RON JACOBS applauds a reading of black history in the US that plots the path from autonomy to self-governance and then liberation
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Letters From Latin America
Review of fiction by Uruguayan writers Ida Vitale and Fernanda Trias
(L to R) Ida Vitale and Fernanda Trias
[(L to R) Pdx123/Creative Commons; Charco Press] 
TOM KING relishes an enlightening history of the checkered progress of the war that humanity has waged on bacteria
ANDY HEDGECOCK is intrigued by a scholarly account of how systemic disinformation can exacerbate the perception of threat and foster hatred
New releases from Cuban pianist Aruan Ortiz, trumpeter Kenny Dorham, and London pianist Geoff Castle
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
WILL STONE applauds a comprehensive survey of love in its many moods and musical forms
BYOBU (Charco Press, £9.99) is a puzzling book by the Uruguayan poet Ida Vitale (b1923), a member of the acclaimed Generation of ’45 and winner of one the most important literary distinctions in the Spanish language, the Cervantes Prize.
It is Vitale’s first book of prose to be published in English and has been superbly translated by Sean Manning. It could be read as an experimental novel, an essayistic notebook or as a series of concatenated aphorisms.
But it is also a book of poetry written in prose, where the main character, the elusive Byobu, navigates a tantalising world woven through by many strange and playful stories.
More from this author
A ghost story by Mexican Ave Barrera, a Surrealist poetry collection by Peruvian Cesar Moro, and a manifesto-poem on women’s labour and capitalist havoc by Peruvian Valeria Roman Marroquin
LEO BOIX reviews a novella by Brazilian Ana Paula Maia, and poetry by Peruvian Giancarlo Huapaya, and Chilean Elvira Hernandez
LEO BOIX reviews a caustic novel of resistance and womanhood by Buenos Aires-born Lucia Lijtmaer, and an electrifying poetry collection by Chilean Vicente Huidobro
LEO BOIX salutes the revelation that British art has always had a queer pulse, long before the term became cultural currency
