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Our Lady of the Assassins

FIL Literary Award in Romance Languages

Our Lady of the Assassins

Fernando Vallejo Rendón

Set in 1990s Medellín, the novel follows an older narrator whose relationship with a young assassin becomes a dark meditation on violence and loneliness.

violencecity lifelonelinessautobiographical elements

作品情報

A provocative novel about violence in Medellín.

Autobiography and social critique overlap in a novel that confronts the ethical impossibility of living in a violent age.

書籍情報

出版社
Serpents Tail
発売日
2001-07-01
ページ数
135ページ
言語
英語
サイズ
13.34 x 0.64 x 19.69 cm
ISBN-13
9781852426477
ISBN-10
1852426470
カテゴリ
洋書/Gay & Lesbian/Literature & Fiction/Fiction/Gay

A novel set in the backstreets of Medellin, Colombia, captures the lives of the beggars, thieves, drug addicts, and other lost souls of a city overwhelmed by the drug trade.

Born in Medellin, Colombia in 1942, Fernando Vallejo has directed three films, written several screenplays and eight books, including several novels. He is regarded as the first Latin American novelist to have broken with the tradition of 'magical realism'. This is the first translation of his work into English.

レビュー

  • Good Condition

    This book was required for a literature class I took in college. While the novel is incredibly disturbing, it was in new condition when I got it.

  • Beautiful, brand new book shipped to arrive safely!

    Beautiful, brand new book shipped to arrive safely!

  • As Americans we cannot remain insular

    Whereas once, say around the time of the Monroe Doctrine, the Western Hemisphere was more or less similar in development region to region due to its common background of having been colonized by European powers, there has ever since been an ever-widening gap due to the differing influences of the colonizers of the north contrasted with the south. The north, primarily colonized by the British and the French, was viewed as place where individual colonists and their families could create a new homeland and work toward self-sufficiency, exporting valuable natural resources back to the home countries in Europe and provide, in return, a market for what Europe could produce. The southern regions, on the other hand, were primarily colonized by the Spanish and the Portuguese, who sought only to extract natural and agricultural resources for themselves (they wanted gold, mostly), and pay the native inhabitants back by converting them to their brand of Christianity. So now that all the countries of the Western Hemisphere are nations independent of Europe, the gap between the north and the south has expanded to its ulimate polarity: the United States and Canada are global economic powerhouses with high standards of living for the majority of their people, whereas in Latin America the people groan under the yoke of their own exploitative governments, an impractical and hypocritical rule of the church, and by imposed agricultural economies that do not, on the whole, raise sustaining food for the people, but superfluous, non-food-items for wealthy nations elsewhere--chocolate, coffee, sugar, rubber, tropical woods, and, the most lucrative of all, coca, that is processed into cocaine. The country of Columbia (interestingly, one whose name is the closest to "Columbus") is almost archetypal in this concept...coffee, cocaine, and Catholicism (the kind of Catholicism that, for example, continues to forbid contraception in a country where the population has completely overrun its viable economic opportunities), and "Our Lady of the Assassins" is a desperate, but powerfully human cry from deep in the heart of that situation in a country still struggling for survival and meaning. Fernando Vallejo, in presenting this tragedy, seems to offer no obvious hope of solution out of the misery, but only torturously writhes around and around within it, reporting rampant gang killing after gang killing like the city of Medellin's (idiomatically renamed "Medallo" in reference to a sub-machine gun) own news media in a never-ending cycle of ever-avenging death and despair while eternally on its knees supplicating "Santa Maria Auxiliadora" or whatever other Saint also bled and suffered, unable to really provide much help beyond solace through sympathy and maybe a hope of spiritual liberation after death. Yet, as long as there is humanity, there still can be hope in THIS world, and where there are tears and laughter, there is humanity. The book is actually very funny in parts, and certainly ironic, as if, better than even crying, all one can do is laugh and attempt to enliven the otherwise-too-horrendous-to-fully-contemplate journey to Only God Knows Where. I found it fascinating that in the prayers requesting a "blessing" of the assassin's bullets, their requests were that the bullets wouldn't miss and in their deaths, the victims WOULDN'T SUFFER...as if even in their killing the assassins retained some germ of love. In fact, in the distortions of their slang, to "be in love with" somebody is to be out to kill them. They're all angels...avenging angels. Most importantly, this book is a love story, a love story between a youth whose fellow gang members had all been destroyed, and an older man whose family had all died, that in their aloneness and solitude, they found a place for each other in their lives. I cannot fail to see that this, too, is a metaphor for hidden forces on the side of survival, for when the departing elders and the emerging youth love each other, there is a knitting together of life's circle and the wheel will somehow find a way to keep spinning. Vallejo may see that wheel like a Buddhist wheel of karma, where the only hope of escape is to be individually snuffed out into nirvana, or else maybe like an ancient inquistion torture wheel upon which the bones of humanity are broken and put on elevated display to engender a fear of God, but I think in a culture that did not, industriously, invent the wheel, THIS wheel, an engine of love and humanity, will be, instead of industrialism, its strength and ultimate salvation. And the best expression of that is through the arts such as this one, now in translation made accessible to those of us who reside in the northern hemisphere and may have heretofore remained ignorant of just what was going on in the cultures of a people with whom we once shared a common beginning. This is either a dire warning or a prayer for assistance...either way, we can no longer practically or philosophically afford to remain so isolated.

  • Dark Reflections of a Tragic Period in Recent Colombian History

    Watch the movie version on YouTube instead. The book is just depressing and morbid from start to finish with flashes of insane gun violence. It depicts the worst of times in Colombia's beautiful Medellin back in the 1980's. I would describe the story as dark, sour, melancholy, emotionally sclerotic. Vallejo was a compelling writer and here captures the poignancy of the twisted world of young gunmen who pray and go to confession regularly - but not to confess the crime of murder.

  • Spanish version is a 5-star book

    Needless to say, Fernando Vallejo is one of the best writers of all times. Unfortunately, his writing force and power can only be admire if your read his art in the original version. I know translator did his best to write this edition, but it just does not make you feel the same than when you read it in Spanish.

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