Whilst planning to do a university translation dissertation on some aspect of narcoculture I was drawn to this work (in English – also simultaneously released bilingually with a Spanish version) by American author and folk musician, Elijah Wald. Having been introduced and hooked on the sounds of Los Tigres Del Norte for years, the Narcocorrido is a music form that particularly interests me. The Spanish word ‘Correr’ = to run, gives way to the Corrido form of music, a Mexican musical ballad, originally historically done as the spoken word, but more recently with Mexican folk music of accordions, guitars and harps added. It is a form of Norteño / Ranchera / Mariachi music, very spicy in rhythm, with neatly rhyming lyrics, telling a popular story. A lively, popular music artform, where masculinity and hyper-masculinity can flourish. The traditional Corrido has been superseded by the Narcocorrido, which tells the stories of Mexican and Latin American drug lords and their conquests – their crossborder trafficking, their grisly assassinations, their lovelife, their organisations. The Corrido is an alternative form of news and corridistas may cover any political event, with some controversial writers documenting political scandals and guerrilla uprisings. Elijah Wald takes us on an interesting personal journey as he hitchhikes and buses across every conceivable region in Mexico and also dips into the Corrido communities of North America. We meet the stars of the genre, the well known celebrity figures, from Los Tigres Del Norte themselves and their most famous writers such as Jefe del Jefes, Teodoro Bello. The issues of assassinated star Chalino Sánchez were particularly interesting and displayed the true dangerous nature of these musicians and their controversial cultural work. We head from the Sinaloan narcocorrido heartland, up to Texas and onto rural Michoacan. Not only do we learn more of the drug trafficking inspirations and the gruesome Mexican drug war, but also we learn of other areas of Mexican culture, history and politics. Wald is a man of the people and the rural campesinos are never far from his heart. He is equally at home listening to corridista buskers on the bus aswell as being able to snort cocaine whilst partying with the stars. For me, the translations done by the author about the often unknown corridos are a true revelation and, being an apprentice translator, I particularly found this aspect of the book exciting. The book is a real adventure and I’d encourage any travel lover to get involved in the quint narrations and journeying. I think that this book will long be regarded as the definitive text on Narcocorridos and I look forward to reading more work by Elijah Wald. It has left me a large legacy of topics and material to research and I shall be busy well into the future covering issues raised by my reading of this most excellent, well written text.
This is a narconovela, a Spanish language work of fiction set in the narco world of drug trafficking. The young Mexican author, Juan Pablo Villalobos presents ‘ Party in the Rabbit Burrow’, a short, fast-moving look at life behind the palace facade of a Mexican drug kingpin, Yolcaut, through the eyes of his young son. Tochtli is shut up in this rabbit warren, living a deluded life of extreme wealth. He only knows fifteen people through his contact with the outside world. He has private tuition at home, where he learns a few relevant facts about the real world. Tochtli is fascinated by sombreros and is proud of his worldwide hat collection. He is fond of the French people due to their penchant for the guillotine. The Liberian dwarf hippos they have obtained from Africa for the palace’s private zoo demonstrate the levels of extreme wealth that Yolcaut has. The violence of his father’s lifestyle and the Mexican drug war reflects upon Tochtli in his craving for Japanese Samurais and obsession with death. He has witnessed some killings at his home and when he guns down some exotic lovebirds it is no surprise. Tochtli exhibits his anger and loneliness through electing muteness, his way of rebelling against the system that he knows. The book is narrated by Tochtli in a childlike flow with plenty of rhythm and decent use of Spanish language meter. There is a lot of repetition of ideas and key phrases and words that enhance the literary beauty of this narconovela. Chapter 1 focuses on an introduction to Tochtli’s world. Chapter 2 is about their trip to Monrovia., the capital of Liberia, in order to hunt down some dwarf hippopotamuses. Chapter 3 returns to the palace. They are betrayed by Tochtli’s tutor, inside details of the King’s life revealed to the media, irritating the kingpin and provoking his mortal anger. There is a clever use of character’s names – the Liberian guides being former US presidents (JFK) and social heroes (Martin Luther King). The hippos are Louis XVI and Marie-Antoinette. We see the nastiness of Mexican’s über violent social conflict, in a bizarre and extreme mirror, that is never far from violence but has the safety and protection of a secluded fairytale princess life of the ‘Rey’s child. A very good start to me for authentic narconovela subgenre fiction.
This was the first book I have borrowed and read from Cardiff University library’s Translation section. As a Translation student focussing on the Spanish language, I felt that this book would offer plenty of interest to me, considering that the Americas has the largest hispanic population in the world. The book is subdivided into five main chapters, each directed towards a certain geographic region in the Americas. The monolingualism of the USA, with its vast multicultural population, displays problems in the cultural struggles created by the way it forces minorities to adapt to English, the arrogance of this coming to light very much in the post September 11th world where military action has often been plagued with troubles of mistranslation and at official levels, an overwhelming dependence upon the force majeure of the official tongue. Quebec offers a unique zone in the Americas and its struggles with linguistic identity and its isolation are clearly demonstrated by Edwin. I found the history of Quebec to be enlightening and was new knowledge to me. The way that its patois language, joual, struggles to define itself in a society dominated by colonial English and French, formed a major role in the Quebecois independence movement and has manifested itself in local theatre and the adaptation of translation as a device for the feminist movement. This feminist translation in Quebec has transcended to borders and come to the forefront of translation studies worldwide. The chapter on Brazilian Cannibalism was, for me, the most interesting of the whole book. It truly indicates a unique way of looking at the post-colonial world. How cannibalism itself can be viewed from within Brazil as a positive force yet to the external viewer it is seen as a negative connotation of savagery, demonstrates the Derridaean deconstruction at play in translation to a relatively understandable level for the novice initiate into translation studies. The cannibalist school of thought shows how translation redefines boundaries and how there is a struggle between cultures in the process. The works of Latin American fiction authors and their relationships to Translation was particularly relevant to me, as a student of Spanish. I discovered some new authors here and have bookmarked their work. I also, as a result of this chapter, plan to reread Garcia Marquez’ 100 Years of Solitude, to view it from the perspective of the Translation theme which is not so obvious on a first read of the great novel. The last chapter of the five focusses on border areas and the identity struggle that cultures face there. Mexico and the Caribbean have their own issues with border areas. Criollism in the Caribbean is now on the rise as a fashion and old concepts and prejudices are being redefined by the local linguists. I think the whole frontera issues on the Mexican – US border were very intriguing and analysing the history of the area plus the effects of bilingualism and the culture that arises from it, could be an area in which I would maybe consider focussing an eventual dissertation for my degree.
Each chapter concludes with a deeper analysis by the author and there is a thoroughly wholesome introduction and conclusion. If there was any criticism, then perhaps there is a repetition and over-reliance on the analytical deconstruction models of Jaques Derrida. However, I feel that this book was useful in that it successfully drew me to the attention of this man’s ideas and that had been something that prior to reading this work, I had only skirted over and had not adequately understood.
I found this book to be very readable and interesting. It broadened my mind to some of the wider issues that Translation Studies scholars have to consider. I’m sure that I’ll be returning to the library to reborrow it for reference purposes in my later studies.
This is a fast-moving story of the rise of Mexico’s most feared and influential drug lord, El Chapo. The Sinaloa cartel occupies the number one position in terms of prestige of drug organisations and Guzman Loera has hit the Forbes list of the wealthiest and most powerful men in the world. After a daring prison break he hides out from Mexican and US authorities as well as rival gangs in the hills of his native Mexico. Beith is a journalist who attempts to piece together the myths surrounding this elusive character and he weaves a very readable and exciting story together which combines romance, bloodthirsty homicide, big business administration, corruption and the life of the modern day Mexican Robin Hood and his associates. The situation in Mexico is extreme and unbelievable in may ways. It has certainly transcended all the boundaries first witnessed during the rise of the Colombian cartels decades ago. This book is perhaps lacking in truth in some ways as the evidence is so difficult to establish, yet it is well-written and gives the reader a good insight into one of the greatest plagues of the modern world.