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Witches
De uma das mais surpreendentes vozes da nova geração de escritoras latino-americanas. Uma bruxa-curandeira de um povoado no interior, uma jovem jornalista da cidade grande. O encontro de dois mundos que se revelam perturbadoramente próximos.
Primeira mulher em uma linhagem de curandeiros homens, Feliciana é conhecida dentro e fora do México por seus feitos prodigiosos. Ricos, pobres, famosos, pessoas comuns ― adoecidos de toda sorte peregrinam até o povoado de San Felipe, escondido em meio às montanhas, na esperança de se verem livres de suas enfermidades. No entanto, quando é informada do assassinato de sua mentora Paloma, repentinamente Feliciana perde seus poderes.
O caso chama a atenção de Zoé, jornalista que vive na metrópole mexicana. Interessada em compreender o assassinato de Paloma e, ao mesmo tempo, curiosa para conhecer Feliciana, Zoé decide entrevistá-la para o jornal onde trabalha.
Se, na superfície, as realidades de Feliciana e Zoé não poderiam ser mais diferentes, o desenrolar de seus depoimentos revela um conjunto semelhante de medos, anseios, violências e afetos. Ao aproximar essas duas vozes tão singulares com sua prosa impecável, Brenda Lozano cria uma reflexão profunda acerca de tradições ancestrais, das pequenas subversões do dia a dia e, sobretudo, do poder arrebatador da linguagem.
Primeira mulher em uma linhagem de curandeiros homens, Feliciana é conhecida dentro e fora do México por seus feitos prodigiosos. Ricos, pobres, famosos, pessoas comuns ― adoecidos de toda sorte peregrinam até o povoado de San Felipe, escondido em meio às montanhas, na esperança de se verem livres de suas enfermidades. No entanto, quando é informada do assassinato de sua mentora Paloma, repentinamente Feliciana perde seus poderes.
O caso chama a atenção de Zoé, jornalista que vive na metrópole mexicana. Interessada em compreender o assassinato de Paloma e, ao mesmo tempo, curiosa para conhecer Feliciana, Zoé decide entrevistá-la para o jornal onde trabalha.
Se, na superfície, as realidades de Feliciana e Zoé não poderiam ser mais diferentes, o desenrolar de seus depoimentos revela um conjunto semelhante de medos, anseios, violências e afetos. Ao aproximar essas duas vozes tão singulares com sua prosa impecável, Brenda Lozano cria uma reflexão profunda acerca de tradições ancestrais, das pequenas subversões do dia a dia e, sobretudo, do poder arrebatador da linguagem.
240 pages, Hardcover
First published July 21, 2020
344 people are currently reading
18340 people want to read
About the author
Brenda Lozano
21 books325 followers Brenda Lozano nació en la ciudad de México en 1981. Narradora y ensayista, colabora en Letras Libres, entre otras publicaciones. Estudió Literatura Latinoamericana. Ha sido becaria del programa Jóvenes Creadores del Fondo Nacional para la Cultura y las Artes. Ha sido antologada en diversas ocasiones. Todo nada (Tusquets, 2009) es su primera novela.
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Displaying 1 - 30 of 629 reviews
January 28, 2022
Award-winning writer Brenda Lozano here juxtaposes the experiences of two Mexican women born in different centuries, brought together by a murder, Zoe and Feliciana. Feliciana’s character’s rooted in the actual life of Maria Sabina Magdalena Garcia a Oaxacan curandera (healer) born at the end of the nineteenth century, who lived through revolution and periods of enormous social upheaval yet remained true to the traditions of her ancestors. Her ritualistic use of hallucinogenic mushrooms drawn from the local hillsides brought her international fame, profiled in Time magazine and visited by academics and celebrities including Prince and, reputedly, Bob Dylan. Like Maria Sabina, Feliciana’s a curandera who’s both embraced and rejected her heritage, taking on the role of healer to perform ceremonies usually reserved for the curandero i.e. men. She tells her story to Zoe, a young journalist from Mexico City, a woman whose inability to break free of social expectations has caused her to live vicariously through the actions of her more rebellious sister Leandra, but whose encounter with Feliciana causes her to reflect on her own attitudes and values.
The women’s voices alternate throughout but setting’s as significant as people here. Feliciana lives in rural Oaxaca, a region whose relative isolation and rugged geography has contributed to the survival of pre-colonial beliefs, customs, and languages. There’s a timelessness to her sections, a sense that the contemporary world is a distraction at best. Zoe has grown up steeped in outside forms of cultural expression drawn from American media, from The Simpsons onwards. Feliciana who can neither read or write, has rejected Spanish, the ” government’s tongue,” speaking instead through the indigenous language forms of her family and community, using interpreters to communicate with outside visitors. This is highlighted in Lozanos’s rendering of Feliciana’s chapters which are marked by an emphasis on orality, the rhythms of her speech both lyrical and elliptical, in contrast to Zoe’s more direct, conventional voice.
Feliciana’s narrative’s filled with references to her cousin Paloma, whose brutal death’s the catalyst for her encounter with Zoe. Paloma was Muxe, the third gender recognised by Oaxaca’s indigenous Zapotec population. Like many other Muxe Paloma’s status was liminal, although not strictly ostracised, she was celebrated by some, reviled by others, for her refusal to conform to rigid notions of gender identity or heteronormativity. Once a curandera, Paloma declared herself a bruja, a witch who revelled in her growing notoriety. She’s paralleled in Lozano’s plot by Zoe’s sister Leandra, queer, iconoclastic and politically radical, she’s everything Zoe’s not.
Through Zoe and Feliciano, Lozano’s novel explores key aspects of Mexican culture and society: issues of belonging and gender identity, forms of patriarchal oppression and the violent legacy of colonialism. But she does so in a remarkably understated fashion, her book unfolds at an exceptionally leisurely pace, and although it opens with Paloma’s murder there’s no sense of narrative tension connected to exploring and solving the nature of this crime. If anything, this is more a feminist study in character, place and ways of living. Feliciana’s sections are suffused with mystical elements, that I sometimes found hard to relate to, but even so were more compelling and convincing than Zoe’s contributions. This lack of balance was a problem for me overall, Feliciana's words had a strength and power lacking in Zoe’s, who seemed almost extraneous for much of the time. I was fascinated though by Lozano’s depiction of Oaxaca’s traditional communities, although I wished she’d delved into Muxe culture in greater depth. However, translator Heather Cleary’s afterword was incredibly useful for filling in aspects of the social and cultural background of Lozano’s text, and sufficiently spoiler free to make it worth reading first.
Rating: 3.5
Thanks to Netgalley and publisher MacLehose Press, part of Quercus
The women’s voices alternate throughout but setting’s as significant as people here. Feliciana lives in rural Oaxaca, a region whose relative isolation and rugged geography has contributed to the survival of pre-colonial beliefs, customs, and languages. There’s a timelessness to her sections, a sense that the contemporary world is a distraction at best. Zoe has grown up steeped in outside forms of cultural expression drawn from American media, from The Simpsons onwards. Feliciana who can neither read or write, has rejected Spanish, the ” government’s tongue,” speaking instead through the indigenous language forms of her family and community, using interpreters to communicate with outside visitors. This is highlighted in Lozanos’s rendering of Feliciana’s chapters which are marked by an emphasis on orality, the rhythms of her speech both lyrical and elliptical, in contrast to Zoe’s more direct, conventional voice.
Feliciana’s narrative’s filled with references to her cousin Paloma, whose brutal death’s the catalyst for her encounter with Zoe. Paloma was Muxe, the third gender recognised by Oaxaca’s indigenous Zapotec population. Like many other Muxe Paloma’s status was liminal, although not strictly ostracised, she was celebrated by some, reviled by others, for her refusal to conform to rigid notions of gender identity or heteronormativity. Once a curandera, Paloma declared herself a bruja, a witch who revelled in her growing notoriety. She’s paralleled in Lozano’s plot by Zoe’s sister Leandra, queer, iconoclastic and politically radical, she’s everything Zoe’s not.
Through Zoe and Feliciano, Lozano’s novel explores key aspects of Mexican culture and society: issues of belonging and gender identity, forms of patriarchal oppression and the violent legacy of colonialism. But she does so in a remarkably understated fashion, her book unfolds at an exceptionally leisurely pace, and although it opens with Paloma’s murder there’s no sense of narrative tension connected to exploring and solving the nature of this crime. If anything, this is more a feminist study in character, place and ways of living. Feliciana’s sections are suffused with mystical elements, that I sometimes found hard to relate to, but even so were more compelling and convincing than Zoe’s contributions. This lack of balance was a problem for me overall, Feliciana's words had a strength and power lacking in Zoe’s, who seemed almost extraneous for much of the time. I was fascinated though by Lozano’s depiction of Oaxaca’s traditional communities, although I wished she’d delved into Muxe culture in greater depth. However, translator Heather Cleary’s afterword was incredibly useful for filling in aspects of the social and cultural background of Lozano’s text, and sufficiently spoiler free to make it worth reading first.
Rating: 3.5
Thanks to Netgalley and publisher MacLehose Press, part of Quercus
August 13, 2022
"All women are born with a bit of bruja in them for protection."
Chalk this one up to a case of cover-love. (Well, okay . . . the title pretty much sucked me in as well.)
I'm easily had.
And, speaking of covers, this one clearly says A Novel, but the book reads like a disjointed and rambling memoir with the author recounting various incidents as they happened to occur to her. If there was a plot, it floated by me when I wasn't looking
On the plus side, there is some fine writing here. I particularly liked this line:
In San Juan de los Lagos there was one main street and it was scrawny with its ribs sticking out like a dog everyone knew . . .
Thanks to NetGalley and the publisher for the chance to read this one.
Chalk this one up to a case of cover-love. (Well, okay . . . the title pretty much sucked me in as well.)
I'm easily had.
And, speaking of covers, this one clearly says A Novel, but the book reads like a disjointed and rambling memoir with the author recounting various incidents as they happened to occur to her. If there was a plot, it floated by me when I wasn't looking
On the plus side, there is some fine writing here. I particularly liked this line:
In San Juan de los Lagos there was one main street and it was scrawny with its ribs sticking out like a dog everyone knew . . .
Thanks to NetGalley and the publisher for the chance to read this one.
October 1, 2022
Rich, mystical, and poetic, this novel blends together the complexities of memory, grief, and belief. Through a dual narrative of shifting reflections, we see the many attempts to stifle the creativity, power, and voices of women, and the unyielding shield that language provides. There is truly immeasurable strength to words, to stories, and the means by which we can access our true voices. Unique, genuine, and expertly crafted.
November 9, 2022
This wasn't what I thought it would be - the story of two women who successfully defied gender norms in a traditional patriarchal community until one is murdered; a curandera coming into her own and the bruja who had mentored her being avenged.
And while it wasn't NOT that, that's not the actual story. I can't say I'm sure what the actual story was. It's more fictitious Feliciana's memoir as told to a journalist, loosely based on a real-life curandera, than anything.
So why was Zoe, the journalist, the alternating point of view?
Why not Paloma, the woman whose murder the reader finds out about on the first page of the story?
Why not Feliciana's children or her sister?
Why not jealous, malicious One-Eyed Tadeo?
For me, I think one of the reasons I struggled with this was because of the character's voices.
I understand Feliciana lives in a small town and she gathers mushrooms on the mountainside and her community has its traditions and it's a fiscally delicate but perfect little pastoral life with exception to One Eyed Tadeo. By the time Zoe interviews her, she's old(ish?). That's why she speaks in a circular, rambling, meandering sort of way; she's storytelling her life to the reporter. US authors like to do the same thing with characters living in Appalachia - give them a speech pattern readers can recognize as Appalachian even if they've never been anywhere near the area.
But why did Zoe end up sounding so similar to Feliciana? Zoe's from the city, has a college education, is all thoroughly modern, the young journalist looking to make a name for herself. Why were her speech patterns so similar in nature to Feliciana's? To show that they were linked from the beginning, somehow? Only, no, I don't think that's why. I think the two characters were just written in the same fashion and that left me, again, wondering why Zoe needed a voice in this story? I couldn't see how Zoe's story enhanced or supported Feliciana's; hers wasn't even a compare/contrast exercise since they ended up sounding so similar.
Another reason I struggled may have been translation. There's a translator's note at the beginning of the book, which isn't common in novels and when they do show up, they tend to be more academic, explaining that some words have multiple meanings that are similar and it's hard to differentiate those meanings when translating to other languages, especially English which isn't always that nuanced. This translator's note did contain that type of reminder and then went beyond the typical two or three paragraphs onto pages about the translator's work and that made me feel a little wary. Why was it necessary for the translator to explain their process in that kind of detail before the story even starts?
I think I would have liked this had this just been the story of Feliciana, without the journalist, and possibly with a little more focus on what a community loses when it allows violence against its women.
And while it wasn't NOT that, that's not the actual story. I can't say I'm sure what the actual story was. It's more fictitious Feliciana's memoir as told to a journalist, loosely based on a real-life curandera, than anything.
So why was Zoe, the journalist, the alternating point of view?
Why not Paloma, the woman whose murder the reader finds out about on the first page of the story?
Why not Feliciana's children or her sister?
Why not jealous, malicious One-Eyed Tadeo?
For me, I think one of the reasons I struggled with this was because of the character's voices.
I understand Feliciana lives in a small town and she gathers mushrooms on the mountainside and her community has its traditions and it's a fiscally delicate but perfect little pastoral life with exception to One Eyed Tadeo. By the time Zoe interviews her, she's old(ish?). That's why she speaks in a circular, rambling, meandering sort of way; she's storytelling her life to the reporter. US authors like to do the same thing with characters living in Appalachia - give them a speech pattern readers can recognize as Appalachian even if they've never been anywhere near the area.
But why did Zoe end up sounding so similar to Feliciana? Zoe's from the city, has a college education, is all thoroughly modern, the young journalist looking to make a name for herself. Why were her speech patterns so similar in nature to Feliciana's? To show that they were linked from the beginning, somehow? Only, no, I don't think that's why. I think the two characters were just written in the same fashion and that left me, again, wondering why Zoe needed a voice in this story? I couldn't see how Zoe's story enhanced or supported Feliciana's; hers wasn't even a compare/contrast exercise since they ended up sounding so similar.
Another reason I struggled may have been translation. There's a translator's note at the beginning of the book, which isn't common in novels and when they do show up, they tend to be more academic, explaining that some words have multiple meanings that are similar and it's hard to differentiate those meanings when translating to other languages, especially English which isn't always that nuanced. This translator's note did contain that type of reminder and then went beyond the typical two or three paragraphs onto pages about the translator's work and that made me feel a little wary. Why was it necessary for the translator to explain their process in that kind of detail before the story even starts?
I think I would have liked this had this just been the story of Feliciana, without the journalist, and possibly with a little more focus on what a community loses when it allows violence against its women.
January 6, 2023
Baştan söyleyeyim: Bir İdeal Defter değil. Brenda Lozano hakikaten harika bir yazar mı yoksa İdeal Defter bazen oluveren o tek atışlık müthiş işlerden biri miydi, onu anlamak istiyordum ve Cadılar'ı okuduktan sonra cevabım şöyle: Brenda Lozano iyi bir yazar hakikaten, bence başka İdeal Defterler yazma potansiyeli de çok büyük, bunu sezdiriyor ama Cadılar onlardan biri değil.
Bilin de benim gibi kafanız karışmasın, kitapta iki anlatıcı var ve her bölümde sırayla birini okuyoruz. Bu iki kadın anlatıcımızdan biri Feliciana; bir köyde geleneksel bir hayat süren bir şifacı, diğeri ise Zoe, otuzlarında şehirli bir gazeteci. (Feliciana karakteri, Maria Sabina Magdalena Garcia adlı gerçek bir kadından esinlenilerek yaratılmış. Kendisi zamanında gerçekten çok meşhur olmuş ve şarkıcı Prince'ten Bob Dylan'a bir sürü ünlü isim iyileştici ritüellerinden faydalanmak için köyüne gitmiş.) Bu iki kadının yolu bir kadın cinayeti nedeniyle kesişiyor ve birbirlerine öykülerini anlatıyorlar.
Kitap başından itibaren feminist tavrını ortaya koyuyor. Çok farklı sosyoekonomik koşullarda yetişmiş iki kadının farklı biçimlerde ataerki, istismar ve şiddet ile hayatları boyunca nasıl çatışmak zorunda kaldığını, yerel Zapotec kabilesinde kabul gören üçüncü cinsiyettekilerin (Muxe deniyormuş kendilerine) yaşadıkları korkunç zorlukları, heteronormativitenin toplumda açtığı yaraları, kız kardeşliğin kuvvetini anlatıyor.
Ancak... Olağanüstü dağınık bir kitap maalesef. Feliciana'nın anlatıcı olduğu bölümler, yer yer çok tekrara düşse de, biraz sözlü destan gibi yazılmıştı ve daha lezzetliydi ancak Zoe'nin hikayesindeki dağınıklık beni çok zorladı. Bir çerçeveye oturmayan ve hikayeyi beslemediğini düşündüğüm çokça detaya boğuyor bizi kendisi.
Yer yer güçlü ama iyi toparlanamamış bir kitap bence. En sevdiğim yazarların bile zayıf olduğunu düşündüğüm kitapları olduğu için, Lozano ile ilgili nihai kararımı vermeyi erteliyorum. Birkaç kitabını daha okumak lazım, yazsın da okuyalım. :)
Bir alıntıyla bitireyim: "Ânın ömrü bir sözcük kadardır derler, zira ağızdan çıkan söz artık geçmiştedir. Ben ise ânın tıpkı bir insan, tıpkı Dil kadar geniş olduğunu söylüyorum onlara."
Bilin de benim gibi kafanız karışmasın, kitapta iki anlatıcı var ve her bölümde sırayla birini okuyoruz. Bu iki kadın anlatıcımızdan biri Feliciana; bir köyde geleneksel bir hayat süren bir şifacı, diğeri ise Zoe, otuzlarında şehirli bir gazeteci. (Feliciana karakteri, Maria Sabina Magdalena Garcia adlı gerçek bir kadından esinlenilerek yaratılmış. Kendisi zamanında gerçekten çok meşhur olmuş ve şarkıcı Prince'ten Bob Dylan'a bir sürü ünlü isim iyileştici ritüellerinden faydalanmak için köyüne gitmiş.) Bu iki kadının yolu bir kadın cinayeti nedeniyle kesişiyor ve birbirlerine öykülerini anlatıyorlar.
Kitap başından itibaren feminist tavrını ortaya koyuyor. Çok farklı sosyoekonomik koşullarda yetişmiş iki kadının farklı biçimlerde ataerki, istismar ve şiddet ile hayatları boyunca nasıl çatışmak zorunda kaldığını, yerel Zapotec kabilesinde kabul gören üçüncü cinsiyettekilerin (Muxe deniyormuş kendilerine) yaşadıkları korkunç zorlukları, heteronormativitenin toplumda açtığı yaraları, kız kardeşliğin kuvvetini anlatıyor.
Ancak... Olağanüstü dağınık bir kitap maalesef. Feliciana'nın anlatıcı olduğu bölümler, yer yer çok tekrara düşse de, biraz sözlü destan gibi yazılmıştı ve daha lezzetliydi ancak Zoe'nin hikayesindeki dağınıklık beni çok zorladı. Bir çerçeveye oturmayan ve hikayeyi beslemediğini düşündüğüm çokça detaya boğuyor bizi kendisi.
Yer yer güçlü ama iyi toparlanamamış bir kitap bence. En sevdiğim yazarların bile zayıf olduğunu düşündüğüm kitapları olduğu için, Lozano ile ilgili nihai kararımı vermeyi erteliyorum. Birkaç kitabını daha okumak lazım, yazsın da okuyalım. :)
Bir alıntıyla bitireyim: "Ânın ömrü bir sözcük kadardır derler, zira ağızdan çıkan söz artık geçmiştedir. Ben ise ânın tıpkı bir insan, tıpkı Dil kadar geniş olduğunu söylüyorum onlara."
December 26, 2023
Me parece horrible no poder darle 4 estrellas o incluso las 5. Después de pensarlo y digerirlo sigo pensando que de las dos historias que corren a la par; la de Zoé y la de la Feliciana una se merece un 10 y todas las estrellas y la otra, no tenía nada qu hacer ahí.
Nunca logré encontrar la relación de Zoé con su hermana Leandra con toda la magia que pasaba en l cerro, con Feliciana, Paloma, Nicanor,.
Me parece bellísima esa parte, una vez que le agarras el ritmo ya no te incomoda la redacción, al principio me costó trabajo por la repetición de ideas pero después empiezas a pensar como Feliciana.
Si alguien logró encontrar esos hilos perdidos entre las historias, les agradeceré que me los expiquen, sigo pensando que no tenía porque existir la historia de Leandra y Zoé.
Nunca logré encontrar la relación de Zoé con su hermana Leandra con toda la magia que pasaba en l cerro, con Feliciana, Paloma, Nicanor,.
Me parece bellísima esa parte, una vez que le agarras el ritmo ya no te incomoda la redacción, al principio me costó trabajo por la repetición de ideas pero después empiezas a pensar como Feliciana.
Si alguien logró encontrar esos hilos perdidos entre las historias, les agradeceré que me los expiquen, sigo pensando que no tenía porque existir la historia de Leandra y Zoé.
January 11, 2023
"There are people who fear us because they don't understand what we do. I am not a witch or a fortune-teller or a healer like the others, God knows that, the herbs and the mushrooms give me great powers for reflection because that is the greatest power we have on this earth... people are afraid of us because they don't know how we do it, but this is something that comes to us from our ancestors, it is as old as the land itself." [pg 141-142]
Witches by Brenda Lozano, translated from Spanish by Heather Cleary, 2020/2022.
Fascinating dual narrative of Feliciana, an Indigenous healer in Oaxaca, and Zoe, a journalist from Mexico City. The story of these two women is intertwined with that of Paloma, a murdered muxe healer, who was a mentor and friend to Feliciana; it is Paloma's death/murder that brings Zoe to meet Feliciana in the southern mountains.
Each woman's story is richly detailed and distinctive in style. The format and text of the book do not immediately tell you that there are different narrators, but the alternating chapters and different writing styles and tones are a good indicator of who is "speaking" in that moment.
Feliciana's lyrical narrative describes her early childhood and awareness of her gift of "the Language", first identified by Paloma, a muxe (third-gender, trans) healer that treats and heals Feliciana's mother. Feliciana's narrative also focuses on the close relationship she has with her sister Francisca. Zoe's narrative mirrors Feliciana's with early childhood descriptions, and a close relationship with her sister Leandra. We learn of her interest in "the Language" too, but more in the written word, leading her to a career in journalism.
Feliciana's narrative is loosely based on the life and biography of Maria Sabina, the well-known and storied healer, who was sought out by North American, European, and Asian seekers and scientists in the 1950/60s for her knowledge and ceremonial use of psilocybin mushrooms native to her region. There was a great scene in the book with Japanese scientists who came to meet Feliciana for ceremony, and the very different approaches they both have regarding the medicine and properties of the mushroom. Unfortunately this fame caused the real-life Maria Sabina ostracization and pain in her community, and we see similar echoes in Feliciana and Paloma's stories here.
While I really enjoyed this book and the overall story, I wish Lozano would have included a first-person narrative from Paloma, the third (silent) pillar of this story. Her muxe identity, her role in teaching and mentoring Feliciana, and her life philosophy was enchanting, and each scene that she was in came even more alive, and while we have several described conversations with her, we never actually get her story.
4.5/5*
Witches by Brenda Lozano, translated from Spanish by Heather Cleary, 2020/2022.
Fascinating dual narrative of Feliciana, an Indigenous healer in Oaxaca, and Zoe, a journalist from Mexico City. The story of these two women is intertwined with that of Paloma, a murdered muxe healer, who was a mentor and friend to Feliciana; it is Paloma's death/murder that brings Zoe to meet Feliciana in the southern mountains.
Each woman's story is richly detailed and distinctive in style. The format and text of the book do not immediately tell you that there are different narrators, but the alternating chapters and different writing styles and tones are a good indicator of who is "speaking" in that moment.
Feliciana's lyrical narrative describes her early childhood and awareness of her gift of "the Language", first identified by Paloma, a muxe (third-gender, trans) healer that treats and heals Feliciana's mother. Feliciana's narrative also focuses on the close relationship she has with her sister Francisca. Zoe's narrative mirrors Feliciana's with early childhood descriptions, and a close relationship with her sister Leandra. We learn of her interest in "the Language" too, but more in the written word, leading her to a career in journalism.
Feliciana's narrative is loosely based on the life and biography of Maria Sabina, the well-known and storied healer, who was sought out by North American, European, and Asian seekers and scientists in the 1950/60s for her knowledge and ceremonial use of psilocybin mushrooms native to her region. There was a great scene in the book with Japanese scientists who came to meet Feliciana for ceremony, and the very different approaches they both have regarding the medicine and properties of the mushroom. Unfortunately this fame caused the real-life Maria Sabina ostracization and pain in her community, and we see similar echoes in Feliciana and Paloma's stories here.
While I really enjoyed this book and the overall story, I wish Lozano would have included a first-person narrative from Paloma, the third (silent) pillar of this story. Her muxe identity, her role in teaching and mentoring Feliciana, and her life philosophy was enchanting, and each scene that she was in came even more alive, and while we have several described conversations with her, we never actually get her story.
4.5/5*
September 18, 2024
İlk kez okuduğum bir yazar. Açıkçası hikayeyi de, metni de, dilini de değişik buldum, çok beğenmedim.
Zaman zaman -özellikle karakterlerden birisinin anlatımı- yaşı küçük birisinin ifade tarzı ile yazılmış, nedenini anlayamadım. Adeta; ‘yeni öğrendiği kelimelerle oyun oynayan bir çocuk gibi oyun oynuyor kelimelerle’ (sf; 198).
Kitabın ilk birkaç bölümünde, tek kişinin anlattığını düşünüp, çelişkiye düşünce, yeniden başladım. İki aynı karakter aynı sesle konuşuyor. Ayırt etmek, anlayabilmek zamanımı aldı.
Tekrarlar bazen metinde ahenk yaratırlar. Ancak burada tekrarlar, anlam yaratmıyor, metinde şişkinlik yaratmış ve ahengi bozuyor. Klasik anlamda kurgudan bahsetmek söz konusu değil. Metin; dağınık, gereksiz bulduğum ve nedenini anlayamadığım detaylarla dolu.
Yaşama amacımızı doğru belirlemek, umudumuzu yitirmemek, ilişkilerimizin değerini bilmek, iyilik sahibi olmak, kısaca hayata bakışımızla ilgili güzel ve anlamlı, etkileyici cümleler de var. Ancak metnin amacını tam olarak anlayabildiğimi düşünmüyorum.
Orijinal dilinde okuyabilseydim daha mı farklı etki yaratırdı bilmiyorum.
Zaman zaman -özellikle karakterlerden birisinin anlatımı- yaşı küçük birisinin ifade tarzı ile yazılmış, nedenini anlayamadım. Adeta; ‘yeni öğrendiği kelimelerle oyun oynayan bir çocuk gibi oyun oynuyor kelimelerle’ (sf; 198).
Kitabın ilk birkaç bölümünde, tek kişinin anlattığını düşünüp, çelişkiye düşünce, yeniden başladım. İki aynı karakter aynı sesle konuşuyor. Ayırt etmek, anlayabilmek zamanımı aldı.
Tekrarlar bazen metinde ahenk yaratırlar. Ancak burada tekrarlar, anlam yaratmıyor, metinde şişkinlik yaratmış ve ahengi bozuyor. Klasik anlamda kurgudan bahsetmek söz konusu değil. Metin; dağınık, gereksiz bulduğum ve nedenini anlayamadığım detaylarla dolu.
Yaşama amacımızı doğru belirlemek, umudumuzu yitirmemek, ilişkilerimizin değerini bilmek, iyilik sahibi olmak, kısaca hayata bakışımızla ilgili güzel ve anlamlı, etkileyici cümleler de var. Ancak metnin amacını tam olarak anlayabildiğimi düşünmüyorum.
Orijinal dilinde okuyabilseydim daha mı farklı etki yaratırdı bilmiyorum.
December 27, 2022
Lozano's novel is based on the destiny of real-life Mazatec (an indigenous people of Mexico) shaman María Sabina who performed healing ceremonies using magic mushrooms and was consulted by the likes of Keith Richards, John Lennon, and Bob Dylan. Her fictional version Feliciana has to mourn the death of her teacher Paloma, and her storyline is interspersed by a second narrative arc that depicts the life of journalist Zoe who is assigned to report on Paloma's murder.
Lozano tells the life stories of both women and the gender-based violence and prejudice they encounter, but the most intriguing character clearly is Paloma, a muxe (third gender) healer who turns away from her occupation and trains Feliciana instead. Throughout, the text plays with ideas of stigmatization and intuition, the power of women and how non-male individuals are violated. The language has a very particular sound which is apparently reminiscent of traditional Mexican storytelling (unfortunately, I'm unfamiliar with Mexican narrative traditions).
What bothered me was the extensive narration about Zoe, the journalist who shares a similar familial constellation with Feliciana, which did not captivate me at all: I wanted to hear more about Paloma and her life as muxe, about her healing traditions and destiny. Feliciana's part was fine, but there was too much detail regarding minor characters that distracted me from her interior worlds. Still, the topic was certainly highly interesting and I'd love to read more about it.
Lozano tells the life stories of both women and the gender-based violence and prejudice they encounter, but the most intriguing character clearly is Paloma, a muxe (third gender) healer who turns away from her occupation and trains Feliciana instead. Throughout, the text plays with ideas of stigmatization and intuition, the power of women and how non-male individuals are violated. The language has a very particular sound which is apparently reminiscent of traditional Mexican storytelling (unfortunately, I'm unfamiliar with Mexican narrative traditions).
What bothered me was the extensive narration about Zoe, the journalist who shares a similar familial constellation with Feliciana, which did not captivate me at all: I wanted to hear more about Paloma and her life as muxe, about her healing traditions and destiny. Feliciana's part was fine, but there was too much detail regarding minor characters that distracted me from her interior worlds. Still, the topic was certainly highly interesting and I'd love to read more about it.
April 21, 2022
Two Mexican women recount their life stories in alternating chapters: Zoe is a journalist from the Mexico City, Feliciana a 'curandera' (healer) from a remote village. Although they grow up in very different circumstances, as women they face many similar challenges in patriarchal societies: gender violence, not being expected to study or to work in a certain field, (illegal) abortion.
I thought the juxtaposition between 'Western' and 'indigenous' worked quite well. Both storylines would have been too slight as selfstanding stories, but together they reinforce each other.
The ‘curandera’ narrative raises interesting questions. Feliciana cures people from illness by changing destructive narratives. She does so through long ceremonies and the help of entheogenic mushrooms and of ‘the Language’. The idea that the stories we hold to be ‘our stories’ can have physical impacts is, I believe, very true and psychological treatment can help. What I did not like though is that Feliciana portrays her type of healing as somehow superior to modern medicine – there is no such competition, and yet for pages and pages she keeps going on about the things she can do despite not having an education, how famous she has become despite being humble, all the foreigners that come to visit her. It became a bit much for me.
Finally, there is also a Muxe (trans) character, Paloma, who gets killed in the first sentence. Although Paloma is an important character as mentor to Feliciana, I am not sure that using her murder as a plot device (it brings Zoe and Feliciana together) had much added value and does not add tension because this is not a murder story.
But the writing is good (a bit reminiscent of Fernanda Melchor) and overall a thought-provoking novel.
Many thanks to Quercus Books for the ARC via Netgalley
I thought the juxtaposition between 'Western' and 'indigenous' worked quite well. Both storylines would have been too slight as selfstanding stories, but together they reinforce each other.
The ‘curandera’ narrative raises interesting questions. Feliciana cures people from illness by changing destructive narratives. She does so through long ceremonies and the help of entheogenic mushrooms and of ‘the Language’. The idea that the stories we hold to be ‘our stories’ can have physical impacts is, I believe, very true and psychological treatment can help. What I did not like though is that Feliciana portrays her type of healing as somehow superior to modern medicine – there is no such competition, and yet for pages and pages she keeps going on about the things she can do despite not having an education, how famous she has become despite being humble, all the foreigners that come to visit her. It became a bit much for me.
Finally, there is also a Muxe (trans) character, Paloma, who gets killed in the first sentence. Although Paloma is an important character as mentor to Feliciana, I am not sure that using her murder as a plot device (it brings Zoe and Feliciana together) had much added value and does not add tension because this is not a murder story.
But the writing is good (a bit reminiscent of Fernanda Melchor) and overall a thought-provoking novel.
Many thanks to Quercus Books for the ARC via Netgalley
September 16, 2021
Ho deciso di leggere questo libro in spagnolo immergendomi ancora di più nella cultura messicana. Ciò che emerge è una storia in cui il dualismo sembra essere preponderante. Una dicotomia, a cominciare dal racconto a due voci, che si sviluppa tra il mondo rurale al quale appartiene Feliciana, famosa cutanea e dall'altro il mondo cittadino di Zoe, una giornalista che giunge nel villaggio per scrivere della morte di Paloma, una muxe, che pur essendo nata uomo, si e sempre sentita donna. "Streghe" è la storia di due donne: Feliciana e Zoe, della loro vita, per certi versi simili, ma anche di Paloma stessa e Leandra, la sorella della giornalista, molto temeraria e considerata la pecora nera della famiglia. Su di loro, si staglia il Messico e il famoso lenguaje (linguaggio) di cui la stessa Feliciana parla spesso e che è alla base del suo stesso vivere. Un lenguaje che permette alle due donne di capirsi e venirsi incontro costruendo un dialogo di forte intimità e verità.
September 23, 2022
Based on the blurb on the back of the book, I was certain this was “my kind of story.” Sadly, it was not. I was confused while reading, trying to figure out which of the two main characters was speaking, in the alternating chapters they appeared, which forced me to stop at the beginning of each new chapter. It became too tiresome an endeavor. I read a fair amount of translated work, so I wonder if this story is better, that is to say, less confusing, in the original Spanish language?
August 27, 2022
Brenda Lozano's Witches tells the story of two women: one a traditional healer, the other a reporter. The chapters are all written in first person and alternate between the two women. I found this confusing at first because the similarities in the two women's lives meant that I really had to pay attention to identify the narrator.
The voices of the two women were similar in rhythm, both reading like spoken word with casual language and repetition throughout. The reader really has to build the narrative herself out of these two women's stories. While each of them recounts specific events, both are looking inward in a way that obscures those events.
I left this book feeling "half fed." The meal it comprised had lovely flavors, but wasn't quite filling.
I received a free electronic review copy of this title from the publisher via EdelweissPlus; the opinions are my own.
The voices of the two women were similar in rhythm, both reading like spoken word with casual language and repetition throughout. The reader really has to build the narrative herself out of these two women's stories. While each of them recounts specific events, both are looking inward in a way that obscures those events.
I left this book feeling "half fed." The meal it comprised had lovely flavors, but wasn't quite filling.
I received a free electronic review copy of this title from the publisher via EdelweissPlus; the opinions are my own.
October 13, 2022
Hard to describe, this book was just an amazingly immersive experience rich in cultural details and history. Part mystery, part history, part fantasy but ALL heart and a wonderful Spooky Season read by a new to me author! Great on audio narrated by Kyla Garcia. Translated from the original Spanish, I really appreciated the translator's note at the beginning of the book explaining why she made certain choices to leave original phrases/words untranslated. Highly recommended if you want to try something new and different!
Favorite quote:
"Tell your story and tell mine. Because they are not two stories but one...We are all children of the language. We all come from the language and when we die we return to it."
Favorite quote:
"Tell your story and tell mine. Because they are not two stories but one...We are all children of the language. We all come from the language and when we die we return to it."
February 22, 2022
Streghe è un libro molto particolare, le tematiche che affronta sono interessanti ma lo stile è un no. Non sono entrata in sintonia con lo stile della scrittrice e penso che dalle citazioni scelte, si riesce a capire il motivo. Streghe ci fa immergere in mondi molto lontani da noi: dal Messico rurale, al Messico urbano e frenetico, raccontandoci tradizioni, di guarigione e di violenza. Ma soprattutto sottolineando l’identità femminile e di come le donne si conoscono per riconoscersi, guarire le ferite e trovare la propria strada.
March 12, 2020
Es que escribe increíble ella, pero increíble, aunque la historia no me emociona, la escritura si, quizá me parece un poco repetitiva y sin climax alguno (¿todos los libros deberán tener un climax?) pero las letras me enamoran, sus formas, su estilo, me encanta.
No sé si el libro me gusta, me fascina o todo lo contrario.
No sé si el libro me gusta, me fascina o todo lo contrario.
November 9, 2025
This book tells its story through out of order events which at times were repetitive and messy.
The story explores darker themes of coming of age, gender, and loss, with an undercurrent that blurs the line between witchcraft and women intuition.
Overall, I didn’t love this one as much as I hoped—it was just okay for me. 2.5 ⭐️
The story explores darker themes of coming of age, gender, and loss, with an undercurrent that blurs the line between witchcraft and women intuition.
Overall, I didn’t love this one as much as I hoped—it was just okay for me. 2.5 ⭐️
March 13, 2023
"Paloma onu sevmeyen birkaç adamı sevdi, onu seven birkaç adamı da sevdi ve cenazesinde bir sürü adam mum gibi dizildi."
Read
February 10, 2024WITCHES by Brenda Lozano
Other Books I Enjoyed by This Author: First time.
Affiliate Link: Support local bookstores: https://bookshop.org/a/7576/978164622...
Release Date: August 16th, 2022
General Genre: Mystery/Detective, Women Sleuths, Occult & Supernatural
Sub-Genre/Themes: Feminist, journalism, brujas, curanderas, small village, Muxe (genderqueer, non-binary, transgender), patriarchal society, trans hate, toxic masculinity, sexual abuse, child abuse, domestic abuse, rape, violence against women, queers
Writing Style: translated, dual POVs, one POV is a repetitive stream of consciousness-repeated words and phrases over and over again. A rustic, broken form of storytelling in the context of an interview. Zoe is interviewing Feliciana about the murder of Paloma. The other POV from Zoe, the journalist is more refined and easy to follow but doesn't connect well to the other POV. So this story is very disconnected, almost the transcript of a documentary- interviews about a subject with no narrator to connect the testimonials.
What You Need to Know: Do not expect a fluid story that starts at the beginning, Point A, and winds up at the end, Point B. Expect two disconnected POVs, stories from two different women from totally different walks of life and experiences told side by side. One of the women told her own story and also interviewed the other woman but without any connective tissue. It would have been helpful if there were names at the top of each chapter "Zoe" or "Feliciana" to alert the reader which POV they're in, but eventually, it becomes clear based on the narrating style and the names. Zoe talks about her sister Leandra a lot, and Feliciana talks about Paloma and the Language and being healers.
My Reading Experience: I'm glad I read the note from the translator first. She writes, "Witches is an exploration of the many ways that women and gender-nonconforming individuals are marginalized in our heteronormative patriarchy. It is also a celebration of the bonds they forge..."
And that's what this reading experience was about, for me, but it was tough. I'm not gonna lie.
Very tough.
First, the structure of the storytelling is a challenge.
And secondly, the subject matter is pretty devastating. These women in the village where Feliciana lives are having sex and getting married/pregnant at a very early age. They are sexually assaulted, raped, and beaten. The children too. Especially non-conforming children.
Anyone outside the traditional roles of men and women that are defined by the patriarchy.
I enjoyed the details of the Language, the Book, and the Children (mushrooms used to discern/heal)
All of that was fascinating and I'm glad I endured the difficult parts to take in the sections of cultural beauty.
Final Recommendation: Not sure I can recommend this one. It's not an easy read or very enjoyable one but it was very educational, eye-opening, and informative in terms of soaking in the cultural storytelling and making a lasting impression through that connection.
Comps: Hurricane Season by Fernanda Melchor (similar themes, on my TBR), Ghost Wall by Sarah Moss, Nineteen Claws and a Black Bird by Augustina Bazterrica, The Dangers of Smoking in Bed by Mariana Enriquez
Other Books I Enjoyed by This Author: First time.
Affiliate Link: Support local bookstores: https://bookshop.org/a/7576/978164622...
Release Date: August 16th, 2022
General Genre: Mystery/Detective, Women Sleuths, Occult & Supernatural
Sub-Genre/Themes: Feminist, journalism, brujas, curanderas, small village, Muxe (genderqueer, non-binary, transgender), patriarchal society, trans hate, toxic masculinity, sexual abuse, child abuse, domestic abuse, rape, violence against women, queers
Writing Style: translated, dual POVs, one POV is a repetitive stream of consciousness-repeated words and phrases over and over again. A rustic, broken form of storytelling in the context of an interview. Zoe is interviewing Feliciana about the murder of Paloma. The other POV from Zoe, the journalist is more refined and easy to follow but doesn't connect well to the other POV. So this story is very disconnected, almost the transcript of a documentary- interviews about a subject with no narrator to connect the testimonials.
What You Need to Know: Do not expect a fluid story that starts at the beginning, Point A, and winds up at the end, Point B. Expect two disconnected POVs, stories from two different women from totally different walks of life and experiences told side by side. One of the women told her own story and also interviewed the other woman but without any connective tissue. It would have been helpful if there were names at the top of each chapter "Zoe" or "Feliciana" to alert the reader which POV they're in, but eventually, it becomes clear based on the narrating style and the names. Zoe talks about her sister Leandra a lot, and Feliciana talks about Paloma and the Language and being healers.
My Reading Experience: I'm glad I read the note from the translator first. She writes, "Witches is an exploration of the many ways that women and gender-nonconforming individuals are marginalized in our heteronormative patriarchy. It is also a celebration of the bonds they forge..."
And that's what this reading experience was about, for me, but it was tough. I'm not gonna lie.
Very tough.
First, the structure of the storytelling is a challenge.
And secondly, the subject matter is pretty devastating. These women in the village where Feliciana lives are having sex and getting married/pregnant at a very early age. They are sexually assaulted, raped, and beaten. The children too. Especially non-conforming children.
Anyone outside the traditional roles of men and women that are defined by the patriarchy.
I enjoyed the details of the Language, the Book, and the Children (mushrooms used to discern/heal)
All of that was fascinating and I'm glad I endured the difficult parts to take in the sections of cultural beauty.
Final Recommendation: Not sure I can recommend this one. It's not an easy read or very enjoyable one but it was very educational, eye-opening, and informative in terms of soaking in the cultural storytelling and making a lasting impression through that connection.
Comps: Hurricane Season by Fernanda Melchor (similar themes, on my TBR), Ghost Wall by Sarah Moss, Nineteen Claws and a Black Bird by Augustina Bazterrica, The Dangers of Smoking in Bed by Mariana Enriquez
May 12, 2021
En los últimos meses me he preocupado por leer a muchas autoras hispanoamericanas y esto me ha permitido cuestionar y ampliar mi canon e incluir en mi imaginario literario una narración de la cotidianeidad desde lo femenino.
En el caso concreto de “Brujas”, Lozano nos presenta una descripción de la femineidad desde dos frentes claramente diferenciados: lo occidental – urbano; y, lo tradicional – mexicano. A través de dos protagonistas que pertenecen, cada una de ellas, a uno de estos contextos, la autora explora lo que significa ser mujer en un mundo dominado por lo masculino. Para ello, lozano recurre a lo ancestral – hereditario, a la maternidad y a la paternidad, a la sexualidad (vista desde el despertar, el goce, la violación, etc.) y muchos otros factores que forman parte de la experiencia de ser mujer. Incluso, la autora aborda, aunque de manera muy breve, a los muxes (personas que nacieron como hombres, pero que se identifican como mujeres y asumen roles femeninos dentro de su comunidad).
Es una mirada amplía e interesante, pero que, al tratar tantos temas desde dos perspectivas opuestas y similares a la vez, no llega a profundizar en ninguna de ellas. Además, a nivel narrativo, los capítulos dedicados a Zoé y el mundo occidental – urbano le resta ritmo y dinamismo a la parte centrada en Feliciana y el mundo tradicional – mexicano.
Otro punto que me hizo ruido fue la simbología del lenguaje a la que recurre la autora para narrar el relato de Feliciana. Lo que se plantea en el libro es que este personaje habla en su propio idioma (una lengua ancestral americana perteneciente al actual territorio mexicano). La idea me pareció poderosísima y con un gran potencial de explotación; sin embargo, no sentí una construcción del universo distinta a la planteada por el castellano. Los idiomas construyen el mundo y, a su vez, son un constructo de este, por ende, cada lengua tiene una cosmovisión propia que se ve reflejada en su estructura gramatical y verbal. Entiendo que, por cuestiones de comunicación, el texto de Feliciana debía estar en castellano, pero me hubiera gustado que la elaboración de su discurso me ofreciera una visión del mundo de esta mujer no solo desde lo narrativo, sino también desde lo estructural y simbólico. De haber llegado a este nivel de elaboración, que definitivamente no es sencillo de lograr, “Brujas” ofrecería un mensaje realmente potente de contraposición de lo femenino en dos contextos socio – culturales que resultan tan cercanos geográficamente, pues se encuentran en el mismo territorio nacional, como lejanos ideológicamente, a pesar de los múltiples puntos en común que tienen entre sí.
En el caso concreto de “Brujas”, Lozano nos presenta una descripción de la femineidad desde dos frentes claramente diferenciados: lo occidental – urbano; y, lo tradicional – mexicano. A través de dos protagonistas que pertenecen, cada una de ellas, a uno de estos contextos, la autora explora lo que significa ser mujer en un mundo dominado por lo masculino. Para ello, lozano recurre a lo ancestral – hereditario, a la maternidad y a la paternidad, a la sexualidad (vista desde el despertar, el goce, la violación, etc.) y muchos otros factores que forman parte de la experiencia de ser mujer. Incluso, la autora aborda, aunque de manera muy breve, a los muxes (personas que nacieron como hombres, pero que se identifican como mujeres y asumen roles femeninos dentro de su comunidad).
Es una mirada amplía e interesante, pero que, al tratar tantos temas desde dos perspectivas opuestas y similares a la vez, no llega a profundizar en ninguna de ellas. Además, a nivel narrativo, los capítulos dedicados a Zoé y el mundo occidental – urbano le resta ritmo y dinamismo a la parte centrada en Feliciana y el mundo tradicional – mexicano.
Otro punto que me hizo ruido fue la simbología del lenguaje a la que recurre la autora para narrar el relato de Feliciana. Lo que se plantea en el libro es que este personaje habla en su propio idioma (una lengua ancestral americana perteneciente al actual territorio mexicano). La idea me pareció poderosísima y con un gran potencial de explotación; sin embargo, no sentí una construcción del universo distinta a la planteada por el castellano. Los idiomas construyen el mundo y, a su vez, son un constructo de este, por ende, cada lengua tiene una cosmovisión propia que se ve reflejada en su estructura gramatical y verbal. Entiendo que, por cuestiones de comunicación, el texto de Feliciana debía estar en castellano, pero me hubiera gustado que la elaboración de su discurso me ofreciera una visión del mundo de esta mujer no solo desde lo narrativo, sino también desde lo estructural y simbólico. De haber llegado a este nivel de elaboración, que definitivamente no es sencillo de lograr, “Brujas” ofrecería un mensaje realmente potente de contraposición de lo femenino en dos contextos socio – culturales que resultan tan cercanos geográficamente, pues se encuentran en el mismo territorio nacional, como lejanos ideológicamente, a pesar de los múltiples puntos en común que tienen entre sí.
September 23, 2022
I wasn't a fan. It's one of these 'it's not you, it's me' kind of things, I'd say.
The writing is good, but Lozano writes big chunks of writing and that's one of my book pet peeves (I like paragraphs? Is that a thing?). Important topics and all, I didn't quite enjoy the story either.
The writing is good, but Lozano writes big chunks of writing and that's one of my book pet peeves (I like paragraphs? Is that a thing?). Important topics and all, I didn't quite enjoy the story either.
May 11, 2022
Beautifully written with some powerful storytelling this is magical,,thought provoking and unique.
Full review to follow.
Full review to follow.
July 14, 2023
valla eylül görmüş’le aynı yorumları yapabilirim bu kitap için. o yüzden uzun uzun yazmasam mı 😁
evet kesinlikle “ideal defter” değil. hatta bence günümüzde basılması gereken tuşlara basılmış gibi olmuş. elbette kadınlara, lgbti+ bireylere ait romanları, öyküleri seviyoruz ama bazen de sanki yazılması gerektiği için yazılmış gibi bir tat bırakıyor insanın ağzında.
iki kadın anlatıcının dilleri arasında dağlar kadar fark olması gerekirken neden bu denli benzer sese sahip oldular bu bir muamma benim için. zoé’nin de gerçek bir karakterden esinlenen feliciana’nın da kızkardeşlerinin yaşadığı istismar ortak noktaları. gazeteci zoé, trans birey paloma’yı araştırmak isterken şaman feliciana karşısında kendini bulmaya çalışıyor.
ama dediğim gibi bambaşka hayatlar olmasına rağmen ikna olmadım. her iki anlatıcıda da anlatım çok dağınık, neye hizmet ettiğini anlamadığımız tekrarlar var, garip detaylarda boğuluyoruz.
beni daha çok etkileyen bölümü elbette anlaşılır bir biçimde baba yası oldu. palome’nin bir muxe olarak yolculuğunu sevdim. ama gizemli hastalık ki bence aids, bir türlü ne menem bir şey olduğunu anlamadığım dil ve kitap, feliciana’nın en başta dili kaybettim diyip roman boyunca konuşması… niye bu denli kopuk işlenmiş bilemedim. ama brenda lazano’nun bende kredisi var. okuruz 😌
evet kesinlikle “ideal defter” değil. hatta bence günümüzde basılması gereken tuşlara basılmış gibi olmuş. elbette kadınlara, lgbti+ bireylere ait romanları, öyküleri seviyoruz ama bazen de sanki yazılması gerektiği için yazılmış gibi bir tat bırakıyor insanın ağzında.
iki kadın anlatıcının dilleri arasında dağlar kadar fark olması gerekirken neden bu denli benzer sese sahip oldular bu bir muamma benim için. zoé’nin de gerçek bir karakterden esinlenen feliciana’nın da kızkardeşlerinin yaşadığı istismar ortak noktaları. gazeteci zoé, trans birey paloma’yı araştırmak isterken şaman feliciana karşısında kendini bulmaya çalışıyor.
ama dediğim gibi bambaşka hayatlar olmasına rağmen ikna olmadım. her iki anlatıcıda da anlatım çok dağınık, neye hizmet ettiğini anlamadığımız tekrarlar var, garip detaylarda boğuluyoruz.
beni daha çok etkileyen bölümü elbette anlaşılır bir biçimde baba yası oldu. palome’nin bir muxe olarak yolculuğunu sevdim. ama gizemli hastalık ki bence aids, bir türlü ne menem bir şey olduğunu anlamadığım dil ve kitap, feliciana’nın en başta dili kaybettim diyip roman boyunca konuşması… niye bu denli kopuk işlenmiş bilemedim. ama brenda lazano’nun bende kredisi var. okuruz 😌
August 16, 2022
From reading the blurb I really thought I would love this, but I have to say that I found the voices of the two characters in the two timelines to be utterly indistinguishable from one another, which meant that this made for a truly confusing read. The mythical elements also made up a large part of the plot and these sections dragged for me.
However I did enjoy the writing and setting (and applaud any book which draws more attention to femicide), so I will definitely be giving Lozano's writing another chance by picking up another of her novels, Loop, at some point.
Thank you Netgalley and Quercus Books for the advance copy, which was provided in exchange for an honest review.
However I did enjoy the writing and setting (and applaud any book which draws more attention to femicide), so I will definitely be giving Lozano's writing another chance by picking up another of her novels, Loop, at some point.
Thank you Netgalley and Quercus Books for the advance copy, which was provided in exchange for an honest review.
January 22, 2023
Nergis Gürcihan şahane çevirmiş, kitabın dilindeki şiiri ve tempoyu duydum okurken. Büyülü gerçeklik sevenler kaçırmasın.
"Ritüellerimde kadın erkek ayırt etmeksizin seven, âşık olan, bağlanan, acı çeken herkese baktım, Dil'in bana bahşettiği şey bu, hepimizin sevgisi eşit, geceleri hepimiz aynıyız, kilise ayinlerinde dedikleri gibi; güneşin altında hepimiz aynıyız, Dil karşısında hepimiz aynıyız, o hepimizi eşit kılıyor."
"Ritüellerimde kadın erkek ayırt etmeksizin seven, âşık olan, bağlanan, acı çeken herkese baktım, Dil'in bana bahşettiği şey bu, hepimizin sevgisi eşit, geceleri hepimiz aynıyız, kilise ayinlerinde dedikleri gibi; güneşin altında hepimiz aynıyız, Dil karşısında hepimiz aynıyız, o hepimizi eşit kılıyor."
February 3, 2023
‘İdeal Defter’i henüz okumadım ve sanırım biraz hata yaptım. ‘Cadılar’ beni kesmedi. Evet, yazarın dili akıcı. Kaldı ki değindiği konu, başa oturttuğu karakterler bir hayli ilgi çekici. Ama bir noktadan sonra çorbaya dönüyor hepsi. Anlamsız bir gevezelik var romanda. Odaktan saparak detaylar içinde boğuluyor metin. Bana kalsa üçte biri metne dahil olmazdı mesela. Yalınlıktan ve özden epey götürmüş. Bu kısım olmasaydı çok daha fazla severdim çünkü değindiği yer mühim. Ama yolun sonuna varmaya çalışırken dağılıyor maalesef.
December 13, 2022
I enjoyed this for the no-nonsense and yet still beautiful look it gave into a culture's spirituality and community, and how the feminine experience transcends age, physique, nationality, language and individual experience. It's a dark story but also one of affection and resilience.
CONTENT WARNING:
Hat tip to the translator, who gave a great opening note about how they chose to translate this and to assist in understanding the definitions of a few words that they actively chose to leave in the primary language.
3.5 rounded up because I did want to keep hearing the story. I bet it's riveting in Spanish.
CONTENT WARNING:
Hat tip to the translator, who gave a great opening note about how they chose to translate this and to assist in understanding the definitions of a few words that they actively chose to leave in the primary language.
3.5 rounded up because I did want to keep hearing the story. I bet it's riveting in Spanish.
September 5, 2022
while the blurb depicts a dark - maybe even eerie - interesting read that I was so ready for, I was just utterly bored and disappointed. the two storylines were nearly indistinguishable, the plot was painfully slow, and the ending felt like a throw away.
abandoned
August 20, 2025The subject person of the story is cool -- a story very loosely based on María Sabina, a famous Mexican shaman (in a role usually reserved for men), called Feliciana in this fictional rendering. Feliciana's cousin Paloma, a muxe (trans woman), is murdered right at the beginning (of course). Then the story veers more into Feliciana's background, the teaching she received from her muxe cousin re: the Language and the Book (shaman ways), as well as a female reporter who is assigned to cover Paloma's murder.
The chapters alternate, sharing the background stories of both Feliciana & the reporter. I noticed some reviews on GR have complained that there is little difference between the two women's "voices" & I have to agree. The chapters are labeled only by number so I had to make myself remember that odd numbered chapters are Feliciana's & even numbered chapters are the reporter's. It doesn't seem to really be about the murder or Paloma, though, as it's really just a detailed background story for the two women. Regardless, there's a look at gender-based violence & I'm glad the book speaks out.
Yet, something is not sitting right with me re: Paloma. Maybe it's that she's murdered. Maybe it's that when Feliciana is telling of her childhood & growing up, she repeatedly refers to Paloma as Gaspar (her birth name) & "when she was Gaspar", when she was a boy, "before he was Paloma", etc. Maybe it's because Paloma walked away from being a shaman in order to pursue love with a sort-of loose implication that Paloma was shirking her calling. I read about a third of the book & then flipped to the end to see what it says. Near the end, there is mention of Paloma's murder, the rage of the man who murdered her because she was a muxe, as well as his rage at her giving him a disease. I'm not fond of the muxe being the murder victim, nor am I a fan of the victim blaming.
On one hand, this is raising awareness of trans people. And that trans women are much more likely to be victims of gender-based violence. Our current hateful regime (in the US) is making life for trans people awful right now. I appreciate the awareness. Otoh, the portrayal of Paloma is not sitting well with me & it feels like she's being marginalized at best & being victim-blamed on top of it. Just no.
Did the irl María Sabina have a muxe cousin/shaman? Or is this just a story device?
The chapters alternate, sharing the background stories of both Feliciana & the reporter. I noticed some reviews on GR have complained that there is little difference between the two women's "voices" & I have to agree. The chapters are labeled only by number so I had to make myself remember that odd numbered chapters are Feliciana's & even numbered chapters are the reporter's. It doesn't seem to really be about the murder or Paloma, though, as it's really just a detailed background story for the two women. Regardless, there's a look at gender-based violence & I'm glad the book speaks out.
Yet, something is not sitting right with me re: Paloma. Maybe it's that she's murdered. Maybe it's that when Feliciana is telling of her childhood & growing up, she repeatedly refers to Paloma as Gaspar (her birth name) & "when she was Gaspar", when she was a boy, "before he was Paloma", etc. Maybe it's because Paloma walked away from being a shaman in order to pursue love with a sort-of loose implication that Paloma was shirking her calling. I read about a third of the book & then flipped to the end to see what it says. Near the end, there is mention of Paloma's murder, the rage of the man who murdered her because she was a muxe, as well as his rage at her giving him a disease. I'm not fond of the muxe being the murder victim, nor am I a fan of the victim blaming.
On one hand, this is raising awareness of trans people. And that trans women are much more likely to be victims of gender-based violence. Our current hateful regime (in the US) is making life for trans people awful right now. I appreciate the awareness. Otoh, the portrayal of Paloma is not sitting well with me & it feels like she's being marginalized at best & being victim-blamed on top of it. Just no.
Did the irl María Sabina have a muxe cousin/shaman? Or is this just a story device?
December 28, 2022
Wicked cool and strange. Yet I really don’t know a single person I’d recommend this book to because it’s very niche horror/dark mystery (in the least pretentious way possible 😅), but I reeeeeally liked it! It was just so weird. And not weird in a commonly endearing way, like this was batshit at some points (not how I expected it to be though??). And it was slow and it pulled at my heartstrings and it boggled my head and it dealt with some serious issues (like misogyny, gender identity, colonialism) and it was pretty repetitive at times and it had Muxe rep and a curandera system and kind of felt like one massive run-on sentence like this one but so much more entertaining. And the way this book addresses language is so unique, I loved that part a ton.
Anyway, a journalist named Zoe is sent to investigate a healer’s murder. The healer was named Paloma, but before she was Paloma she was Gaspar and she was the greatest healer in all of Mexico. Paloma taught many things to her cousin Feliciana, and it only makes sense that Zoe and Feliciana’s journeys intersect more and more as the story continues.
Anyway, a journalist named Zoe is sent to investigate a healer’s murder. The healer was named Paloma, but before she was Paloma she was Gaspar and she was the greatest healer in all of Mexico. Paloma taught many things to her cousin Feliciana, and it only makes sense that Zoe and Feliciana’s journeys intersect more and more as the story continues.
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