Overview
Vuelve la voz cruda, feminista y cargada de conciencia de clase que ha cautivado a miles de jóvenes.
«En este libro escucharás la voz de las mujeres más humildes de Chile». -Luna Miguel
«Leo y comparto los cuentos de Arelis Uribe en mis talleres de literatura creativa en periferias porque en su escritura hay prueba viva de que en los márgenes también hay historias, belleza lingüística y técnica literaria de alto calibre». -Dahlia de la Cerda
Arelis Uribe inscribió por primera vez en el mapa de la tan cuica y masculina literatura chilena a las millenials urbanas, populares y nada blancas de su país: las quiltras que dieron título a su celebrado libro de cuentos. Telepunga es la secuela de aquel baile de las que sobran, traída a un presente marcado por el retorno de las fuerzas conservadoras y un orden que nunca terminó de irse.
Bajo la estela de una prosa disidente y feroz —sobrina confesa de Pedro Lemebel y prima de Daniela Catrileo—, Uribe traza el skyline del barrio obrero recortado sobre el fondo desnudo y reluciente del Santiago más neoliberal. Y contraataca con flow marrón y chorros de conciencia de clase. En estas nuevas historias —tan rotas como intensamente humanas— desfilan una escuela rural pinochetista, una manada de escolares abusadores, una niña que relata los malabares de su madre obrera para sobrevivir, un periodista erotizado por un joven con síndrome de Down o una chilena que habla como argentina.
Sorprendente, identitario, coloquial, imaginado desde los extramuros del mundo para los extramuros del mundo, Telepunga se despliega con un estilo directo y descarnado, atravesado por una dolorosa ternura. En el centro están los jóvenes «telepunga»: repartidores de pizza chatarra que amasan en silencio su venganza como quien prepara una fiesta fulgurante. Y nosotras, con ellos.
ENGLISH DESCRIPTION
The raw, feminist, class-conscious voice that has captivated thousands of young readers returns.
“In this book, you will hear the voices of Chile’s most humble women.” —Luna Miguel
“I read and share Arelis Uribe’s stories in my creative writing workshops in marginalized communities because her writing is living proof that the margins, too, are home to stories, linguistic beauty, and literary technique of the highest caliber.” —Dahlia de la Cerda
Arelis Uribe was the first to put her country’s urban, working-class, decidedly non-white millennial women on the map of Chile’s notoriously posh and male-dominated literary scene: the quiltras who gave her acclaimed short-story collection its title. Telepunga is the sequel to that dance of those left behind, brought into a present shaped by the resurgence of conservative forces and an order that never truly went away.
Following the trail of a fierce, dissident prose—an avowed niece of Pedro Lemebel and cousin of Daniela Catrileo—Uribe sketches the skyline of the working-class neighborhood against the stark, gleaming backdrop of Santiago at its most neoliberal. And she strikes back with brown flow and torrents of class consciousness. Through these new stories—as broken as they are intensely human—we encounter a Pinochet-supporting rural school, a pack of abusive schoolboys, a girl recounting the lengths her working-class mother goes to in order to survive, a journalist sexually drawn to a young man with Down syndrome, and a Chilean woman who speaks like an Argentine.
Surprising, identity-driven, and colloquial, imagined from the margins of the world for the margins of the world, Telepunga unfolds in a direct, unflinching style shot through with painful tenderness. At its heart are the young “telepunga”: junk-food pizza delivery workers quietly kneading their revenge as though preparing for a dazzling celebration. And we are there with them.
«En este libro escucharás la voz de las mujeres más humildes de Chile». -Luna Miguel
«Leo y comparto los cuentos de Arelis Uribe en mis talleres de literatura creativa en periferias porque en su escritura hay prueba viva de que en los márgenes también hay historias, belleza lingüística y técnica literaria de alto calibre». -Dahlia de la Cerda
Arelis Uribe inscribió por primera vez en el mapa de la tan cuica y masculina literatura chilena a las millenials urbanas, populares y nada blancas de su país: las quiltras que dieron título a su celebrado libro de cuentos. Telepunga es la secuela de aquel baile de las que sobran, traída a un presente marcado por el retorno de las fuerzas conservadoras y un orden que nunca terminó de irse.
Bajo la estela de una prosa disidente y feroz —sobrina confesa de Pedro Lemebel y prima de Daniela Catrileo—, Uribe traza el skyline del barrio obrero recortado sobre el fondo desnudo y reluciente del Santiago más neoliberal. Y contraataca con flow marrón y chorros de conciencia de clase. En estas nuevas historias —tan rotas como intensamente humanas— desfilan una escuela rural pinochetista, una manada de escolares abusadores, una niña que relata los malabares de su madre obrera para sobrevivir, un periodista erotizado por un joven con síndrome de Down o una chilena que habla como argentina.
Sorprendente, identitario, coloquial, imaginado desde los extramuros del mundo para los extramuros del mundo, Telepunga se despliega con un estilo directo y descarnado, atravesado por una dolorosa ternura. En el centro están los jóvenes «telepunga»: repartidores de pizza chatarra que amasan en silencio su venganza como quien prepara una fiesta fulgurante. Y nosotras, con ellos.
ENGLISH DESCRIPTION
The raw, feminist, class-conscious voice that has captivated thousands of young readers returns.
“In this book, you will hear the voices of Chile’s most humble women.” —Luna Miguel
“I read and share Arelis Uribe’s stories in my creative writing workshops in marginalized communities because her writing is living proof that the margins, too, are home to stories, linguistic beauty, and literary technique of the highest caliber.” —Dahlia de la Cerda
Arelis Uribe was the first to put her country’s urban, working-class, decidedly non-white millennial women on the map of Chile’s notoriously posh and male-dominated literary scene: the quiltras who gave her acclaimed short-story collection its title. Telepunga is the sequel to that dance of those left behind, brought into a present shaped by the resurgence of conservative forces and an order that never truly went away.
Following the trail of a fierce, dissident prose—an avowed niece of Pedro Lemebel and cousin of Daniela Catrileo—Uribe sketches the skyline of the working-class neighborhood against the stark, gleaming backdrop of Santiago at its most neoliberal. And she strikes back with brown flow and torrents of class consciousness. Through these new stories—as broken as they are intensely human—we encounter a Pinochet-supporting rural school, a pack of abusive schoolboys, a girl recounting the lengths her working-class mother goes to in order to survive, a journalist sexually drawn to a young man with Down syndrome, and a Chilean woman who speaks like an Argentine.
Surprising, identity-driven, and colloquial, imagined from the margins of the world for the margins of the world, Telepunga unfolds in a direct, unflinching style shot through with painful tenderness. At its heart are the young “telepunga”: junk-food pizza delivery workers quietly kneading their revenge as though preparing for a dazzling celebration. And we are there with them.
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