Mexico and for reporters like me. The country mobilised from the mountains in the south to the border in the north, with demands for justice and democratisation breaking out everywhere. My year began in Chiapas on 1 January, when Subcomandante Marcos, riding a motorbike, started a tour called ‘The Other Campaign’ which sought to unite the revolutionary left. In February, an explosion in a coal mine in the north mobilised hundreds of families who demanded the rescue of 65 trapped miners. On 3 May, farm-workers from San Salvador Atenco won a pitched battle with the police, who returned the next day to quash them with a brutality that cost the life of a child and an adolescent and involved sexual assaults against 26 women, all attributed to the police.

    On 14 June, a rebellion broke out in the city of Oaxaca, which would soon expel its governor and set up a short-lived but memorable popular government similar to the Paris Commune. On 2 July, the ruling party candidate Felipe Calderón won the presidential election. His adversary Andrés Manuel López Obrador, refusing to recognise the result, organised three marches involving hundreds of thousands of people and a sit-in on the Paseo de la Reforma, one of Mexico City’s main avenues. Reluctant to accept defeat, López Obrador declared himself ‘legitimate president’; he would compete again in 2012 and lose again, this time to Enrique Peña Nieto.

    I covered 2006 by land and air. The newspaper Reforma, where I was then working, assigned me to report on almost all the big stories of that year. I followed Marcos into the mountains, López Obrador by road, and presidents Vicente Fox and Calderón in planes and helicopters. I reported on the negotiations in the Ministry of the Interior between the federal government and the popular authorities of Oaxaca, and sent despatches from internet cafés in villages across the country. Great events were taking place In Mexico.  Covering them and reporting on them was relatively safe.

    That all came to an end shortly afterwards.

    In December 2006, Felipe Calderón declared the ‘war on drugs’ and sent the military out into the streets. Mexico’s mobilised and rebellious countenance vanished and a trail of death covered the country’s face instead. In six years there were 100,000 fatalities. Many roads became death traps: if you were captured by some drug baron’s hit squad they could make you ‘disappear’ – that is, kidnap you, kill you and bury you in an unmarked grave.

    In 2014 I found myself on the front line. With 15 other journalists I joined the ‘Observation Mission’ which went to the state of Veracruz to investigate the circumstances in which Gregorio Jiménez de la Cruz had died. Gregorio (Goyo, as he was affectionately known) was the tenth reporter murdered in Veracruz during Governor Javier Duarte’s administration. We thought we had seen the worst of it. He was kidnapped on 5 February, and six days later his mutilated body was found, bearing marks of torture. He had been decapitated.

    In Coatzacoalcos, where Goyo was reporting, the same phenomenon had occurred as in much of the rest of the country: organised crime and the authorities had merged to become indistinguishable (we called it ‘narco-politics’). Kidnappings had become epidemic. Children, Central American migrants, oil engineers, doctors – almost everyone was a tempting prey. Goyo followed the trail of one of these bands of kidnappers. And he published his story. Going public cost him his life.

    A closer look showed us that the injustices began a long time before Goyo’s death. He earned 20 pesos (less than £1) for each published article. His salary as a reporter was 3,500 pesos per month (not even £200). He supplemented his income as a photographer for weddings and baptisms. He lived in Coatzacoalcos, one of Mexico’s industrial zones, but he had previously lived in a wooden house in a swamp, which had sunk when the river flooded.

    There are thousands of reporters in Mexico like Gregorio: threatened, on starvation wages and exposed to corruption (authorities and criminals offer them money or bullets in exchange for their pen or their silence).

    On 1 July 2012 Enrique Peña Nieto won the presidency. The situation did not improve for journalism; it got worse. The journalist Carmen Aristegui published her report ‘Peña Nieto’s White House’, in which she rigorously documented the existence of a $7,000,000 residence, owned by the First Lady, which had been constructed by and bought from contractors widely favoured by Peña Nieto’s government. The president was not submitted to an investigation; instead, Aristegui and her colleagues were sacked from her popular radio programme.

    Journalism in Mexico confronts three demons: narco-politics, censorship and corruption. And corruption is not a minor matter: long before Aristegui’s dismissal, local and national newspapers have tended to follow the government line. The front pages are full of the vacuous declarations of government officials while opposition movements like CNTE, the teachers’ union, which resists change to teachers’ employment conditions, are slandered. Journalists faithful to the government open internet portals and make thousands of pesos from official publicity. Those colleagues are far removed from the dangers that faced Goyo. They attend the parties of mayors, governors or ministers and eulogise them in their articles.

    The Sorrows of Mexico is committed to a different journalism. Orthodox in its democratic principles. Literary in its aesthetic aspirations. Firm in its repudiation of the abuse of power. Lydia Cacho, Anabel Hernández, Sergio González Rodríguez, Marcela Turati and Diego Osorno are some of the bravest – and most at risk – journalists in the country. Juan Villoro is one of the most brilliant writers in the Spanish language. The authors write about the crucial issues of the country – such as the disappearance of the 43 Ayotzinapa teacher training students – and about issues that are otherwise invisible in the media: street children, women forced into prostitution, scapegoats invented by the state to cover up the real criminals.

    On July 20, only days before this article was written, Pedro Tamayo died. He was the 19th journalist to be murdered in Veracruz in less than six years. Harassment of the press, censorship and the collusion of press and power all continue. Nevertheless, as The Sorrows of Mexico shows, there is a Mexico that resists. That sheds light and speaks up. A horizon beyond the labyrinth.

    Read more about The Sorrows of Mexico on the World Bookshelf.

    Emiliano Ruiz Parra, Diego Enrique Osorno and Sergio González Rodríguez discuss The Sorrows of Mexico at Edinburgh International Book Festival on Saturday 27 August. Find out more about PEN-supported writers at Edinburgh.

    The authors will also discuss the book at an event at Waterstones Piccadilly on Wednesday 31 August. The event is free, but requires an RSVP – find out more here.

  • Yule love these books in translation

    This week, PEN Atlas asks a selection of writers, scouts, literary festival directors, translators and publishers to recommend some great literature in translation to tuck into over the festive break. Peter Florence, Damian Barr and Koukla MacLehose are amongst our contributors…

     

    Peter Florence, Hay Festival Director

    ‘I loved the quiet desperation of Valeria Luiselli’s Mexican/NY novel Faces in The Crowd (Granta, £12.99) and it’s exploration of translations and disappearances. It’s wonderfully translated by Christina MacSweeney. Andres Neuman’s Traveller of the Century – translated by Nick Caistor and Lorenza Garcia (Pushkin Press, £12.99) – sends a stranger into post-Napoleonic Mitteleuropa in a fabulous whirl of sex and philosophy and history. The other book that just astounded me is the Norwegian phenomenon A Death in the Family by Karl Ove Knausgaard and translated by Don Bartlett (Harvill Secker, £17.99).  It’s an incomparably naked and familiar portrait of a family that’s been, not unreasonably, likened to Proust. Elif Shafak’s masterpiece Honour (Viking, £12.99) travels back generations from a Kurdish family in 70s London to the banks of the Euphrates. This novel is written in English though her other novels are often written in Turkish. A perfect partner for the Knausgaard and the Shafak is Angharad Price’s The Life of Rebecca Jones (MacLehose Press, £10) which she has worked with Lloyd Jones to translate from the Welsh original.  It’s a quiet masterpiece about 20th century technology impacting on Welsh rural life.’

     

    Damian Barr, Shoreditch and Soho House, Literary Host, writer

    ‘I recommend Valeria Luiselli’s Faces in the Crowd, translated by Christina MacSweeney, (Granta, £12.99), definitely not magical realist yet definitely magical, this is the story of a contemporary novelist haunted by a 1920s poet. Haunting, vibrant, and often funny.’

     

    Jonathan Ruppin, Web Editor, Foyles

    ‘The Thief by Fuminori Nakamura, translated by Satoko Izumo and Stephen Coates, (Corsair, £9.99) – winner of the 2009 Oe Kenzaburo Prize. As well as being a sharp alternative thriller with some sinister political overtones, this story of a pickpocket drawn into a plot that spirals out of control offers a fascinating outsider’s perspective on Tokyo life and some deliciously uncomfortable moral ambiguity. This is perfect for anyone who likes their crime on the noir side and their criminals brooding and enigmatic.’

     

    Geoff Mulligan, Publisher Clerkenwell Press

    ‘I would recommend HHhH by Laurent Binet, translated by Sam Taylor (Harvill Secker, £16.99). It deals with weighty matters – the Nazi occupation of Czechoslovakia and the plan to kill Heydrich – with a light touch, and it asks interesting questions about the interpretation of history. It’s a novel for anyone interested in literature or history.’

     

    Bill Swainson, Senior Commissioning Editor, Bloomsbury

     ‘Three completely different but outstanding books I (re)discovered this year were: the controversial Louis Ferdinand Céline’s brilliant, dark modernist classic Journey to the End of the Night, first translated by Ralph Mannheim in the 1970s for John Calder, published in 1991 and now reissued with introduction and notes on the excellent Alma Classics list (£9.99); Michael Politycki’s unnerving Next World Novella about man slowly facing up to the reality of who he is, translated by Anthea Bell for Peirene Press (£8.99); and Carlos Gemmero’s  fascinating investigative novel about the legacy of the Falklands war in the Argentina of the 1990s, The Islands (£10), translated by Ian Barnett, published by And Other Stories, who, like Alma and Peirene, have brought a fresh burst of energy into UK publishing.’

     

    Philip Gwyn Jones, Publisher, Granta

    ‘Karl Ove Knausgaard is not Norway’s Proust, as some claim, but like all the great writers entirely and only himself in all his troubling originality. He is a great storyteller who dislikes happy endings, a great biographer who dislikes simplifications, and a great analyst who dislikes theories. His first volume of My Struggle, A Death in the Family translated by Don Bartlett (Harvill Secker, £17.99) is for whichever member of your family has been to purgatory and survived.’

     

    Stefan Tobler, Publisher, And Other Stories, translator

    ‘I’ve got a soft spot for novels set in villages with odd characters and odd goings-on. Mr Weston’s Good Wine by T. F. Powys, for example. This novel hit that spot for me. Laszlo Krasznahorkai’s Sátántangó (Tuskar Rock, £12) with its luxurious sentences and his translator George Szirtes’ brilliance are pleasures to be savoured. Give it to someone who wants to read a future Nobel Prize winner before everyone else – as long as they don’t mind a leisurely pace.’

     

    Koukla MacLehose, Literary Scout

    ‘For 2012 I’d like to recommend Where I Left my Soul by Jerôme Ferrari, translated by Geoffrey Strachan (MacLehose Press, £12). It is really an astonishing piece of writing. Very disturbing; it goes deep deep inside the human soul. A lieutenant writes to his captain long after they have gone separate ways. They had met in Indochina, the disaster of Dien Bien Phu. The former with immense admiration for the latter. They find each other again in the horrors of the Algerian war. Everything one reads about any war sounds like it. Think of Abu Graib, Al Qaida, Chechnya, Iraq, Afghanistan, Bosnia… any situation which involves tracking down informers and using whatever  means to get the ones in charge thinking it will then stop all the others. When Babchenko was writing his book about the Russians in Chechnya, he was not saying different things. ‘You got me but that is nothing, for we will go on and on until you will have to leave’  says the Algerian prisoner. Have we not seen this over and over again?  It concerns all of us because it tries to get to the core of what it is to be human, to try – and fail most of the time – to keep one’s dignity in extraordinary circumstances, to live with the shame, the fear, the violence it engenders… I think it’s a great book.’

     

    Philip Cowell, Head of Programmes, English PEN

    I wholeheartedly recommend The World Record: International Voices from Southbank Centre’s Poetry Parnassus (Bloodaxe Books, £10) a magical book of poems representing poets from every country that took part in the Olympic and Paralympic Games, supported by English PEN’s Writers in Translation programme. Put together by editors Neil Astley and Anna Selby, this is a book full of the sounds and shapes of things the world can make. I loved it so much I forgot to go to sleep one night.

    Here’s Bryan Thao Worra of Laos: “Night arrives, then day. The moon, the sun, the rain and waves./ A few other things, maybe something someone will write down./ Maybe not”. And here’s Kārlis Vērdiņš of Latvia: “I was bringing you a little cheese sandwich.”  This book is full of that kind of leap, that kind of surprise. It’s in many ways a book of surprises, a book of the philosophy of the possibility of surprise, and being surprised, of still being able to be surprised. Poetry reminds us we’re alive. The World Record, most importantly, knows what it’s doing – knows that the best poetry celebrates both the whole world and our tiny corner of it. This book knows the poet is our local world hero. The poems draw lines in every sense: “we’re waiting for the wind/ like two flags on a border” (Nikola Madzirov Shadows Pass Us By). The whole enterprise questions where we draw the line when it comes to the imagination. How far can you go with a poem that has come so far?’