Mario Delgado Aparaín
© Daniel Mordzinski
Mario Delgado Aparaín was born in Florida (Uruguay) in 1949. Besides writing, he teaches literary workshops. He has published several internationally successful novels and volumes of short stories. For many years, Delgado was working as a journalist and university lecturer, was head of Montevideo's Department of Culture. In 2002 he received the Instituto Cervantes Award in the Juan Rulfo Competition from Radio Francia Internacional for his short story Terribles ojos verdes. Mario Delgado has his own TV programme, Café negro, where he interviews well-known writers and artists.
Captain Lander used to travel the seven seas. He now lives as a scale-model boat builder in a cabin at the Uruguayan seaside, where he rescues a young tango dancer and receives a visit, after two decades, from his old friend Sampedro. What they don’t know is that the tango dancer’s father was Sampedro and his enemy during the dictatorship of the 70s and 80s, and that he has hired a hitman to kill them. A bold journalist, a clueless policeman, a beautiful nurse and the hitman himself, who turns out to have an “ethical code”, will be responsible for preventing the murder.
Written with incisive humour and ironic prose, Tango del viejo marinero (“Tango of the Ancient Mariner”) is a great novel by Mario Delgado Aparaín at his best, dealing with subjects such as loneliness, absolution, love and friendship. Returning to his fictional town of Mosquitos, this novel is both local and universal. It is a reflection on self-knowledge as an act of resistance. Combining elements of political novel and thriller, this fascinating book will keep the reader in suspense from beginning to end.
It is an enormous pleasure to be able to enjoy this unique way of narrating. Milagros, Sampedro and Captain Lander are all such ferociously tender characters that it’s impossible not to experience their physical presence on turning every page. Tango del viejo marinero is a magnificent novel, and is so much “of us” that in the end it becomes profoundly Latin American.
Delgado’s novel, El hombre de Bruselas (“The Man from Brussels”), shows in a refreshingly ironic way how the all-powerful Europe is seen from a small South American country. When election time comes around in the poverty-stricken town of Mosquitos, the mayor applies for support from the generous European Union. And really, a man from Brussels comes over to help and all the good red wine and a beautiful woman prompt him to a brilliant idea …
Delgado’s prose is luminous and extremely precise, and yet he maintains the gift of the great oral storytellers.
El País (Uruguay)
In his wonderful new novel, Delgado transcends the barrier of the tangible and the provable with urgent narrative and the matter-of-factness of a subatomic particle.
Together with Luis Sepúlveda, Delgado wrote Los peores cuentos de los hermanos Grim (“The worst Stories of the Grim Brothers”), a humorous epistolary novel. In this witty parody of history, science and adventure stories a Patagonian and a Uruguayan professor mean to investigate the life of Caín and Abel, two musicians and poets of the early 20th century. Feeling extremely important, they mainly talk about women, alcohol and money.
In La balada de Johnny Sosa (“The Ballad of Johnny Sosa”), Delgado abducts his readers to the fictitious small town of Mosquitos where the negro Johnny is working on his career as a singer, attracting the attention of a military leader. But when his friends mysteriously start to disappear, Johnny realizes that he has been used by the new rulers. With deft irony and tragi-comic elements, Delgado has created a finely honed parable on human dignity.
La balada de Johnny Sosa has earned a place among the short masterpieces for which contemporary Latin American literature has become known. The story has the makings of a classic, a judgement bourne by its success in Europe. Keep your eyes on the book and on its author. Mario Delgado Aparaín is on the brink of a brilliant literary career.
A small jewel from a country in which gradually literature is blossoming after the devastation of tyranny.
The author had become famous through his short stories, some of which were set in the small town of San José de las Cañas. They represent the author’s reaction to the growing number of people living in cities, and the increasing concentration on city life. Delgado Aparaín, who himself grew up in the country, tells stories about the lives of people who in their meagre existence have maintained the capacity to dream and to escape from the narrowness of their everyday life, which holds out so little hope of change.
When Delgado’s fourth novel, No robarás las botas de los muertos (“Thou Shall not Steal the Boots of the Dead”) was published in 2002, Mario Benedetti, otherwise sparing with praise, closed his presentation with the words: … and so I believe that No robarás las botas de los muertos is not only Mario Delgado Aparaín’s most accomplished novel, but also one of the best examples of Latin American narrative at the turn of the century.
Tango del viejo marinero, Montevideo: Planeta Uruguay 2015, 221 p.
Italy: Guanda 2017
La fábula del tucutucu real contada por un Cronista de Indias que casi no cuenta el cuento, Montevideo: Banda Oriental 2014 71p.
(Ill. by Ignacio Calero)
El hombre de Bruselas, Montevideo: Banda Oriental 2011, 187 p.
Italy: Guanda 2013
Los peores cuentos de los hermanos Grim, Barcelona: Roca 2004; Buenos Aires: Seix Barral 2004, 224 p.
(Together with Luis Sepúlveda)
France: Métailié 2005 ● Greece: Opera 2006 ● Italy: Guanda 2005 ● Poland: Noir sur Blanc 2008 ● Portugal: ASA 2005, Porto Editora ● Serbia & Montenegro: Paidea 2008
No robarás las botas de los muertos, Montevideo: Alfaguara 2002, 441 p.
Alivio de luto, Montevideo: Alfaguara 1998, 143 p., Montevideo: Planeta 2015, 221p.
Shortlisted for Premio Internacional Alfaguara 1998
Film rights sold to Lavorágine Films, released 2017. Screenplay by Guillermo Casanova and Inés Bortagaray
Nominee from Uruguay for the Oscar and Goya Award 2018
English translation available
France: Métailié 2000 ● Germany: Alexander Fest 2001, edition día (eBook) ● Italy: Guanda 1999 ● Portugal: ASA 2001 ● Uruguay: Planeta
El día del cometa, Montevideo: Banda Oriental 1985, 72 p.
Estado de gracia, Montevideo: Banda Oriental 1983; Alfaguara (Uruguay, Argentina, Chile) 1996, 75 p.
Por mandato de madre, Montevideo: Alfaguara 1996, 207 p.
La balada de Johnny Sosa, Montevideo: Banda Oriental 1991, 132 p. , Alfaguara ( Spanish world rights) 2000, Montevideo: Planeta 2014, 139 p.
Film rights under option
Brazil: Garamond 1993 ● France: Métailié 1994, pb 2005 ● Germany: Luchterhand 1996, Fischer pb 1998, edition día (eBook) ● Greece: Opera 1998 ● Italy: Anabasi 1994, Guanda 2009 ● Macedonia: Dooel ● Netherlands: Arena 1993 ● Portugal: ASA 1999, Quetzal 2013 ● Spain: Ediciones B 1995 ● Turkey: CAN 2007 ● Uruguay: Planeta ● US: Overlook 2002, pb 2005
Un perro sin nombre, Montevideo: Banda Oriental forthcoming
Un mundo de cuentos, Montevideo: Planeta 2013, 382 p.
Vagabundo y Errante, Montevideo: Banda Oriental 2009, 174 p.
El canto de la corvina negra y otros cuentos, Montevideo: Banda Oriental 2003, 93 p
Terribles ojos verdes, Montevideo: Alfaguara 2001, 53 p.
Premio Juan Rulfo, Radio France Dec. 2001
La leyenda del Fabulosísimo Cappi y otras historias, Montevideo: Alfaguara 1999, 306 p.
Las llaves de Francia, Montevideo: Banda Oriental, 1989, 85 p.
Causa de buena muerte, Montevideo: ARCA 1982, 106 p.
Voces del café negro
Montevideo: Planeta Uruguay, 2016, 207 p.
Short stories in anthologies:
Tu nombre flotando en el adiós, Barcelona: Ediciones B 2003
Italy: Guanda 2004 ● Portugal: Oficina do Livro 2008
Cuentos del mar, Barcelona: Ediciones B 2001
Italy: Guanda 2002 ● Portugal:ASA
La taberna del loro en el hombro, Montevideo: Banda Oriental 2007, 31 p.
Mexico: CIDCLI 2003