Baroni

“Artists naturally gravitate toward indeterminacy.”

Baroni: A Journey (Almost Island Books, 2017) is the fourth of Sergio Chejfec’s novels to be translated into English since 2011. In 2014, I wrote about the first three: “Cumulatively, they delve into weighty issues like existence, loss, time, geography, memory, and identity. There are no plots, simply a series of males narrating their thoughts, observations, recollections, and theories.” With Baroni, Chejfec continues in this tradition, meditating on themes that include art, chance, landscape, and the puzzling sense that he is suffering from a prolonged despondency, “sunk in the most complete indifference.”

The Baroni of the title is Rafaela Baroni (born 1935), a popular (and very real) Venezuelan self-taught sculptress. She is also a seer who has experienced miracles and had several remarkable episodes of catalepsy. Key portions of Chejfec’s book deal with two wooden sculptures that he has acquired from Baroni: El Santo Médico and Mujer Crucificada.

Sergio Chejfec’s Darkness

I’ve read novels in which places disappear once the character, or protagonist, abandons them. This, which might be called one of the laws of art, can sometimes leave one profoundly uneasy, among other things because geography is never simply a backdrop; the movement of people through it… [The Dark]

I’ve just finished reading the three works of fiction by Segio Chejfec that have been translated into English and published by Open Letter in recent years: The Planets (originally published as Los Planetas in 1999, translated in 2012), The Dark (originally published as Boca de Lobo in 2000, translated in 2013),and My Two Worlds (originally published as Mis dos mundos in 2008, translated in 2011). Cumulatively, they delve into weighty issues like existence, loss, time, geography, memory, and identity. There are no plots, simply a series of males narrating their thoughts, observations, recollections, and theories.