MARIO BENEDETTI was born on September 14, 1920 in Uruguay. He published his first book in 1945. Although a trained accountant, he went on to publish Peripecia y Novela (Literary Criticism) in 1948, and a year later, Esta Mañana, his first book of stories. In 1953, he published his first novel, Quien de Nosotros, but it was with the 1959 publication of Montevideanos: Cuentos (Stories) that the urban concept of his narrative style took shape. With the publication of La Tregua in 1960, Benedetti acquired international preeminence. While in Cuba, he founded the world famous Centro de Investigaciones Literarias at Casa de las Americas, which he directed from 1969 to 1971. Returning to Uruguay in 1971, he opposed increasing government repression through his writing and participation in the leftist coalition known as the Frente Amplio, which he helped organize. Following the coup of June 1973, his work was banned by the Uruguayan military. Between 1973 and the return of the civilian government in 1985, he lived in exile in Argentina, Peru, Cuba, and Spain. Writing for an international audience, he denounced the tragic events occurring in Uruguay at the time. From 1985 on, he lived in Montevideo, where he devoted his full time to writing. He passed away on May 17, 2009.

Translator HARRY MORALES is also the author of the novel The Suit and Skirt Farm (Xlibris, 2002). He was born in Mayagüez, Puerto Rico in 1962, and was raised in New York City. He has studied literary translation under Gregory Rabassa and translated stories by the novelist Mario Bendetti from various collections including Montevideanos: Cuentos, La Muerte y Otra Sorpresas: Cuentos, Esta Ma ñana: Cuentos, and Con y Sin Nostalgia: Cuentos among others. He has also translated the work of the late Cuban poet and novelist Reinaldo Arenas as well as the works of Eugenio Maria de Hostos, Emir Rodriguez Monegal, Juan Rulfo, Cristina Peri Rossi, Julia de Burgos, Alberto Ruy-Sanchez, and Ilan Stavans, among many other Latin American writers.

May 2012

Art Books

Living as Form

Waking Up from the Nightmare of Participation