When one discovers writers like schweblin o Royal Lieutenant it seems that he has approached the German narrative. But both Samanta and Tamara, the names that precede those surnames, belong to Argentine authors who bring us closer to their narratives with Buenos Aires vitola, to also capitalize on an Argentine literature with universality wickers.
What happened with Schweblin is already a major international effect. For Tenenbaum's part, his work is based on cultural contrasts that synthesize and merge in a melting pot, on the one hand, aspects of a strict education, and on the other the growing interest in discovery and the natural tendency to question the spirit. critic, of the budding writer who finds a multitude of foundations to write about.
Starting from the open grave essay about the new world that was opening up, Tenenbaum also finally arrived at the novel maintaining that desire to chronicle his world, of the exit from the chrysalis that is every closed society ...
Top 3 recommended books by Tamara Tenenbaum
The End of Love: Loving and Fucking in the XNUMXst Century
If God does not exist, everything is allowed, what would I say? Dosothievsky. And if marriage is no longer the sacrosanct institution it used to be, then three-quarters of the same thing happens with love ...
Tamara Tenenbaum learned the affective and sexual customs of the secular world as an anthropologist who discovers an unknown civilization. Based on her studies in philosophy and feminist militancy, conversations with friends and colleagues, her own experience and even her own body, in this book she reviews the challenges young people face today at the beginning. of their life as adults.
The end of love explores what happens when marriage or monogamous partnering is no longer a vital goal, as it was for our parents and grandparents. From the value of friendship to the culture of consent, through motherhood, singleness, polyamory, open couples and the operation of desire technologies such as Tinder, Tenenbaum plunges into the universe of affections to celebrate the end. of romantic love and propose that, from its ashes, a better love comes out, that makes men and women freer.
Nobody lives so close to anybody
The image of ultrareligious communities as a novel written by George Orwell it has that notion of the dystopian already inserted in our days. The point is that we are not talking about automata that assume slogans but about people capable of waking up despite everything ...
In these pages of a crude, ironic, disturbing realism, scenes of Jewish culture are sneaked in against the backdrop of the Buenos Aires neighborhood of Once. Against him stand out, a little mixed, the characters of a claustrophobic universe, perhaps autobiographical, which has the family and the community as its center.
Despite the fact that everyone seems to know each other there, the genuine contact, the open emotion, the approach without mediation are elusive and insufficient. "I guess it's something very from the time," says Tenenbaum, "the feeling of always being surrounded by people but very alone, each one in their dance. Almost all the stories are distortions of stories of people I know, anecdotes that they told me or things that happened to me.
All of our curses came true
To curse that of Cassandra, who precisely knew everything bad to come. After this idea of ​​the prophetic as a mere deduction, from the course of events, we find the awakening of an irreducible consciousness.
Narrative of the transition from childhood to maturity of a girl who grew up in an Orthodox Jewish community until, one winter morning, when she was barely 5 years old, a bomb took the life of her father and exploded all her certainties. Without a father figure, the protagonist grows up in an environment dominated by strong women, which will give her the determination necessary to question the religious mandates that surround her and the limitations imposed by her gender.
Tamara Tenenbaum tells a personal story that is also generational, traversed by a latent tension that shapes all ties. Using a dry, ironic style, with intelligent flashes of humor, the author describes the climate of her childhood and adolescence within orthodoxy and her symbolic and real break in search of less suffocating horizons. That search will bring the promise of sexual freedom and love, but also bewilderment, the inadequacy of a world that is no longer designed in advance.
