Contemporary Argentine author
César Aira was born in Coronel Pringles, Argentina in 1949, and has lived in Buenos Aires since 1967. He taught at the University of Buenos Aires (about Copi and Rimbaud) and at the University of Rosario (Constructivism and Mallarmé), and has translated and edited books from France, England, Italy, Brazil, Spain, Mexico, and Venezuela. Perhaps one of the most prolific writers in Argentina, and certainly one of the most talked about in Latin America, Aira has published more than eighty books to date in Argentina, Mexico, Colombia, Venezuela, Chile, and Spain, which have been translated for France, Great Britain, Italy, Brazil, Portugal, Greece, Austria, Romania, Russia, and now the United States. One novel, La prueba, has been made into a feature film, and How I Became a Nun was chosen as one of Argentina’s ten best books. Besides essays and novels Aira writes regularly for the Spanish newspaper El País. In 1996 he received a Guggenheim scholarship, and in 2002 he was short listed for the Rómulo Gallegos prize.
The Miracle Cures of Dr. Aira
The Hare
Varamo
The Seamstress and the Wind
The Literary Conference
Ghosts
How I Became a Nun
An Episode in the Life of a Landscape Painter
“The book teems with delightful, off-the-cuff metaphysical speculation.”
— Giles harvey, The New Yorker on César Aira's Varamo
“César Aira's is a fine short book, imaginative and entertaining, but finally and essentially, it's not about the size, it's about the transmogrified truths, the art of the prose and its necessity.
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— Bookslut on César Aira's The Miracle Cures of Dr. Aira
“César Aira’s novels are the narrative equivalent of the Exquisite Corpse, that Surrealist parlor game in which players add to drawings or stories without knowledge of previous or subsequent additions. Wildly heterogeneous elements are thrown together, and the final result never fails to surprise and amuse.”
— The Millions on César Aira's The Miracle Cures of Dr. Aira
“Wonderfully youthful, poetically miraculous, The Cardboard House is the most representative — and the best — of the Latin American avant-garde of the 1920s.”
— César Aira on Martín Adán's The Cardboard House