Sidewalks
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- $16.99
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- $16.99
Publisher Description
Grantland Book of the Year
Vol. 1 Brooklyn, A Year of Favorites, Jason Diamond
Book Riot, 2014’s Must-Read Books from Indie Presses
"Valeria Luiselli is a writer of formidable talent, destined to be an important voice in Latin American letters. Her vision and language are precise, and the power of her intellect is in evidence on every page."—Daniel Alarcón
"I'm completely captivated by the beauty of the paragraphs, the elegance of the prose, the joy in the written word, and the literary sense of this author."—Enrique Vilas-Matas
Valeria Luiselli is an evening cyclist; a literary tourist in Venice, searching for Joseph Brodsky's tomb; an excavator of her own artifacts, unpacking from a move. In essays that are as companionable as they are ambitious, she uses the city to exercise a roving, meandering intelligence, seeking out the questions embedded in our human landscapes.
Valeria Luiselli was born in Mexico City in 1983 and grew up in South Africa. Her novel and essays have been translated into many languages and her work has appeared in publications including the New York Times, Granta, and McSweeney's. Some of her recent projects include a ballet performed by the New York City Ballet in Lincoln Center; a pedestrian sound installation for the Serpentine Gallery in London; and a novella in installments for workers in a juice factory in Mexico. She lives in New York City.
PUBLISHERS WEEKLY
"Writing about Mexico City is a task doomed to failure," notes Luiselli, yet that's the just task she takes on in her essays exploring that city, as well as Venice and New York. Each essay is subdivided into bite-size observations, arranged lackadaisically under subtitles that relate more to the subject at large than the contents of their section: construction signs, for example, or cycling directions for Luiselli's route through her neighborhood. These essays take an unhurried pace well-suited for the ambling walks and bike rides that inspired them, deepened by literary and historical asides that situate these places in a context beyond the present moment. Language holds as much significance as geography here, particularly those words that have no easy translation, such as Portuguese's melancholic saudade or the Spanish concept of relingos unclaimed urban space. This leads some sections to become overly enamored of their own lyricism, but the final essay brings the collection to a satisfying conclusion, returning to Venice and the San Michele graveyard in which the first essay occurs, while incorporating key details from earlier pieces. Luiselli's writing here seems more rightly called poetry than prose, evoking all the sensory detail that implies and leaving any prosaic conclusions for after the journey's end.
