carmenboullosa.net

Carmen Boullosa (Mexico City, 1954) is the author of seventeen novels, two book of essays, seven volumes of poetry (the most recent ones La patria insomne and Hamartia-o Hacha, at Hiperión, Madrid), and ten plays (seven staged). She has read at book fairs and festivals in dozens of countries and lectured at Oxford, Cambridge, Heidelberg, Freie Univertat Berlin, Irvine, Brown, UCLA, Yale, the Library of Congress, and UNAM, among other institutions. There are scores of books and over sixty doctoral dissertations that deal with her work. Her novel La otra mano de Lepanto was accounted by an international survey of authorities to be among the top works of literature written in Spanish in the last twenty-five years. Her most recent novels are Texas (Alfaguara), Las paredes hablan (Editorial Siruela), and in English translation, Texas (Deep Vellum, translated by Samantha Schnee), and Cleopatra Dismounts (trans. Geoff Hargraves, Grove Press). She has taught at NYU (the Andrés Bello Chair), Columbia University, Georgetown, Blaise Pascal, and SDSU, was Distinguished Lecturer at City College (2004-2010), and Alfonso Reyes Chair at La Sorbonne. She served as a Chief Advisor to a major museum exhibition (Nueva York 1613-1945), and engaged in the writing and production of a feature film, Las paredes hablan. An exhibit of some of her art was be held at Museo Carrillo Gil (Las despechadas). Recipient of the prizes Xavier Villaurrutia in Mexico, Anna Seghers and LiBeratur in Germany, and Novela Café Gijón, in Spain. She has won five NY-EMMYs for the show “Nueva York”—at CUNY-TV. She has been a Guggenheim and a Cullman Center Fellow, and is currently a FONCA fellow.

“If I had to choose a literary kitchen to settle during a week, I would choose a woman author´s. I would happily live in Silvina Ocampo´s, in Alejandra Pizarnik´s, or in the kitchen of the Mexican novelist and poet Carmen Boullosa, or at Simone de Beauvoir’s … Boullosa´s Mexico’s greatest woman writer.”

— Roberto Bolaño

“A luminous writer . . . Boullosa is a masterful spinner of the fantastic”

— Miami Herald

“…a cross between W.G. Sebald and Gabriel García Márquez.”

— El País

“Carmen Boullosa proposes us another method to defeat and accelerate History, and it is through dreams.” — Carlos Fuentes

”The jury wants to emphasize the daringness of the winning work’s gambit, its brilliant use of literary culture, as well as the way it shatters customary narrative molds. At the same time that it constructs a hilarious meta-literary game around the figure of the author, the novel also provides a critical subtext that critiques the literary Parnassus and contemporary (especially Mexican) society.”

— The Jury of Premio de Novela Café Gijón 2008

“Carmen Boullosa writes with a heart-stopping command of language.” — Alma Guillermoprieto

“… la rememoración que hace Carmen Boullosa, la reconstrucción, más que reconstrucción, la creación del ambiente de los piratas en el Caribe que ha hecho Carmen Boullosa es para mí realmente una obra maestra.”

— Alvaro Mutis

“Ahora, duraderamente hechizados por este eficaz arte narrativo, podemos comprender el encandilamiento que ofrece la prosa de Boullosa: lo que se nos cuenta no es literatura en un sentido común: Boullosa descorre los secretos del mundo y de sus historias, para llevarnos a leerlas cuando aún no son: estamos instalados en un mundo desverbal, al cual tendremos acceso, cómo no, sólo mediante esta escritura.”

— José Balza

“Se puede deducir que para Boullosa la literatura es una suerte de conjuro, una forma de exorcizar esta suciedad fantasmal que tiene su origen en las instituciones, en la escuela, en la familia, en la iglesia.”

— Jean Franco

“En su poesía hay una fuerza narrativa constante, como en su narrativa una impronta poética.” — Carlos Monsiváis

“Boullosa´s novels convice as critical masterpieces, especially when they fall far short of tradicional novelistic form.”

— Emily Hind, at The Contemporary Spanish-American Novel: Bolaño and After (2013).

Texas the Great Theft

Publishers:

First edition in Spanish: Texas, la gran ladronería, Alfaguara, México, 2015. English translation by Samantha Schnee, at Deep Vellum, U.S.A., 2016.

Awards and Honors:

Nominated for the IMPAC (Dublin International Prize), 2016. Shortlisted for the 2015 PEN Translation Award. Winner of the 2014 Typographical Era Translation Award. Included as one of World Literature Today’s Notable Translations of 2014.

Summary:

Loosely based on the little-known 1859 Mexican invasion of the United States, Carmen Boullosa’s newest novel Texas: The Great Theft is a richly imagined evocation of the volatile Tex-Mex borderland, wrested from Mexico in 1848.

Boullosa views the border history through distinctly Mexican eyes, and her sympathetic portrayal of each of her wildly diverse characters—Mexican ranchers and Texas Rangers, Comanches and cowboys, German socialists and runaway slaves, Southern belles and dance hall girls—makes her storytelling tremendously powerful and absorbing. With today’s Mexican-American frontier such a front-burner concern, this novel that brilliantly illuminates its historical landscape is especially welcome. Texas is Boullosa’s fourth novel to appear in English, her previous novels were published by Grove Press.

A lucid translation from the Spanish by Samantha Schnee. . . . [Boullosa’s] tale, loosely based on the Mexican invasion of the US known as the ‘Cortina troubles’, evokes a history that couldn’t be more relevant to today’s immigration battles in the US.

— Jane Ciabattari, BBC

Historical fiction at its very best, avoiding all semblance of caricature or appeals to stereotype. The classic Western.

— San Francisco Chronicle

What is a border after all, if not a space of misapprehension, the great well-spring of comedy? Boullosa’s Texas is like one giant game of telephone. Everybody seems crazy to everybody else… (a) vicious and violent farce.

— Aaron Bady, Pacific Standard Magazine

What is both moving and also lucid about Boullosa's prose, though, is her ability to take one in and out of a scene fraught with disorder and violence, and place one back in the rich spirit of humility encountering sublime beauty.

— Matt Pincus, bookslut.com

Boullosa's tour de force account of this bloody legacy...is not a documentary. Rather, it is satire at its highest, presenting numerous grotesque biographies of the alien invaders, while also lightly reviewing the genres that have made Wild West literature part of the national identity and psyche. . . . In all, Texas is a very entertaining, masterly written novel.

— Nicolas Kanellos, Review: Literature and Arts of the Americas

Brutal, poetic, hilarious and humane...a masterly crafted tale. — Sjon

Carmen Boullosa’s latest novel, Texas: The Great Theft, is evidence that our ideas about postmodern cowpoke tales have been woefully premature. . . . What is outstanding in Boullosa’s work is the deep sympathy expressed for every human encountered.

— Roberto Ontiveros, Dallas Morning News

Boullosa is one of Mexico's most respected writers and, with a book as rich as this under her belt, it's not difficult to understand why. As the repercussions of a shoot-out reverberate on both sides of the Rio Bravo (or Rio Grande, depending upon the side you're on), we're introduced to a cast list so extensive it rivals Dickens and a novel of such depth and scope that I can't resist comparing it to Tolstoy's work.

— Gary Perry, assistant head of fiction, Foyle's Flagship, Charing Cross, London

Think Catch-22 on the Mexican border. Carmen Boullosa's Texas: The Great Theft is a surprisingly funny, intensely complex and occasionally shocking take on the revisionist Western. It's one of the most purely entertaining things I've read in awhile, while never losing a sense of erudite ambition and thought-provoking moral ambiguity. It's a book that grows on me every time I think about it.

— Justin Souther, bookseller, Malaprops Bookstore (Asheville, NC)

"Powerful yet whimsical . . . Boullosa’s humorous, offbeat tale" — David Eric Tomlinson, Writer's League of Texas

"Boullosa’s book is a wonderful romp . . . delightful reading . . . there are few completely good and moral characters in this book, making it a pretty realistic story despite the fanciful storytelling. The book patched up some holes in my understanding of Texas history."

— Nancy Jane Moore, Book View Cafe

Heavens on Earth

Publishers:

Originally published in Spanish. First Edition, Cielos de la Tierra, Alfaguara, México, 1997

English: Deep Vellum, translated by Shelby Vincent, January 2017.

Summary: In Cielos de la Tierra, Carmen Boullosa imagines living in a world where spoken and written language is banned, memories are obliterated, and history is erased. The novel is narrated through the voices of three translators—Hernando de Rivas, Estela Ruiz, and Lear—who live in three different eras. During the colonial period in Mexico, Hernando de Rivas was a student at El Colegio de la Santa Cruz de Santiago Tlatelolco, which was founded in 1533 by the Franciscans to teach the sons of Aztec nobles in Nahuatl, Spanish, and Latin. At the age of seventy-one and relying on his memory, Hernando de Rivas decides to write the true history of El Colegio de la Santa Cruz in Latin. Five hundred years later, Estela Ruiz, a forty-year-old historical anthropologist living in late-twentieth-century Mexico, is given Hernando’s manuscript and begins translating the Latin into Spanish. Hundreds of years later in a post-apocalyptic future, a colony of survivors called L’Atlàntide—inhabited by thirty-nine virtually immortal beings—attempts to perfect their utopian society by instituting a series of reforms, broadly referred to as ‘The Language Reform” that will ultimately abolish language, obliterate memories, and erase history. Lear, the third narrator, discovers Estela’s translation of Hernando’s manuscript and begins to transcribe it using the writing technique of her people in order to retain some connection with the past. ”it is in Boullosa´s configuration of the science fiction scenario that the most pressing issues of the novel arise”... Claire Taylor

Sánchez Hernández, Diana Sofía, “Cielos de la Tierra: El desencanto de la Historia y las posibilidades de la escritura", Dissertation, Universidad Nacional Autónoma de México, (2008).

Wenger, Irene, Die Darstellung der indigenen Thematik bei Carmen Boullosa (Llanto, Duerme, Cielos de la Tierra). Dissertation (Magistra der Philosophie), Univ. Graz, 2002. ”it  is  in  Boullosa´s  con.iguration  of  the  science  .iction  scenario  that  the  most  pressing  issues  of  the  novel  arise”...  Claire  Taylor  

“Boullosa  develops  the  idea  of  the  posthuman  who,  contrary  to  her  nature,  dreams  of  origins  throughout  the  novel.”    J.  Andrew  Brown,  “Cyborgs  in  Latin  America”.    

Before

Publishers:

Antes, First edition at Editorial Vuelta, Mexico City, 1989. Reprinted at Alfaguara, México, 1999, and at Punto de Lectura, México, 2001 (last reprint 2013)

Previusly published:

German translation: Verfolgt, trans. Susanne Lange, Aufbau-Verlag, Berlin, 1996

French translatiosn: Avant, Les Allusifs, trans. Sabine Coudassot-Ramírez, Quebec, Canadá, 2002

Italian translation: Prima, trad. David Iori, Noripios, 2012 (permission granted till April 2017)

Sound Recording: Antes, read in Spanish by the author, Recorded Books, 2001

English translation: Before, trans. Peter Bush, Deep Vellum, April 2016

Awards and Honors:

PREMIO XAVIER VILLAURRUTIA, 1989.

DIE BESTENLISTE, Dezember 1996: Persönliche Empfehlung: Im Dezember 1996 nennt Jörg Drews: Carmen Boullosa: Verfolgt. Aus dem Spanischen von Susanne Lange, Aufbau-Verlag. Süddeutsche Zeitung, 7/8.12.96

From Phillip Lopate introduction: Before, like Scheherezade, she produced her thousand and one novels, short stories, poems, plays, pamphlets, essay collections and literary critiques, before she wrote her historical fictions about Cleopatra, Caribbean pirates, Cervantes on the battlefield on Lepanto and nineteenth century Texas border skirmishes, before she did her investigative reports of contemporary narco-terrorism and her rediscoveries of neglected women writers, Carmen Boullosa wrote Before (Antes), a haunting and haunted novella. It was brought out in 1989 by Vuelta, the publishing house founded and run by Octavio Paz. She was thirty-five years old at the time, and received the prestigious Xavier Villaurrutia Prize for this novella, and for a volume of her poems and an essay collection also published that year. You might say, however, that Before launched her, and she has been soaring ever since.

“Among other things, Before is a subtle portrait of the Mexican upper-middle class, circa late ‘50s-early ‘60s, who expect noting but service from the lower classes.”

Reviews:

“Boullosa's prose, constructing a monologue that tracks the narrator's consciousness (complete with lengthy comical tangents), comes to life on the page as the narrator's eerie childhood becomes more and more frightening and devastating. Boullosa manages to merge humor with panic seamlessly in this short novel, and though readers know that the narrator is a ghost, the suspense over how that came to be makes this a thrilling story.” Publishers Weekly (featured fiction review and stared review), August 14, 2016: http://www.publishersweekly.com/978-1-941920-28-2

Before is the story of a young woman revisiting her childhood, which was plagued by a dark and inexplicable fear. It’s as much a coming-of-age novel as it is a ghost story. Boullosa’s delicate narrative touch makes Before the modern day equivalent of Turn of the Screw or The Yellow Wall-Paper. With each memory the narrator reveals, a new mystery unfurls—is her childhood home haunted? Why does she refuse to acknowledge her mother, Esther? Boullosa is a master of the plot-twist, too, and the shocking conclusion will leave you gasping for breath. This is a hot title for an eerie late-summer read.” Cassidy Foust, 13 Translated Books by Women You Should Read, LitHub, August 19, 2016. http://lithub.com/13-translated-books-by-women-you-should-read/

“Carmen Boullosa’s novels are bitter, brave and hilarious” Aaron Bady, The Need of the Forgotten, The Nation, April 8, 2016: https://www.thenation.com/article/the-need-of-the-forgotten/

“Carmen Boullosa’s Before is a book that becomes richer, more nuanced, and more rewarding with each re-reading.” Terry, The Scattered Shrapnel of the Unknown: Carmen Boullosa’s “Before”, Sebald, August 2, 2015: https://sebald.wordpress.com/2016/08/02/the-scattered-shrapnel-of-the-unknown-carmen-boullosas-before/

“Beneath the events Boullosa presents in often comic terms – playing childhood games with her half-sisters, visits to her grandmother, the shock of coming into womanhood at the time of her mother’s death, her savage dreams – is a powerfully rendered sense of loss and separation.” Jane Ciabatti, Ten books to read in August, BBC Culture: http://www.bbc.com/culture/story/20160801-ten-books-to-read-in-august?ocid=twcul

“Not to get too autobiographical here, but this shapeless, indeterminate fear reminded me of my own childhood in some ways, where anything I encountered that didn't fit into my understanding of the world terrified me. I'm pretty sure that most kids experience this in one way or another, but at the time (age 6-12), I was scared of the most random things: revolving dioramas, certain paintings, examples of new technology...It could pounce at any moment, and despite being surrounded by family or friends, I'd feel helpless and alone, trapped in my own brain. This kind of unexpected, nameless fear is probably a holdover from our ancestors, who had to be ready for everything from wild animals to natural disasters and poisonous plants.

Anyway, I look forward to reading more of Boullosa's work (and there is a lot of it, which is good), and I urge you to check out Before.” Rachel Cordasco, Bookishlywitty, August 2016: http://bookishlywitty.blogspot.mx/2016/08/review-before-by-carmen-boullosa.html

“Taking place somewhere between the worlds of the living and the dead, between dream life and waking life, between what is real and what is imagined, Carmen Boullosa’s early novel Before meets the everyday with bewilderment. In this dream world of childhood, realism is nothing short of an act of magic; the supernatural suffuses the ordinary”. Ana Zalokostas, Carmen Boullosa’s BEFORE, Music & Literature, July 12, 20015. http://www.musicandliterature.org/reviews/2016/7/11/carmen-boullosas-before

“I do expect a certain plot trajectory – the way the ghost died will be a mystery that we must discover – but I am thrilled to have that expectation overturned.” Suzanne Fischer, The Steps, Tiny Letter, August 8, 2016: https://tinyletter.com/suzannefischer/letters/the-steps

PREVIOUS TO THE ENGLISH TRANSLATION

Editions:

Antes, Editorial Vuelta, México, 1989 Quizá (Mejor desaparece, Antes, y ¡Que viva!) Monte Avila Editores, Caracas, Venezuela, 1995. Verfolgt, traducción de Susanne Lange, Aufbau-Verlag, Berlin, 1996. Avant, Les Allusifs, trad. Sabine Coudassot-Ramírez, Quebec, Canadá, 2002. Antes [sound recording] ready by the author, Recorded Books, 2001. Antes, Alfaguara, México, 1999. Antes, edición Punto de lectura, México, 2001.

Prizes and honors:

Premio Xavier Villaurrutia, 1989. Por su versión al alemán: Die Bestenliste, Dezember 1996: Persönliche Empfehlung: Im Dezember 1996 nennt Jörg Drews: Carmen Boullosa: Verfolgt. Aus dem Spanischen von Susanne Lange, Aufbau-Verlag. Süddeutsche Zeitung, 7/8.12.96

About the book:

“Es difícil encontrar en la literatura mexicana contemporánea una personalidad tan brillante y compleja como la de Carmen Boullosa. Poeta, dramaturga y novelista, Carmen Boullosa (ciudad de México, 1954) nos ofrece en cada uno de sus libros la certidumbre de leer al autor de un espacio literario autónomo y radical. El universo de Carmen Boullosa no forma parte cabal de nuestra tradición. El suyo es un mundo excéntrico y despiadado donde la imaginación funciona a través de reglas tan disparatadas como sutiles.

“ ... Su imaginación prosística no puede ser calificada sino de alquímica.” Christopher Domínguez Michael, Vuelta, first edition cover, 1989.

“Boullosa vuelve al país de la niñez, pero no cualquier niñez: la muy precisa que vieron los ojos de Hoffmann, Baudelaire y Leiris; encuentra la materia de esta novela en los ídolos paternos, las turbaciones, las brumas afectivas, los misterios, el grito del cuerpo y el combate contra la destrucción ubicua …

… una novela que muchos –y muchas- querrán escribir en los próximos años.” Sergio González Rodríguez, Revista Nexos, septiembre 1989

“La de Boullosa es una memoria que inventa, una memoria que siente la fascinación “y el pesar de no ser lo que yo hubiera sido, la pérdida del reino que estaba para mí”, para decirlo con versos de Rubén Darío”. Fernando García Ramírez, Semanario de Novedades, 1989.

“En última instancia ningún poema de Carmen Boullosa, ningúna novela podría confundirse con la de otra escritora –novelista o poeta- porque ella habita un mundo intensamente personal y único. Se trata de un mundo excéntrico y prolijo, doloroso y sensual, pero, sobre todo, del mundo de una mujer que nace y renace con cada obra para comover a su propio corazón y con el de ella al nuestro”. Hernán Lara Zavala, La Jornada semanal, 1989.

Jeanne Vaughn, “Los que auscultan el corazón de la noche”: El deseo femenino y la búsqueda de representación en ANTES. En Sin imágenes falsas, sin falsos espejos, narradoras mexicanas del Siglo XX, ed. Aralia López González, El Colegio de México, PIEM, 1995.

Cecilia Olivares Mansuy, Antes de Carmen Boullosa : Narrar para recuperar el pasado y entender el presente. At Escribir la infancia. Narradoras mexicanas contemporaneas. Eds, Nora Pasternac, Ana Rosa Domenella, Luzelena Gutiérrez de Velasco. El Colegio de México, México, 1998.

Emily Hind, Ageism, the Environment, and the Specter: The Broad Predicament in Carlos Fuentes’s AURA and Carmen Boullosa’s ANTES, Chasqui 44.2 (2015): 164-174.

The Disability Twist in Stranger Novels by Mario Bellatín and Carmen Boullosa. At Libre Acceso: Latin American Literature and Film through Disability Studies. Eds. Susan Antebi and Beth Jörgensen. SUNY Press, 2016. 229-243

Emily Hind, Contra lo prosaico: la novela corta como ideología en Antes de Carmen Boullosa. At En breve: la novela corta en México. Coordinado por Anadeli Bencomo y Cecilia Eudave. Guadalajara: Centro Universitario de Ciencias Sociales y Humanidades, Universidad de Guadalajara, 2014. 239-254.

Anna Reid, Haunting inheritances: persecution and the uncanny in Carmen Boullosa's novel ANTES [BEFORE], The Journal of Romance Studies, April 2012.

Dissertations:

By analyzing Carson McCullers's The Member of the Wedding, Carmen Boullosa's Antes, and Marguerite Duras's L'Amant, I demonstrate how these novels stage a problem for the girl which a logic of becoming cannot adequately address: the difficulty of signifying a certain something that has been left unaccounted for in the realm of meaning. Carissa Sims, The Girl: Femininity, Coming of Age and the Limits of Becoming, PhD dissertation, Cornell University ,2012. https://ecommons.cornell.edu/handle/1813/31409

Rebeca Cunil, El Bildungsroman femenino de Ángeles Mastretta y Carmen Boullosa: Hacia una perspectiva posmoderna. PhD Philosophy dissertation, 2016, FIU Electronic Theses and Dissertations. Paper 2497. Florida International University. http://digitalcommons.fiu.edu/etd/2497

Paola E. Zavala, ANTES, la mirada subversiva de Carmen Boullosa, PhD, University of Wyoming, 2013.

Adriana Tolentino, Familias desmembradas y orfandades: representaciones de una actitud posmoderna hacia la nación mexicana, University of Kansas, 2009. https://kuscholarworks.ku.edu/bitstream/handle/1808/6007/Tolentino_ku_0099D_10660_DATA_1.pdf;sequence=1

Margarita López López, Las voces subversivas en la novelística de Carmen Boullosa. Ph.D., University of California, Irvine, 2007, 163 pages; AAT 3282802

Stephanie Leigh Vague, A life of one’s own: Mexican fictions of female development (Carmen Boullosa, Angeles Mastretta, Maria Luisa Puga), PhD, University of Iowa, 2003, 211 pages. 3114403.

“... focusing on two adolescent characters form Antes of Carmen Boullosa and La luz de los últimos días of Xu Xiaobin, illustrates women’s psychological journey through a patriarchal world”. Ying Han, La Subjetividad Femenina En La Narrativa Femenina de Mexico y China (1980–1995) , PhD, State University Of New York At Stony Brook, 2001.

Alicia Rico, Sociedades en transición: La novela fantástica escrita por mexicanas y españolas en la decada de los ochenta, PhD, University of Kansas, 2000 . (“En el segundo capítulo se analiza la novela Antes (1989) de Carmen Boullosa”).

(“...three distinct moments in contemporary women’s writing, and it involves novels from three different literary movements, La última niebla (1935), María Luisa Bombal; Los recuerdos del provenir (1963), Elena Garro; Antes (1989), Carmen Boullosa. … Each of the texts that I examine breaks ground or in some way advances feminist arguments.) Jeanne Marie Vaughn, The Latin American Subject of Feminism: Unraveling The Threads of Sexuality, Nationality, and Femaleness, PhD, University of California, Santa Cruz, 1999.

“Among the women writing in the twentieth-twenty-first centuries, Carmen Boullosa (1954-) is closest to joining Poniatowska on the very short list of women novelists who have been admitted to the exclusive club of great writers.” The Cambridge History of Latin America Women´s Literature. Edited by Ileana Rodríguez and Mónica Szumuk, Cambridge University Press, 2015.

Press  (selection):

Lucía  Melgar,  “La  novela  perdida  de  Ana  K.”,  El  Economista,  15  de  agosto,  2016,  http://eleconomista.com.mx/entretenimiento/2016/08/15/novela-­‐perdida-­‐ana-­‐k

Mónica  Maristáin,  “¿Y  si  habláramos,  más  bien  vociferáramos,  las  novelas?”,  julio  30,  2016,  sin  embargo.mx,  http://www.sinembargo.mx/30-­‐07-­‐2016/3073800

The Book of Anna

Publishers:

The novel will be published simultaneously at Siruela, Madrid, and Alfaguara, México, in 2016. English edition at Deep Vellum, translated by Samantha Schnee, 2017.

Summary: In Tolstoy´s novel, Anna Karenina writes a book, “a remarkable piece of work” (Tolstoy’s quote). The same day Levin meets Anna, Vorkuev, a publisher and writer, is paying her a visit. There, Anna refuses to give Vorkuev her book to print, arguing ‘Oh, no, it’s all so sketchy’ (also Tolstoy’s). In Carmen Boullosa’s novel ANNA´S BOOK, Anna´s book is found decades later. The situation in which it appears at the very early start of the Russian Revolution, one day before the Bloody Sunday, and the last version of Anna’s book give body to this Carmen Boullosa’s novel.

Joel  Aguirre,  “El  libro  que  salvó  a  Ana  Karenina”,  Newsweek,  8  de  agosto,  2016:    http://nwnoticias.com/#!/noticias/el-­‐libro-­‐que-­‐salvo-­‐a-­‐ana-­‐karenina

Sergio  Jiménez  Foronda,  El  Cultural,  2/08/2016:  http://www.elcultural.com/noticias/letras/Carmen-­‐Boullosa-­‐Historia-­‐y-­‐.iccion-­‐estan-­‐mucho-­‐mas-­‐trenzadas-­‐que-­‐la-­‐palabra-­‐y-­‐la-­‐cosa/9574

Jonathan  García,  “El  libro  de  Ana  y  el  libro  de  Carmen”,  El  sol  del  Chiapas,  August  25,  2016,    http://elsoldechiapas.com/nota.php?sec=2&id=16827

Interview  with  Jairo  Calixto  Albarrán,  “Charros  y  Gangsters”,  W  Radio,  July  23,  2016  (at  Periscope):    https://twitter.com/jairocalixto/status/756647048393420800

Toma  y  Daca,  Revista  R,  El  Reforma,  August  14,  2016.    http://www.reforma.com/aplicacioneslibre/articulo/default.aspx?id=914040&md5=a6b32e1ce1afd33811a7222ba04f3cb4&ta=0dfdbac11765226904c16cb9ad1b2efe

Interview,  at  “El  Weso”,  W  Radio,  July  27,  2016,   http://play.wradio.com.mx/audio/111RD380000000036951/

Carlos  Paul,  “Carmen  Boullosa  hace  justicia  a  la  entrañable  Ana  Karenina”,  La  Jornada,  julio  28,  2016,    http://www.jornada.unam.mx/2016/07/28/cultura/a03n1cul

Andrea  Montes  Renaud,  “Boullosa,  el  arte  de  evocar”,  29  de  julio,  2016,    http://www.reporteindigo.com/carmen-­‐boullosa-­‐literatura-­‐libros-­‐historias

Revista  QUIÉN,  Presentación  del  libro  de  Carmen  Boullosa,  Agosto,  2016,   http://www.quien.com/circulos_mexico/2016/07/29/presentacion-­‐del-­‐libro-­‐de-­‐carmen-­‐boullosa

Ana  Luisa  Gutiérrez,  La  carrera  de  Clementine,  la  anarquista,  agosto  2016,    http://www.revistaescenarios.mx/la-­‐carrera-­‐clementine-­‐la-­‐anarquista/

Entrevista  con  Irma  Gallo,  en  Canal  22,  21  de  julio  2016:    https://www.youtube.com/watch?v=6ogpec_rcQQ

Entrevista  Adriana  Bernal:    https://www.youtube.com/watch?v=z0ERgES2ZvY

Also available in English translation by Samantha Schnee:

LA NOVELA PERFECTA - THE PERFECT NOVEL, Alfaguara, Mexico, 2006, pp 160. (Eighty % of the novel has been translated). The publisher's description: “A neighborhood in Brooklyn, and another in Mexico City, come face to face in the novel that gives this book its name. On Dean Street, between Fourth and Fifth Avenues, a lazy writer is about to create the perfect novel without the bother of writing it. His neighbor has just invented a strange piece of hardware that will "write" it for him. A small sensor – applied to the underside of the writer's tongue – receives all the signals emitted by his brain (sights, sounds, sensations, scents) that together constitute the novel, and records them on a drive. This enables readers to actually "read" the novel (set in Mexico City) exactly as it was imagined by the writer. There´s one catch: the writer's mind tends to wander. Another idea for another novel captures his attention: New York City in the Thirties, diamonds, and a sweet, sweet Mexican actress who – like the writer – never seems able to finish what she starts. The resulting clash of narratives is hilarious, chaotic, and tragic by turns.” More at: http://www.carmenboullosa.net/esp/novelas/la-novela-perfecta/

EL COMPLOT DE LOS ROMÁNTICOS -DANTE HITS THE ROAD, Siruela, Madrid, 2009, pp. 272. (A sample´s available in English). Winner of the Café Gijón Prize. From the jury’s award: The jury cited ‘the daring premise, the brilliant use of literary culture while breaking traditional literary models’ and ‘the hilarious meta-literary game centered around the author’. Siruela, the book’s publisher, writes ‘Only Carmen Boullosa could write such a novel, inventing her own genre. Part carnival, part essay, part intellectual, part pop-culture, part ghost story and part road-novel, this unique, funny, and thoughtful novel, at once simple and complex, confirms the author’s stature in the Hispanic literature.’ More at: http://www.carmenboullosa.net/esp/novelas/el-complot-de-los-romanticos/

NOVELS:

1. Texas, Editorial Alfaguara, México, 2013. Translated to English by Samantha Schnee, Deep Vellum, 2014. 2. Las paredes hablan, Ediciones Siruela, Madrid, otoño, 2010. 3. El complot de los románticos, Ediciones Siruela, Madrid, 2009. 4. La virgen y el violín, Ediciones Siruela, Madrid, 2008. 5. El velázquez de París, Ediciones Siruela, Madrid, 2007. 6. La novela perfecta, Editorial Alfaguara, México, 2006. 7. La otra mano de Lepanto, Ediciones Siruela, Madrid, 2005. Fondo de Cultura

Económica, México, 2005. A Outra Mâo de Lepanto, traducida al portugués por Paulo César Thomaz, Editora Palindromo, Sao Paolo, Brasil, 2006.

8. De un salto descabalga la reina, Editorial Debate, Madrid, 2002. English translation: Cleopatra Dismounts, Grove Press, 2003, transl. Geoff Hargreaves.

9. Treinta años, Alfaguara, 1999. English trans.: Leaving Tabasco, Grove Press, Nueva York, 2001, transl. Geoff Hargraves. 10. Cielos de la tierra, Alfaguara, 1997. English: transl. Sheryl Vincent, Deep Vellum, 2017 11. Quizá (Antes, Mejor Desaparece and the novella Que viva!), Monte Ávila Editores, Caracas, 1995. 12. Duerme, Alfaguara, Madrid, 1994. Previously published: German, Der fremde Tod, edition Suhrkamp, 1994, trans. Susanne

Lange. French: Duerme, L’eau des lacs du temps jadis, L’Atalante, 1997, reprinted at Le serpent a plumes 1999, trans. by Claude Fell. Italian: Dorme, Ed. Le Lettere, 2000, trad. Antonella Ciabatti. Dutch: De Schone Slaapster, Arena, Amsterdam, 1995, trad. Aline Glastra von Loon. All rights available.

13. La milagrosa, Ediciones ERA, 1993. Previously published: English: The Miracle Worker, Jonathan Cape, London, 1994, trad. Amanda Hopkinson. German: Die Wundertäterin, edition Surhkamp, 1993, trad. Susanne Lange. Italian: La Miracolosa, Vallecchi Editore, 1996, and La Milagrosa, Feltrinelli, 2001, trad. Pino Cacucci. All rights available.

14. El Médico de los piratas: bucaneros y filibusteros en el Caribe, Ediciones Siruela, Madrid, 1992. 15. Llanto: novelas imposibles, Ediciones ERA, 1992. 16. Son vacas, somos puercos: filibusteros del mar Caribe, Ediciones ERA, México, 1991, English: They're Cows, We're Pigs, Grove

Press, New York, 1997, trans. Lee Chambers. Previously published: German: Sir sind Kühe, wir sind Schweine, edition Surhkamp, trad. Erna Pfeiffer, 1991; French: Eux les vaches, nous les porcs, Le serpent a plumes, Paris, 2002, trad. Claude Fell.

17. Antes, Vuelta, Ciudad de México, 1989; Alfaguara 2001, Punto de Lectura 2003, last reprinted 2013.. Verfolgt, Aufbau-Verlag, Berlín, 1996, trad. Susanne Lange. French: Avant, Les Allusifs, Quebec, Canadá, 2002, trad. Sabine Coudassot-Ramírez. Italian: Prima, Ed. Noripios, Firenze, Italy, 2012, trad. David Iori (Italian rights will be free in April 2016)

18. Mejor desaparece, Océano, Mexico City, 1987. English, Just Disappear, trad. de Christi Rodgers, VDM Verlag, 2009. Previously publishe, French: ed. Emma Breton, trad. Sabinne Coudassot, Ediciones DUB, Montpellier, Francia, 2012.

SHORT STORIES:

El fantasma y el poeta, Ediciones Sexto Piso, México, 2007 –reimpresión en Madrid, con prefacio de Antonio Masoliver Ródenas, 2008.

THEATER:

1. Los Totoles, Editorial Alfaguara, México, 2000. 2. Mi versión de los hechos, Arte y Cultura ediciones, México, 1997. 3. Pesca de piratas: audiolibro, Producción de Radio Educación, México, 1993. 4. Teatro Herético: Propusieron a Maria: diálogo imposible en un acto, Cocinar Hombres, Aura y las once mil vírgenes. Universidad

Autónoma de Puebla, Puebla, Mexico, 1987. 5. Cocinar hombres: obra de teatro íntimo, Ediciones La Flor, Mexico City, 1985.

POETRY:

1. Hamartia o Hacha, Hiperión, Madrid- UANL, 2015. 2. La patria insomne, Hiperión, Madrid- UANL, 2013. 3. Corro a mirarme en ti, Publicaciones de Conaculta, México, 2012. 4. My Cage Is the Size of the World: Selected Poems, translated by Catherine Hammond, Finalist at the Drunken Boat Prize,

2015. NOT YET PUBLISHED, except for one poem at the American Poetry Review. 5. La patria insomne, Editorial Hiperión, Madrid, 2011. 6. Allucinata e Selvaggia, Poesia scelte 1989-2004. A cura di Marta Canfield. Ed. Lietocolle, Florence, Italia, 2008. 7. Salto de mantarraya (y otros dos), Fondo de Cultura Económica, México, 2004. 8. La bebida, Fondo de Cultura Económica, México, 2002. 9. Salto de mantarraya, ilustr. by Phillip Hugues, trans. Psiche Hugues, The Old School Press, UK, 2002. 10. Agua, con dibujos de Juan Soriano, Taller Martín Pescador, México, 2000. 11. Jardín Elíseo, Elyssian Garden, trans. Psiche Hugues, litografías de Phillip Hughes, Monterrey, México, 1999. 12. La Delirios, poems, Fondo de Cultura Económica, México, 1998. 13. Niebla, Taller Martín Pescador, México, 1997. 14. Envenenada: antología personal, Fondo Editorial Pequeña Venecia, Venezuela, 1993. 15. Soledumbre, Universidad Autónoma Metropolitana, México,1992. 16. La salvaja, FCE, México, 1989. 17. La salvaja, Taller Martín Pescador, México, 1988.

1. Abierta, Delegación Venustiano Carranza, México, 1983. 2. Lealtad, ilustraciones de Magali Lara, Taller Martín Pescador, México, 1981. 3. Ingobernable, Universidad Nacional Autónoma de México, 1979. 4. El hilo olvida, La Máquina de Escribir, México, 1979.

Non-Fiction: 1. When Mexico Recaptures Texas - Cuando México se (re)apropia de Texas. Bilingual, translated by Nicolas Kanellos, Arte Publico

Press, 2015. 2. Narco History, How the United States and Mexico Jointly Created the “Mexican Drug-War”, en coautoría con Mike Wallace, OR

Books, New York, 2015. 3. Azúcar negra, Colección Cenzontle, Fondo de Cultura Económica, México, 2013. 4. Rosario Castellanos: mujer de letras, Edición especial no venal, Congreso Internacional La experiencia internacional de las

mujeres, Conaculta, México, 2012. 5. Cuando fui mortal, Editorial Cal y Arena, México, 2010. 6. Papeles irresponsables, Universidad Autónoma Metropolitana, México, 1989. 7. El Hijo (por Carmen Boullosa), edición en Redacta, México, 1992.

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