Juan José Saer manuscripts, 1958–2004 at Princeton University Library

juan-jose-saer.jpg

The Man­u­scripts Divi­sion has recently added the man­u­scripts of Argen­tinean writer Juan José Saer to its pre­mier col­lec­tion of archives, man­u­scripts, and cor­re­spon­dence by Latin Amer­i­can writ­ers and intel­lec­tu­als. The col­lec­tion con­tains numer­ous note­books, notes, and drafts of Saer’s nov­els, essays, short sto­ries, poems, and inter­views. Sev­eral items in the col­lec­tion are unpub­lished. Also included are back­ground mate­ri­als for Saer’s posthu­mous novel, La Grande, and some pho­tographs. A detailed find­ing aid is already available.

Juan José Saer, the son of Syr­ian immi­grants to Argentina, was born in Serodino, a town in the province of Santa Fé, on June 28, 1937. He stud­ied law and phi­los­o­phy at the Uni­ver­si­dad Nacional del Litoral in Santa Fé, and taught film his­tory and crit­i­cism at the same insti­tu­tion. He moved to Paris in 1968, where he taught lit­er­a­ture at the Uni­ver­sity of Rennes, and lived in that city until his death in 2005. Although Saer spent most of his lit­er­ary life out­side Argentina, much of his fic­tion was set on the area of north­ern Argentina known as el Litoral. Among his lit­er­ary works are the nov­els Cica­tri­ces (1968), El limonero real (1974), Nadie, nada, nunca (1980), El ente­nado (1983), La ocasión (1988), La pesquisa (1994), and the book of poems El arte de nar­rar (1977). Saer is con­sid­ered by some crit­ics to be the most impor­tant Argen­tinean writer of the post-Borges generation.

Photo cap­tion: Pho­to­graph of Juan José Saer [Juan José Saer man­u­scripts, Box 13, Folder 9].

Digital Latin American posters collection grows

resolver.jpg

The posters included in this new dig­i­tal project were cre­ated by a wide vari­ety of social activists, non-governmental orga­ni­za­tions, gov­ern­ment agen­cies, polit­i­cal par­ties, and other types of orga­ni­za­tions across Latin Amer­ica, in order to pub­li­cize their views, posi­tions, agen­das, poli­cies, events, and ser­vices. Even though posters pro­duced in Argentina, Bolivia, Chile, Ecuador, Mex­ico, and Venezuela are the most abun­dant among the more than two thou­sand cur­rently avail­able in the site, almost every coun­try in the region is rep­re­sented. In terms of top­ics, some of the best rep­re­sented are human rights, elec­tions, gen­der issues, indige­nous issues, labor, ecol­ogy and envi­ron­men­tal issues, devel­op­ment, pub­lic health, and education.

The Latin Amer­i­can Posters Col­lec­tion is a com­po­nent of the larger col­lec­tion of Latin Amer­i­can ephemera that Prince­ton Uni­ver­sity Library has devel­oped since the 1970s.

View the Latin Amer­i­can Posters Col­lec­tion at Prince­ton Uni­ver­sity Library

Image cap­tion: Diga basta! Vamos a cam­biar la his­to­ria! Movimiento Asam­bleas del Pueblo. Par­tido de las Asam­bleas, Argentina

Professor Bruno Carvalho quoted in The New York Times (article on Maracanã stadium)

“Brazil’s Soul, in Form of a Stadium”

RIO DE JANEIRO — Gen­er­a­tions of Brazil­ians have grown up in the Está­dio Jor­nal­ista Mário Filho, known around the world as the Mara­canã. Built for the 1950 World Cup and at the time the largest sta­dium in the world, it became an instant national land­mark, a sym­bol of Brazil’s soccer-centric culture.

Read the full arti­cle in the New York Times