Empire of Dreams, by Giannina Braschi
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Empire of Dreams, by Giannina Braschi
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In the Hispanic American classic Empire of Dreams, Giannina Braschi calls for a revolution in poetry ― a revolution against the Latin American Boom. New York City becomes the site of liberation for its marginal characters who seek to experience the center of power, of meaning, of feeling, and of personal identity. Clowns, buffoons, shepherds, magicians, and madmen perform their fantasies in the city streets. In a climatic episode of a pastoral revolution, shepherds take over the top floor of the Empire State Building, where they dance and sing, “Now we do whatever we please! Whatever we please! Whatever we damn well please!” Newly translated by Tess O’Dwyer, this edition captures the euphoric spirit of the Spanish original and is an exquisite piece of artistry in its own right. “A masterpiece, brilliantly translated. Braschi writes as an accomplished cosmopolitan heir(ess) to the tradition of Lorca, Neruda, Mistral, and Marquez.” – Alicia Ostriker “Good poets write great poems. Great poets create a new language. Giannina Braschi is a brilliant artist who has invented a syntax that reveals how we think, suffer, and take delight in the twenty-first century. Though the tone can be playful, her work has deep roots in the subversive side of classical literature. The scale is epic.” – D.Nurkse “Braschi is a constantly brilliant writer ― her writing is the lively moment time and time again. She’s a treasure, a midnight, a sharp sun. In her work everybody lives.” – Michael Burkard “Braschi writes with a strong poetic tradition behind her, and from her erudite standpoint she forges an odd mixture of poetry, prose, drama, and a little of what could be considered music. She imbues her text with jollity and a brilliant energy that stretches its audience from lovers of modernism to seekers of a broadened artistry of language.” – Carolyn Kuebler, Review of Contemporary Fiction “An ‘in-your-face assertion’ of the vitality of Latino culture in the U.S.” – New York Daily News “A striking collection of brief, evocative prose.” – Publishers Weekly
Empire of Dreams, by Giannina Braschi- Published on: 2015-09-15
- Formats: Audiobook, MP3 Audio, Unabridged
- Original language: English
- Number of items: 1
- Dimensions: 6.75" h x .50" w x 5.25" l,
- Running time: 5 Hours
- Binding: MP3 CD
Review “Revolutionary in subject and form, United States of Banana is a beautifully written declaration of personal independence. Giannina Braschi’s take on U.S. relations with our southern neighbors in Latin America and the Caribbean, most especially Puerto Rico, is an eye-opener. The ire and irony make for an explosive combination and a very exciting read.” --Barney Rosset, The Evergreen Review "The best work of art on the subject of September 11th that I have ever experienced." --Mircea Cărtărescu, author of Nostalgia “Good poets write great poems. Great poets create a new language. Giannina Braschi is a brilliant artist who has invented a syntax that reveals how we think, suffer, and take delight in the twenty-fisrt century. Though the tone can be playful, her work has deep roots in the subversive side of classical literature. The scale is epic.” --D.Nurkse, author of The Fall and The Border Kingdom "A surge of deep emotion runs through anyone who listens to or reads Giannina Braschi because she writes the most compelling work--dramatic, philosophical, humorous and always unpredictable in its experimental form. Braschi enlightens us with her passionate energy." --Pia Tafdrup, author of Tarkovsky's Horses and Other Poems “Ideal to be read aloud in the corrosive style of Lenny Bruce, United States of Banana develops from the sophisticated intricacy of a Postmodern narrative...challenging the fear and repression of dissent in the age of terror. The quintessential danse macabre of the millennium.” --Daniela Daniele, Università degli Studi di Udine, Italy “Experimental, revolutionary and profoundly philosophical, United States of Banana is to be read as The Waste Land of the 21st Century.” --Cristina Garrigos, Texas A&M University “Finally, someone takes identity politics and turns it irreverently on its head! Hilarious and sassy, Braschi offers no olive branch to those who stand by the rules of convention. Three cheers for this book!” --Francine Masiello, University of California at Berkeley
About the Author A native of Puerto Rico, Giannina Braschi is an influential and versatile writer of poetry, fiction, and essays. She was a tennis champion and fashion model during her youth in San Juan, before moving to Madrid to study with the Spanish poets Carlos Busoño and Claudio Rodriguez. She lived in Paris, Rome, and London before settling in New York, where she has taught at Rutgers University, City University, and Colgate University. She holds a Ph.D. in Golden Age Spanish literature and has written on Cervantes, Garcilaso, Lorca, Machado, Vallejo, and Bécquer. Her cutting-edge work in Spanish, Spanglish, and English has been recognized by the National Endowment for the Arts, New York Foundation for the Arts, el diario, PEN American Center, Ford Foundation, Danforth Scholarship, InterAmericas, Instituto de Cultura Puertorriqueña, and Reed Foundation. She currently serves as a literary judge for the PEN Book Awards.
Excerpt. © Reprinted by permission. All rights reserved. Death of the Businessman It’s the end of the world. I was excited by the whole situation. Well, if everybody is going to die, die hard, shit, but what do I know. Is this an atomic bomb—the end of the world—the end of the millennium? No more fear of being fired—for typos or tardiness—digressions or recessions—and what a way of being fired—bursting into flames—without two weeks notice—and without six months of unemployment—and without sick leave, vacation, or comp time—without a word of what was to come—on a glorious morning—when nature ran indifferent to the course of man—there came a point when that sunny sky turned into a hellhole of a night—with papers, computers, windows, bricks, bodies falling, and people running and screaming. I saw a torso falling—no legs—no head—just a torso. I am redundant because I can’t believe what I saw. I saw a torso falling—no legs—no head—just a torso—tumbling in the air—dressed in a bright white shirt—the shirt of the businessman—tucked in—neatly—under the belt—snuggly fastened—holding up his pants that had no legs. He had hit a steel girder—and he was dead—dead for a ducat, dead—on the floor of Krispy Kreme—with powdered donuts for a head—fresh out of the oven—crispy and round—hot and tasty—and this businessman on the ground was clutching a briefcase in his hand—and on his finger, the wedding band. I suppose he thought his briefcase was his life—or his wife—or that both were one because the briefcase was as tight in hand as the wedding band. ... When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the Twin Towers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian.
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25 of 29 people found the following review helpful. Book is VERY difficult By Beth Cummings I am rather disappointed in this book because it is written in such a peculiar style that I just couldn't get myself to finish it. I almost never leave a book half-read, but this one lost me when the author, the Statue of Liberty, Zarathustra and Hamlet began conversing with each other. It is a very witty book, but the humor and satire require extensive knowledge of "Hamlet," "Thus Spake Zarathustra," as well as knowledge of Puerto Rican culture and history. It would be an interesting book to study for a class, but for general, enjoyable reading I can't recommend it.
8 of 9 people found the following review helpful. Food for Thought! By eatquestnyc As a curator of culinary underground adventures for serious food fans in New York City, I loved this book for so many reasons. Style of presentation, zest, originality of course. It's Braschi after all. But what turned me on was how unglamorous but delicious staples such as bananas, powdered donuts, sardines, and potatos find their way into political manifestos and absurdist fantasies. The American worker for one is a canned sardine squirming in the can of sludge, oil, vinegar, and menial labor, begging for water and working its tail off inspite of no water. No matter how hard that sardine works, he never finds his wings to fly from the can, poor lil thing. Meanwhile, the potato is the key to understanding democracy in the United States of Banana. There is a prisoner trapped in the dungeon of the Statue of Liberty after 911. The government doesn't want to rescue him because they want to prove that liberty exists by the absence of liberty. They charge to see him but never free him reasoning that they dough they make on the tourist trap is worth more than the price of liberty. To prevent a revolt, the government gives the citizens of liberty island three options to vote for: Wishy, Wishy-Washy, or Washy. If they vote for Wishy, the prisoner goes free. If they vote for Wishy-Washy, he stays where he is. If they vote for Washy, he is sentenced to death. Every four years the citizens vote for Wishy-Washy. It's like a potato, the narrator argues. You can choose to have it fried, mashed, or baked, but anyway you serve it it's all the same potato. Brilliant, if not somewhat a cynical take on democracy. Biting humor throughout.
3 of 3 people found the following review helpful. United States of Banana By Yma Johnson Giannina Braschi’s United States of Banana puts genre in a blender and pours it with seamless liquidity into a novel of exceptional innovation. Set in post-9/11 New York, the book follows Hamlet, Zarathustra, and Giannina as they set out to free Puerto Rican captive Segismundo from the dungeon of the Statue of Liberty where he has been imprisoned by the king of the United States of Banana for one hundred years. The king remarries, releases Segismundo, and as a conciliatory gesture, offers passports to all Latin American citizens. An act of benevolence which upends the global power paradigm and reverberates through the international community with destabilizing effects.United States of Banana is a hybrid work, mixing post-modern fiction, play format, sociopolitical commentary, and stretches of prose with an evocative carousel of language and philosophical ruminations. It is an English language and literature lover’s dream! Cliché is (or should be) the bain of every writer. In Braschi’s hands cliché becomes critique which repeats and accretes with such intensity that it acquires depth and sinister implications greatly in excess of its daily use. Running around like a chicken with its head cut off catapults the reader into stinging indictments of capitalism and its injurious effects on well … everybody.“…home is in the head – (but the head is cut off) – and the nest is full of banking forms and Easter eggs with coins inside. Beheaded chickens, how do you breed chickens with their heads cut off? By teaching them to bankrupt creativity.”Braschi plays clever havoc with the language around Puerto Rico’s status as a protectorate (de facto colony) of the United States. The statuses are referred to as Wishy, Wishy-Washy, and Washy, independence, protectorate, and statehood respectively. She engages with the question in many ways, but arguably the most unique approach comes from dialogue sequences in play format. My favorite conversation is between Cuba, The Statue of Liberty, Argentina, Puerto Rico, and the United States of Banana during a meeting at the United Nations. Fiction fans who are interested in Latin America and its complex political relationships with the United States must read this.Then there are the places where Braschi eviscerates language and reconstitutes so it is recognizable but released from its moorings. For example, a skull becomes a “prop for glasses.” Or, “I always fulfill my deadlines because they are the lines of death, and I can never skip what was meant to die by deadline. And that is my goal. To die when I get to the deadline.” The magic is as much in what is written as what is held back or implied. United States of Banana is a galloping romp through semantic fields and an invigorating contribution to postmodernism that never loses its sense of irony or humor.
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