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56 Translation Review
BOOK REVIEWS Hazelton, Hugh. Latinocanadá: A Critical Study of Ten Latin American Writers of Canada. McGill-Queen’s UP. Montreal and Kingston. 2007. 312 pp. Regina Galasso, Reviewer In recent years, there has been a growing critical acknowledgement of the literary production in Spanish or by writers from Spanish-speaking countries outside the geographical borders of Latin America and Spain. Studies of this kind have embraced the creative work of not only living but also deceased authors. In doing so, this tendency has provided the opportunity to recuperate overlooked texts as well as re-evaluate current practices of literary history and studies by welcoming authors who have traveled across national and linguistic borders. As a result, translation becomes an integral part of dealing with this corpus, because the texts need to be translated in order to be read in the dominant language of the author’s homeland or the newly adopted environment. Hugh Hazelton contributes to the growing awareness of this literature not only as a critic but also as a translator in Latinocanadá: A Critical Study of Ten Latin American Writers of Canada (2007). Hazelton’s 312-page book opens with an introduction followed by individual studies of ten Latino-Canadian authors and never-beforepublished translations of their work. Well aware of the “complex interplay of geographical, cultural, and literary factors” (23) that are part of composing an anthology, Hazelton explains the factors that determine his selection of authors and texts, ranging from the mass of their corpus and its translation into English to gender and national, regional, and socio-economic background. The carefully composed list of authors in Latinocanadá are Jorge Etcheverry (Chile, 1945), Margarita Feliciano (Argentina, 1938), Gilberto Flores Patiño (Mexico, 1941), Alfredo Lavergne (Chile, 1951), Alfonso Quijada Urías (El Salvador, 1940), Nela Rio (Argentina, 1938), Alejandro Saravia (Bolivia, 1962), Yvonne América Truque (Colombia, 1955), Pablo Urbanyi (Argentina, 1939), and Leandro Urbina (Chile, 1949). Each section, marked with the author’s name and a subtitle, offers biographical information concentrating on the author’s career in general and literary activity in Canada as well as an overview of the themes and development of the author’s work. At times, Hazelton provides helpful close readings of selected texts. Hazelton is very much engaged on many levels with his subject, as he frequently mentions the spouses, ex-wives, and friends of each author as well as his own participation in Latino-Canadian literary production. In this way, he is able to demonstrate the interconnectedness of the environment — spouses are in some instances also translators and artistic collaborators — as well as add a personal touch that exposes a sensitivity toward a nonacademic audience. Hazelton also explains for the nonspecialized reader the significance of names like Borges, Cortázar, and Puig in the main text or footnotes. Overall, Latinocanadá appeals to readers already familiar with Latino- Canadian writing or Hispanic literature at large as well as to anyone interested in any literary production in Canada. The introduction, titled “Latin American Writing in Canada: Formation of a Literature,” outlines the breadth and depth of Latino- Canadian literature, occupying a place in every principal literary genre. Hazelton tells about the history of major waves of Peninsular and Latin American migration to Canada and about the emergence and adaptation of a Latino-Canadian literature. He deals not only with the writers themselves but also with the presses, publications, literary festivals and events, collaborations, and translations, among other pivotal factors, that have helped Latino writing to gain coherence and visibility in Canada. Next, Hazelton focuses on the main themes and their Translation Review 57
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Page 12 and 13: means to repeat, more typically use
Page 14 and 15: HOMENAJE DE LOS TEMPANOS, ICEBERGS
Page 16 and 17: HOMENAJE DE AMOR DE LAS CORDILLERAS
Page 18 and 19: (who’ve since been transformed by
Page 20 and 21: As mentioned, the hero of the Old W
Page 22 and 23: impossible tasks. He told me a stor
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Page 26 and 27: to burn. And what about the structu
Page 28 and 29: Cunninghams translate “amor, vér
Page 30 and 31: Gálvez Lira, Gloria. María Luisa
Page 37 and 38: patriarchy where women have had a h
Page 39 and 40: Evans, Mary (ed). (2001). Feminism:
Page 41 and 42: ADONIS: “TWELVE CANDLES FOR GRANA
Page 43 and 44: This evening, no longer a fantasy,
Page 45 and 46: MOURNING A POETIC VISIONARY: SANDY
Page 47 and 48: works by Central American writers
Page 49 and 50: Mueller, “from then on my publish
Page 51 and 52: IS POUND A TRANSLATOR OF CHINESE PO
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Page 56 and 57: Waley’s Translation In the Wilds
Page 58 and 59: construed to cover heaven and earth
Page 62 and 63: transformations depending on a part
Page 64 and 65: for his return, clarifying his posi
Page 66 and 67: characteristic effects, such as his
Page 68 and 69: the lines of each one of them. Shap
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