A taut, appealing, and often quite funny exploration of existential angst."—Kirkus ReviewsIn a nameless suburb in an equally nameless country, every house has a room reserved for the president. No one knows when or why this came to be. It’s simply how things are, and no one seems to question it except for one young boy.The room is kept clean and tidy, nobody talks about it and nobody is allowed to use it. It is for the president and no one else. But what if he doesn’t come? And what if he does? As events unfold, the reader is kept in the dark about what’s really going on. So much so, in fact, that we begin to wonder if even the narrator can be trusted...Ricardo Romero has been compared to Franz Kafka and Italo Calvino, and we see why in this eerie, meditative novel narrated by a shy young boy who seems to be very good at lying about the truth. Following in the footsteps of Julio Cortázar and a certain literary tradition of sinister rooms (such as Dr Jekyll’s laboratory), The President’s Room is a mysterious tale based on the suspicion that a house is never just one single home.
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Eerie depiction of a young boy's fascination with the mysterious room each house must keep prepared for the president.
"Romero’s haunting fantasy, about the poetics of space and the edges of reality, underlines how impressive is the fiction currently emerging from an inspired Argentina." —The Times Literary Supplement"Romero’s short novel, with its brief sections creating the haunting atmosphere depicted by a breathless young narrator, will undoubtedly reward re-readings." —Asymptote
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The house isn’t big, but it’s not small either, compared to the rest of the houses on the block. It has two floors, three if you count the attic, a storage room up on the roof terrace where nobody goes apart from me. The rest of the family call it the loft, but I prefer to call it the attic. I didn’t decide this on a whim. It’s something I’ve thought about a lot, up there in the attic, among the old furniture, the trunks, and always the same warmish air capturing the rays of sun as they filter through the skylight and the frosted glass of the door. Rays of sun, skylight, frosted glass. When I’m there, I’m able to think ‘I’m in the attic’, but I find it impossible to think ‘I’m in the loft’. Not everything can be thought. Why should everything have to be thinkable?On the first floor of the house are the bedrooms. My parents’ room, my older brother’s room and the one I share with my younger brother. There are two large bathrooms that seem much older than the rest of the house, as if they’ve always been there, hovering at the height of the first floor, waiting for my family to come and build the house around them. The bathtubs, the taps and the medicine cabinet are majestic; the porcelain, mirror and brass are yellowing in the corners with stains that aren’t stains, because you can get rid of a stain but you can’t get rid of these. I can’t imagine the tap in our bathroom sink without that pale, discoloured cloud underneath it, or the mirror of the medicine cabinet in my parents’ bathroom without the black spots on the left-hand side. However, what really makes these bathrooms feel old, as if they’re of an earlier time, are the tiles covering the walls right up to the ceiling. What is it that makes those tiles so old? I don’t know. I only know that they’re impossible to count. No, that’s not all I know. I also know that although the bathrooms seem the same, like twins, they’re not. And then there’s the ground floor, which is the same size as the first but seems bigger. It only seems it, though: I know they’re really the same size. And yet, even though I know this, every now and again I feel the need to compare corners and angles, to see how the walls of one floor and another are the same. Or rather: are aligned. The walls of the ground floor and those of the first floor are aligned. However, the ground floor seems bigger.On the ground floor are the kitchen, the dining room, the living room and the study my father shares with my older brother. There’s another, smaller bathroom, squeezed in between the kitchen and the staircase. There’s a small cleaning cupboard. There’s an entrance hall leading to the front door. And of course, at the front of the house on the left, looking out over the garden, is the president’s room. 
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Produktdetaljer

ISBN
9781999722722
Publisert
2017-09-04
Utgiver
Vendor
Charco Press
Høyde
198 mm
Bredde
129 mm
Aldersnivå
G, 01
Språk
Product language
Engelsk
Format
Product format
Heftet
Antall sider
82

Forfatter
Oversetter

Om bidragsyterne

Ricardo Romero was born in the province of Entre Ríos, in northern Argentina, in 1976, and now lives in Buenos Aires. Between 2003 and 2006 he ran the literary journal Oliverio and between 2006 and 2010 he was one of the members of El Quinteto de la Muerte (The Lethal Quintet), with which he published two books: 5 and La Fiesta de la Narrativa (The Fiction Party).

Charlotte Coombe is a British literary translator, working from French and Spanish. Her translation of Abousse Shalmani’s Khomeini, Sade and Me (2016) won a PEN Translates award. She has translated novels by Anna Soler-Pont and Asha Miró, Marc de Gouvenain, as well as some non-fiction, short stories and poetry by Edgardo Nuñez Caballero, Rosa María Roffiel and Santiago Roncagliolo for Palabras Errantes . She is also the translator of Eduardo Berti’s novel The Imagined Land (2018). She has translated three titles for Charco Press: Ricardo Romero’s The President’s Room (2017) and Margarita García Robayo’s Fish Soup (2018) and Holiday Heart (2020).