The victory over fascism led to disruptions and the destruction of the colonial system in a number of formerly dependent countries of the African continent and Latin America. Liberation from military and economic domination, mass migration during the Second World War led to the growth of national identity. The liberation from colonial dependence in the second half of the 20th century led to the emergence of new literary continents. As a result of these processes, such concepts as the new Latin American novel, modern African prose, and ethnic literature in the United States and Canada entered the reader's and literary everyday life. Another important factor was the growth of planetary thinking, which did not allow the "silence" of entire continents and the exclusion of cultural experience.

It is noteworthy that in the 1960s. in Russia, the so-called "multinational prose" is taking shape - writers from among the indigenous peoples of Central Asia, the Caucasus, and Siberia.

The interaction of traditional literatures with new realities enriched world literature and gave impetus to the development of new mythopoetic images. Around the mid 1960s. it became clear that ethnic literatures, previously doomed to extinction or assimilation, could survive and develop in their own way within the dominant civilizations. The most striking phenomenon of the relationship between the ethnocultural factor and literature was the rise of Latin American prose.

Back in the first half of the 20th century, the literatures of Latin American countries could not compete with the countries of Europe (and even the East), because. were mostly aesthetic epigones. However, starting from the second half of the 20th century, many young writers began to build their creative path, focusing on local traditions. Having absorbed the experience of the European experimental school, they were able to develop an original national literary style.

For the 1960s-70s. there is a period of the so-called "boom" of the Latin American novel. During these years, the term "magic realism" was spreading in European and Latin American criticism. In a narrow sense, it denotes a certain trend in Latin American literature of the second half of the 20th century. In a broad sense, it is understood as a constant of Latin American artistic thinking and a common feature of the culture of the continent.

The concept of Latin American magical realism is intended to highlight and distinguish it from European mythology and fantasy. These features were clearly embodied in the first works of Latin American magical realism - A. Carpentier's story "The Dark Kingdom" (1949) and the novel by M.A. Asturias "Maize People" (1949).

In their heroes, the personal beginning is muffled and does not interest the writer. Heroes act as carriers of the collective mythological consciousness. That is what becomes the main subject of the image. At the same time, writers shift their view of a civilized person to that of a primitive person. Latin American realists highlight reality through the prism of mythological consciousness. As a result, the depicted reality undergoes fantastic transformations. The works of magical realism are built on the interaction of artistic resources. The "civilized" consciousness is comprehended and compared with the mythological one.

Latin America during the 20th century went to the flourishing of artistic creativity. A wide variety of areas have developed on the continent. Realism actively developed, an elitist-modernist (with echoes of European existentialism), and then a postmodernist direction arose. Jorge Luis Borges, Julio Cartasar Octavio Paz developed the technique and techniques of the “stream of consciousness” borrowed from Europe, the idea of ​​the absurdity of the world, “alienation”, and game discourse.

Elite Latin American writers - Octavio Paz, Juan Carlos Onetti, Mario Vergas Llos - were talking to themselves, trying to reveal personal uniqueness. They were looking for national identity within the limits of well-developed European narrative techniques. This gave them very limited notoriety.

The task of the "magical realists" was different: they directly addressed their message to humanity, combining in a unique synthesis the national and the universal. This explains their phenomenal success worldwide.

The poetics and artistic principles of Latin American magical realism were formed under the influence of European avant-garde. The general interest in primitive thinking, magic, primitive art that swept Europeans in the first third of the 20th century stimulated the interest of Latin American writers in Indians and African Americans. In the bosom of European culture, the concept of a fundamental difference between pre-rational and civilized thinking was created. This concept will be actively developed by Latin American writers.

From the avant-gardists, mainly the surrealists, Latin American writers borrowed certain principles of the fantastic transformation of reality. The European abstract "savage" found ethno-cultural concreteness and clarity in the works of magical realism.

The concept of different types of thinking was projected into the area of ​​cultural and civilizational confrontation between Latin America and Europe. The European surrealistic dream has been replaced by a real myth. At the same time, Latin American writers relied not only on Indian and South American mythology, but also on the traditions of American chronicles of the 16th-17th centuries. and their abundance of miraculous elements.

The ideological basis of magical realism was the writer's desire to identify and affirm the originality of Latin American reality and culture, which is combined with the mythological consciousness of an Indian or African American.

Latin American magical realism had a significant impact on European and North American literature, and in particular on the literature of the Third World countries.

In 1964, the Costa Rican writer Joaquín Gutierrez in an article “On the Eve of a Great Bloom” reflected on the fate of the novel in Latin America: “Speaking of the characteristic features of the Latin American novel, one should first of all point out that it is relatively young. Little more than a hundred years have passed since its inception, and there are countries in Latin America where the first novel appeared only in our century. During the three-hundred-year colonial period of the history of Latin America, not a single novel was published - and, as far as we know, was not written! universal. And I think it can be safely predicted that he is on the eve of an era of great prosperity ... A colossal novelist has not yet appeared in our literature, but we are not trailing behind. Let's remember what was said at the beginning - that our novel is a little over a hundred years old - and let's wait some more time ".

These words have become visionary for the Latin American novel. In 1963, the novel The Hopscotch Game by Julio Cortazar appeared, and in 1967, One Hundred Years of Solitude by Gabriel Garcia Marquez, which became classics of Latin American literature.

Topic: Japanese Literature.

In 1868, events took place in Japan that were called the Meiji Restoration (translated as “enlightened rule”). There was a restoration of the power of the emperor and the fall of the system of samurai rule of the shogunate. These events led Japan to follow the path of the European powers. Foreign policy is changing dramatically, the "opening of doors" is announced, the end of external isolation, which lasted more than two centuries, and a number of reforms. These dramatic changes in the life of the country were reflected in the literature of the Meiji period (1868-1912). During this time, the Japanese have gone from excessive enthusiasm for everything European to disappointment, from boundless delight to despair.

A distinctive feature of the traditional method of the Japanese is the author's indifference. The writer describes everything that comes into view in everyday reality, without giving estimates. The desire to depict things without introducing anything of oneself is explained by the Buddhist attitude to the world as non-existent, illusory. In the same way, their own experiences are described. The essence of the traditional Japanese method lies precisely in the author's innocence to what is at stake, the author "follows the brush", the movement of his soul. The text contains a description of what the author saw or heard, experienced, but there is no desire to understand what is happening. There is no traditional European analyticism in them. Daiseku Suzuki's words about Zen art can be attributed to all classical Japanese literature: “They sought to convey with a brush what moves them from the inside. They themselves did not realize how to express the inner spirit, and expressed it with a cry or a stroke of the brush. Maybe this is not art at all, because there is no art in what they did. And if there is, it is very primitive. But is it? Could we have succeeded in "civilization", in other words, in artificiality, if we were striving for artlessness? This was precisely the goal and basis of all artistic quests.

In the Buddhist worldview, which is the basis of Japanese literature, there could not be a desire to explore human life, to understand its meaning, because. the truth lies on the other side of the visible world and is inaccessible to understanding. It can only be experienced in a special state of mind, in a state of highest concentration, when a person merges with the world. In this system of thinking there was no idea of ​​the creation of the world, the Buddha did not create the world, but understood it. Therefore, man was not looked upon as a potential creator. From the point of view of Buddhist theory, a living being is not a being living in the world, but a being experiencing the world. In this system of values, a method of analysis that presupposes division could not have appeared. Hence the indifferent attitude to the depicted, when the writer feels himself both a participant and a spectator of the events described.

Therefore, traditional Japanese literature is not characterized by torment, lamentation, doubt. It does not contain internal struggles, the desire to change fate, to challenge fate, all that pervades European literature, starting from ancient tragedy.

For many centuries, the aesthetic ideal has been embodied in Japanese poetry.

Yasunari Kawabata (1899-1975) is a classic of Japanese literature. In 1968, he was awarded the Nobel Prize for "writing that expresses with great force the essence of Japanese thought."

Yasunari Kawabata was born in Osaka to a doctor's family. He lost his parents early, and then his grandfather, who was involved in his upbringing. He lived with relatives, bitterly feeling orphaned. In his school years, he dreamed of becoming an artist, but his passion for literature turned out to be stronger. His first writing experience was "The Diary of a Sixteen-Year-Old", in which moods of sadness and loneliness sounded.

Student years were spent at the University of Tokyo, where Kawabata Yasunari studied English and Japanese philology. At this time, acquaintance with the work of the largest Japanese and European writers, with Russian literature took place. After graduating from the university, he works as a reviewer, publishes reviews of published books. During these years, he was part of a group of "neo-sensualist" writers who were sensitive to new trends in the literature of European modernism. One of Kawabat Yasunari's short stories, "Crystal Fantasy" (1930), was often referred to as "Joyceian"; in its structure and writing style, the influence of the author of "Ulysses" was felt. The story is a stream of memories of the heroine, her whole life emerges in a series of “crystalline” moments flashing in her memory. Reproducing the stream of consciousness, transferring the work of memory, Kawabata was largely guided by Joyce and Proust. Like other writers of the 20th century, he did not disregard modernist experiments. But at the same time, he remains a spokesman for the originality and originality of Japanese thinking. Kawabata retains strong ties to the national Japanese tradition. Kawabata wrote: Inspired by modern Western literature, I sometimes tried to imitate its images. But fundamentally I'm an Oriental and have never lost sight of my own path. ».

The poetics of the works of Kawabata Yasunari are characterized by the following traditional Japanese motifs:

The immediacy and clarity of the transmission of a penetrating feeling for nature and man;

Merging with nature

Close attention to detail;

The ability to reveal the bewitching beauty in everyday and small things;

Laconism in reproducing the nuances of mood;

Quiet sadness, wisdom bestowed by life.

All this allows you to feel the harmony of life with its eternal secrets.

The peculiarity of the poetic prose of Kawabat Yasunari manifested itself in the stories "Dancer from Isis" (1926), "Snowy Country" (1937), "Thousand Cranes" (1949), "Lake" (1954), in the novels "The Moan of the Mountain" (1954), "Old Capital" (1962). All works are imbued with lyricism, a high level of psychologism. They describe Japanese traditions, customs, features of life and behavior of people. So, for example, in the story "A Thousand Cranes" the rite of tea drinking, the "tea ceremony", which are of great importance in the life of the Japanese, is reproduced in all details. The aesthetics of the tea ceremony, as well as other customs that are always detailed, do not at all fence off Kawabat from the problems of the modern era. He survived two world wars, the destruction of Hiroshima and Nagasaki by atomic bomb explosions, he remembers the Japanese-Chinese wars. Therefore, traditions associated with the concept of peace, harmony and beauty are especially dear to him, and not with the exaltation of military power and samurai prowess. Kawabata protects the souls of people from the cruelty of confrontation

Kawabata's work developed under the influence of Zen aesthetics. In accordance with the teachings of Zen, reality is understood as an indivisible whole, and the true nature of things can only be comprehended intuitively. Not analysis and logic, but feeling and intuition bring us closer to revealing the essence of phenomena, the eternal mystery. Not everything can be expressed in words and not everything must be said to the end. Enough mention, hint. The charm of understatement has an impressive power. These principles, developed over the centuries in Japanese poetry, are also realized in the work of Kawabata.

Kawabata sees the beauty of the ordinary, his life environment. He depicts nature, the world of plants, scenes of everyday life in a lyrical manner, with the penetrating wisdom of humanity. The writer shows the life of nature and the life of man in their commonality, in a fused interpenetration. This reveals a sense of belonging to the absolute of nature, the universe. Kawabata has the ability to recreate the atmosphere of reality, for this he accurately selects authentic colors, smells of his native land.

One of the central points of the aesthetics of Japanese art is the notion of the sad charm of things. The beautiful in classical Japanese literature has an elegiac coloring, poetic images are imbued with a mood of sadness and melancholy. In poetry, as in a traditional garden, there is nothing superfluous, nothing unnecessary, but there is always imagination, hint, some kind of incompleteness and surprise. The same feeling arises when reading Kawabat's books, the reader discovers the author's complex attitude towards his characters: sympathy and sympathy, mercy and tenderness, bitterness, pain. Creativity Kawabata is full of traditional Japanese contemplation, humor, subtle understanding of nature and its impact on the human soul. It reveals the inner world of a person striving for happiness. One of the main themes of his work is sadness, loneliness, the impossibility of love.

In the most ordinary, in a small detail of boring everyday life, something essential is revealed, revealing the state of mind of a person. Details are constantly in the focus of Kawabat's vision. However, the objective world does not suppress the movement of character, the narration contains a psychological analysis and is distinguished by great artistic taste.

Many chapters of Kawabata's works begin with lines about nature, which, as it were, sets the tone for further narration. Sometimes nature is just a background against which the life of heroes unfolds. But sometimes it seems to take on an independent meaning. The author seems to urge us to learn from her, to comprehend her unknown secrets, seeing in communication with nature peculiar ways of moral, aesthetic improvement of man. Kawabat's creativity is characterized by a sense of the grandeur of nature, the refinement of visual perception. Through the images of nature, he reveals the movements of the human soul, and therefore many of his works are multifaceted, have a hidden subtext. The Kawabata language is an example of the Japanese style. Short, capacious, deep, it has imagery and impeccability of metaphor.

The poetry of the rose, high writing skills, the humanistic idea of ​​caring for nature and man, for the traditions of national art - all this makes the art of Kawabata an outstanding phenomenon in Japanese literature and in the global art of the word.

BBK 83.3 (2 dew = rus)

Anastasia Mikhailovna Krasilnikova,

postgraduate student, St. Petersburg State University of Technology and Design (St. Petersburg, Russia), e-mail: [email protected]

Latin American Literature in Russian Book Publishing

Latin American literature is popular all over the world, the history of its publication in Russia goes back 80 years, during which time a lot of editorial experience has been accumulated, which needs to be analyzed. The paper considers the reasons for the appearance of the first editions of Latin American literature in the USSR, changes in the choice of authors, circulation, preparation of the apparatus of publications in the Soviet era and perestroika, as well as the state of the publication of Latin American literature in modern Russia. The results of the work can be used in the preparation of new editions of Latin American authors, and can also become the basis for studying the reader's interest in Latin American literature in Russia. The paper concludes about the persistent interest of readers in Latin American literature and suggests several ways in which its publication can develop.

Key words: Latin American literature, book publishing, publishing history, editing.

Anastasia Mikhailovna Krasilnikova,

Postgraduate Student, St. Petersburg State University of Technology and Design (St. Petersburg, Russia), e-mail: [email protected]

Latin American Literature in Russian Book Publishing

Latin American literature is popular all other the world, history of its publishing in Russia numbers 80 years, during this time the great experience of editing was accumulated, which is needed to be analyzed. The paper deals with the reasons for the appearance of the first publications of Latin American literature in the Soviet Union, changes in the selection of authors, number of printed copies and editing the secondary matter of publications in the Soviet period, as well as the state of publishing Latin American literature in modern Russia. The results of the research could be used in preparing new publications of Latin American authors as well as become a basis for research of the reader's interest in Latin American literature in Russia. The paper concludes that reader's interest in Latin American literature is strong and proposes several ways in which publishing of Latin American literature can develop.

Keywords: Latin American literature, book publishing, history of publishing, editing.

Latin American literature declared itself to the whole world in the middle of the 20th century. The reasons for the popularity of the "new" Latin American novel are many; In addition to cultural, there were also economic reasons. Only in the 30s. of the last century, an extensive system of book publishing and, most importantly, book distribution began to appear in Latin America. Until that moment, if something interesting could have appeared, no one would have known about it: the books did not go beyond the borders of the continent - beyond the borders of a separate country.

However, over time, literary magazines and publishing houses began to appear. Thanks to the largest Argentinean publishing house Suamericana, many authors gained fame: for example, from this publishing house

The worldwide fame of Garcia Marquez began. One of the channels through which Latin American literature penetrated Europe was, of course, Spain: “It is appropriate to emphasize here that at that time, despite the activities of the Suamericana publishing house, it was Spain, or rather, Barcelona, ​​who followed all the processes that took place in literature. , and served as a showcase for the writers of the boom, most of whom were published by the Seik-Barral publishing house, which occupied a leading position in this sense. Some of the writers lived in this city for a long time: Garcia Marquez, Vargas Llosa, Donoso, Edwards, Bruce Echenike, Benedetti and, finally, Onetti. The role of the Pre-myo Brive Library, established by this Barcelona publishing house, is also important: since in Spain

© A. M. Krasilnikova, 2012

There were no significant authors, the winners were chosen from Spanish-speaking countries (the winners of this prestigious award were Vargas Llosa, Cabrera Infante, Haroldo Conti, Carlos Fuentos). Many Latin American writers traveled extensively, some of them lived in Europe for quite some time. So Julio Cortazar lived for 30 years in Paris, and the French publishing house Gallimard also contributed to the spread of Latin American literature.

If everything is more or less clear with Europe: once translated, the book became known and translated into other European languages, then with the penetration of Latin American literature into the USSR, the situation is much more complicated. The European recognition of this or that author was not authoritative for the Soviet Union, rather the opposite - approval by ideological enemies could hardly have a positive effect on the publishing fate of the writer in the USSR

However, this does not mean that Hispanics were banned. The very first book edition appeared back in 1932 - it was Cesar Vallejo's novel "Tungsten" - a work in the spirit of socialist realism. The October Revolution riveted the eyes of Latin American writers to the Soviet Union: “In Latin America, the left-wing movements of the communist persuasion formed independently, practically without emissaries from the USSR, and the left ideology occupied especially strong positions among the creative intelligentsia.” Cesar Vallejo visited the USSR three times - in 1928, 1929 and 1931, and shared his impressions in Parisian newspapers: “Driven by passion, enthusiasm and sincerity, the poet defends the achievements of socialism with propaganda pressure and dogmatism, as if borrowed from the pages of the newspaper Pravda » .

Another supporter of the Soviet Union was Pablo Neruda, about whom translator Ella Braginskaya said: “Neruda is one of those great dramatic figures of the 20th century.<...>who became ideological friends of the USSR and in some incomprehensible, fatal way were glad to be deceived, like many of their peers in our country, and saw in us what they dreamed of seeing. Neruda's books were actively published in the USSR from 1939 to 1989.

however, as a rule, they could not be identified with exemplary works of socialist realism, but the political views of their authors made it possible for translators and editors to publish such works. In this regard, the memoirs of L. Ospovat, who wrote the first book in Russian about Neruda’s work, are very indicative: “When asked if he could be called a socialist realist, the Chilean poet grinned and said understandingly:“ If you really need it, then you can.

If only a few publications appeared in the 30s and 40s, then in the 50s more than 10 books by Latin American writers were published, and then this number increased.

Most of the publications that were prepared in the Soviet era are distinguished by high-quality preparation. In relation to Latin American literature, this is important in two respects. Firstly, Latin American realities, unknown and therefore incomprehensible to the Soviet reader, need to be commented on. And secondly, Latin American culture as a whole is characterized by the concept of “transculturation” proposed by the Cuban anthropologist Fernando Ortiz, “... which does not mean the assimilation of one culture by another or the introduction of alien elements into one of them from another, but the emergence as a result of cultural interaction of a new culture". In practice, this means that any Latin American author in his work turns to the world cultural heritage: the work of European writers and philosophers, the world epic, religious dogmas, rethinks it and creates his own world. These references to various works require intertextual commentary.

If intertextual commentary is important in scientific publications, then real commentary is an essential need for any mass publication. It does not have to be notes; an introductory article can also prepare readers for acquaintance with the work.

Soviet publications can be reproached for being too ideological, but they were done very professionally. Well-known translators and literary critics took part in the preparation of the books, who were passionate about what they were doing, so most of the translations made in the Soviet era, although imperfect, are in many ways superior to later ones. The same applies to

comments. Such well-known translators as E. Braginskaya, M. Bylinkina, B. Dubin, V. Stolbov, I. Terteryan, V. Kuteishchikova, L. Sinyanskaya and others worked on the editions of Latin American authors.

The works of more than thirty Latin American writers have been translated into Russian and published in separate editions. Most of the authors are represented by two or three books, for example, Augusto Roa Bastos, the author of the famous anti-dictatorial novel I, Supreme, published only two books in the Soviet Union: The Son of Man (M., 1967) and I, the Supreme” (M., 1980). However, there are authors who continue to be published today, for example, Jorge Amado's first book was published in 1951, and the last in 2011. His works have been published for sixty years without any significant interruptions. But there are few such authors: Miguel Angel Asturias was published in the USSR and Russia in 1958-2003, Mario Vargas Llosa in 1965-2011, Alejo Carpentier in 1968-2000, Gabriel Garcia Marquez in 1971-2012, Julio Cortazar in 1971-2011, Carlos Fuentes in 1974-2011, Jorge Luis Borges in 1984-2011, Bioy Casares in 1987-2010.

The principle of selecting authors is often unclear. First of all, of course, the writers of the "boom" were published, but so far not all of their works have been translated, and even far from all the authors. Thus, Luis Harss Into the mainstream; conversations with Latin-American writers, which is considered to be the first work that formed the very concept of the “boom” of Latin American literature, includes ten authors. Nine of them have been translated into Russian and published, while the works of Juan Guimarães Rosa remain untranslated into Russian.

The “boom” itself took place in the 60s, while the publications of Latin American writers in the USSR, as already mentioned, began to appear much earlier. The "new" novel was preceded by a long development. Already in the first half of the XX century. worked such venerable writers as Jorge Luis Borges, Jorge Amado, anticipating the "boom". More, of course, are published by writers of the 20th century, but not only. So, in 1964, poems by the Brazilian poet of the 18th century were translated into Russian and published. Thomas Antonio Gonzaga.

other prizes awarded to him. Among Latin American writers, there are six Nobel Prize winners: Gabriela Mistral (1945), Miguel Angel Asturias Rosales (1967), Pablo Neruda (1971), Gabriel Garcia Marquez (1982), Octavio Paz (1990), Mario Vargas Llosa (2010). All of them are translated into Russian. However, the work of Gabriela Mistral is represented by only two books, Octavio Paz published four of them. This can be explained, first of all, by the fact that Spanish-language poetry is generally less popular in Russia than prose.

In the 80s, hitherto banned authors who did not share communist views began to appear. In 1984, the first edition of Jorge Luis Borges appears.

If until the 1990s the number of publications by Latin American writers was steadily growing (more than 50 books were published in the 1980s), then in the 1990s there was a noticeable decline in everything: the number of publications dropped sharply, circulation fell, and the printing performance of books worsened. In the first half of the 90s, circulations of 50, 100 thousand, familiar to the USSR, were still possible, in the second half, circulations were five, ten thousand, and remain so to this day.

In the 90s. there is a sharp reassessment of values: only a few authors remain, who continue to be published very actively. Collected works of Marquez, Cortazar, Borges appear. The first collected works of Borges, published in 1994 (Riga: Polaris), are distinguished by a rather high level of preparation: it included all the translated works at that time, accompanied by a detailed commentary.

For the period from 1991 to 1998, only 19 books were published, and the same number was published in 1999 alone. 1999 was a harbinger of the 2000s, when there was an unprecedented increase in the number of publications: in the period from 2000 to 2009. Over 200 books by Latin American authors have been published. However, the total circulation was incomparably less than in the 80s, since the average circulation in the 2000s was five thousand copies.

The permanent favorites are Marquez and Cortazar. The work that was published in Russia more than any other work by a Latin American author is undoubtedly One Hundred Years of Solitude. Borges and Vargas Llosa continue to publish quite actively. Popularity by

The latter was facilitated by the receipt of the Nobel Prize in 2010: in 2011, 5 of his books were immediately published.

Editions of the beginning of the XXI century. is distinguished by a minimum of preparation: as a rule, there are no introductory articles or comments in books - publishers prefer to release a “naked” text, devoid of any accompanying apparatus. This is due to the desire to reduce the cost of the publication and reduce the time of its preparation. Another innovation is the publication of the same books in different designs - in different series. As a result, there is an illusion of choice: there are several editions of The Classics Game on the shelf in the bookstore, but in reality it turns out that these are the same translation, the same text without an introductory article and without comments. It can be said that large publishing houses (AST, Eksmo) use names and titles known to readers as brands and do not care about a wider acquaintance of readers with the literature of Latin America.

Another topic that needs to be touched upon is the lag of several years in the publication of works. Initially, many writers began to publish in the USSR, when they had already become world famous. So "One Hundred Years of Solitude" was published in Argentina in 1967, in the USSR in 1971, and this was Marquez's first book in Russia. Such a lag is typical for the publication of all Latin Americans, but for the USSR it was normal and was explained by the complex organization of book publishing. However, much later, even when the writers were well known in Russia and created new works, there was a delay in publishing: so Cortazar's last novel, Farewell, Robinson, was written in 1995, but it was released in Russia only in 2001.

At the same time, Marquez's last novel "Remembering My Sad Whores", published in Spanish in 2004, was published in Russia a year later - in 2005. The same thing happened with Vargas Llosa's novel "The Adventures of a Bad Girl", completed in 2006 . and published in Russia already in 2007. However, the novel by the same author "Paradise on the other corner", written in 2003, was never translated. The interest of publishers in works imbued with eroticism is explained by an attempt to add scandalousness to the work of writers, to attract the attention of unprepared readers. Often, this approach leads to a simplification of the problem, incorrect presentation of works.

The fact that interest in Latin American literature persists even without artificial heating on the part of publishers is evidenced by the appearance of books by authors who were not published in the USSR. This is, for example, a writer of the early 20th century. Leopoldo Lugones; two authors who anticipated the emergence of the "new" Latin American novel - Juan José Arreola and Juan Rulfo; poet Octavio Paz and prose writer Ernesto Sabato - authors of the middle of the 20th century. These books were also published by publishing houses that periodically published Latin American literature (“Amphora”, “Azbuka”, “Symposium”, “Terra Book Club”), and by those that had never before been interested in Latin American writers (“Makhaon” , Don Quixote, Ivan Limbach Publishing House).

Today, the literature of Latin America is represented in Russia by the works of prose writers (Mario Vargas Llosa, Ernesto Sabato, Juan Rulfo), poets (Gabriela Mistral, Octavio Paz, Leopoldo Lugones), playwrights (Emilio Carballido, Julio Cortazar). The overwhelming majority are Spanish-speaking authors. The only actively published Portuguese-speaking author is Jorge Amado.

The first publications of Latin American authors in the USSR were caused by ideological reasons - the writers' loyalty to the communist authorities, but thanks to this, Soviet readers discovered the world of Latin American literature and fell in love with it, which is confirmed by the fact that Latin Americans continue to be actively printed in modern Russia.

In the Soviet years, the best translations and commentaries of Latin American works were created, with perestroika, much less attention began to be paid to the preparation of publications. Publishing houses were faced with a new problem for them to earn money, in connection with which the approach to book publishing completely changed, including changes in the publication of Latin American literature: preference began to be given to mass publications with a minimum of preparation.

Today, printed editions compete with the increasingly popular e-books. The text of almost any published work can be downloaded for free from the Internet, so it is unlikely that publishers will be able to exist without changing their strategy in preparing books. One of the ways is the improvement of printing performance, the release of expensive exclusive editions. So,

for example, the Vita Nova publishing house released in 2011 a deluxe leather-bound deluxe edition of One Hundred Years of Solitude by Gabriel Marquez. Another way is to produce high-quality publications with detailed, conveniently structured

Let's jump to another no less talented literature - Latin American. Edition The Telegraph has created a selection of the top 10 novels by Latin American writers and works set there. The collection is really worth the summer reading. Which authors have you already read?

Graham Green "Power and Glory" (1940)

This time a novel by British writer Graham Greene about a Catholic priest in Mexico in the 1920s and 30s. At the same time, the country was severely persecuted by the Catholic Church by the Red Shirts military organization. The protagonist, contrary to the order of the authorities, under pain of being shot without trial or investigation, continues to walk through remote villages (his wife and his child live in one of them), serve masses, baptize, confess and give communion to his parishioners. In 1947, the novel was filmed by John Ford.

Ernesto Che Guevara "The Motorcycle Diaries" (1993)

The story of how a young Che Guevara, a 23-year-old medical student, sets off from Argentina on a motorcycle trip. He returns as a man with a mission. According to his daughter, he returned from there even more sensitive to the problems of Latin America. The journey lasted nine months. During this time, he covered eight thousand kilometers. In addition to a motorcycle, he traveled by horse, steamboat, ferry, bus and hitchhiking. The book is a story of a journey-to-know-itself.

Octavio Paz "Labyrinth of Loneliness" (1950)

Loneliness is the deep meaning of human existence,- wrote the Mexican poet Octavio Paz in this famous collection of poems. “A person is always a longing and a search for belonging. Therefore, every time, feeling like a person, we feel the absence of another, we feel lonely. And many more beautiful and deep things about loneliness Paz comprehended and turned them into poems.

Isabelle Allende "House of Spirits" (1982)

The idea for this novel in Isabel Allende came when she received the news that her 100-year-old grandfather was dying. She decided to write him a letter. This letter became the manuscript of the debut novel. "House of Spirits" In it, the novelist created the history of Chile on the example of a family saga through the stories of female heroin. "Five years" says Allende. I was already a feminist, but no one knew the word in Chile.” This novel is written in the best traditions of magical realism. Before becoming a world bestseller, it was dropped by several publishers.

Paulo Coelho "Alchemist" (1988)

A book that got into the Guinness Book of Records for the number of translations by a contemporary author. An allegorical novel by a Brazilian writer tells of the journey of an Andalusian shepherd to Egypt. The main idea of ​​the book is that if you really want something, it will happen.

Roberto Bolagno "Wild Detectives" (1998)

“Born in 1953, the year Stalin and Dylan Thomas died,” Bolagno wrote in his biography. This is a story about the search for a Mexican poet of the 1920s by two other poets - Arturo Bolano (the author's prototype) and the Mexican Ulysses Lima. For him, the Chilean author received the Rómulo Gallegos Prize.

Laura Esquivel "Like water for chocolate" (1989)

“We are all born with a box of matches inside, and since we cannot light them ourselves, we need, as happens during the experiment, oxygen and a candle flame,” writes Esquivel in this charming and realistic Mexican melodrama. The main feature of the work is that the emotions of the main character Tita fall into all the delicious dishes that she cooks.

Foreign literature of the twentieth century. 1940–1990: textbook Loshakov Alexander Gennadievich

Topic 9 The phenomenon of the "new" Latin American prose

The phenomenon of the "new" Latin American prose