<p><strong>English PEN (Award)</strong><br /><strong>Carbet de la Caraïbe et du Tout-monde (Winner)</strong><br /><strong>Insular Book Award (Winner)</strong></p><p>"A breezy, engaging and cunningly plotted tour of a resilient city and culture. (4 stars)" <strong>—The Arts Desk</strong></p><p>"A terrifically enjoyable read." <strong>—Irish Times</strong></p><p>"Equal parts historical novel, comedy of errors and detective story, Suárez portrays with extraordinary voluptuousity and suggestiveness one of the toughest periods of this Caribbean island." <strong>—El Mundo</strong></p><p>"An astonishing novel." <strong>—Le Figaro Littéraire</strong></p><p>"'The Name of the Rose' Cuban-style...A masterpiece." <strong>—Marie Claire</strong></p><p>"A brilliant, intense mystery." <strong>—BookBlast</strong></p><p>"A delightfully unusual detective story." <strong>—Shiny New Books</strong></p><p>"Suarez’s prose, and Christina MacSweeney’s translation, is conversational, beautifully written and manages wonderfully to evoke Havana as a city in crisis without the situation seeming hopeless." <strong>—The Sock Drawer</strong></p><p>"A magisterial and innovative demonstration of first-person narration." <strong>—Reading in Translation</strong></p><p>"Suárez’s sharp, engaging prose grows organically out of a clear and unique narrative voice." <strong>—Necessary Fiction</strong></p><p>"Quirky, poignant, and very relevant for our times." <strong>—Lucy Writers</strong></p><p>"Havana Year Zero is like a set of Russian dolls; its many layers fit together in a firm and satisfying way." <strong>—Lunate</strong></p><p>"Suárez’s kaleidoscopic take on recent Cuban history is worth a look." <strong>—Publishers Weekly</strong></p><p>"‘Havana Year Zero’, is one of those few precious books that humbly offers up sentences that you take forward into the world, sharp bifurcating sentences, dissecting sentences, that swiftly bring sense to confusion, order to chaos. " <strong>—Callum Churchill, Mr B's Emporium</strong></p><p>"Suárez applies chaos theory to Cuba." <strong>—Le Temps</strong></p><p>"A brilliant, joyful and beautiful novel." <strong>—Leer</strong></p><p>"The original plot, narrated like a mathematical conundrum, and the apocalyptic portrait of Havana in 1993 are two of the great attractions of this novel." <strong>—La Libre Belgique</strong></p><p>"With incisive and restrained language, Suárez portrays a country ravaged by the economic crisis." <strong>—Le Matin d'Algérie</strong></p><p>"Rich in the ingredients typical of the best literature: a good story, with rhythm and flow, but also sensibility, elegance, intelligence and a sense of humour." <strong>—Duas margens</strong></p>
Sex, lies, and scientific history collide in 1993 Havana.
It was as if we’d reached the minimum critical point of a mathematical curve. Imagine a parabola. Zero point down, at the bottom of an abyss. That’s how low we sank.
The year is 1993. Cuba is at the height of the Special Period, a widespread economic crisis following the collapse of the Soviet bloc.For Julia, a mathematics lecturer who hates teaching, this is Year Zero: the lowest possible point. But a way out appears: the search for a missing document that will prove the telephone was invented in Havana, secure her reputation, and give Cuba a purpose once more. What begins as an investigation into scientific history becomes a tangle of sex, friendship, family legacies, and the intricacies of how people find ways to survive in a country at its lowest ebb.
- Prize-winning novel called "a masterpiece" by Marie Claire (France)
- Builds on a little known moment in scientific history (Antonio Meucci's invention of the "talking telegraph", a precursor to the telephone)
- Offers a window into a period in Cuban history (the economic collapse that followed the end of the Soviet bloc) that's little known in English-language literature
- In 2007, they author was selected by the Hay Festival as one of the Bogotá39 writers
- Translated by Christina McSweeney (well known to Latin American literature buyers and readers), this is Suarez's English language debut
- Part of Charco's inaugural season of Spanish language editions
Marketing Plans
- Simultaneous launch of English and Spanish editions
- Social media campaign
- Galleys available
- Co-op available
- Advance reader copies (print and digital)
- National media campaign
- Targeted bookseller mailing
- Simultaneous eBook launch
It all happened in 1993, Year Zero in Cuba. The year of interminable power cuts, when bicycles filled the streets of Havana and the shops were empty. There was nothing of anything. Zero transport. Zero meat. Zero hope. I was thirty and had thousands of problems. That’s why I got involved, although in the beginning I didn’t even suspect that for the others things had started much earlier, in April 1989, when the newspaper Granma published an article about an Italian man called Antonio Meucci under the headline ‘The Telephone Was Invented in Cuba’. That story had gradually faded from most people’s minds; they, however, had cut out the piece and kept it. I didn’t read it at the time, which is why, in 1993, I knew nothing of the whole affair until I somehow became one of them. It was inevitable. I’m a mathematician; method and logical reasoning are part and parcel of my profession. I know that certain phenomena can only manifest themselves when a given number of factors come into play, and we were so fucked in 1993 that we were converging on a single point. We were variables in the same equation. An equation that wouldn’t be solved for many years, without our help, naturally.For me, it all began in a friend’s apartment. Let’s call him... Euclid. Yes, if it’s all right with you, I’d prefer not to use the real names of the people involved. I don’t want to hurt anyone’s feelings. So Euclid is the first variable in that damned equation.I remember that when we arrived at his place, his mum greeted us with the news that the pump had broken down again and we’d have to fill the storage drums using buckets of water. My friend scowled, I offered to help. So that’s what we were doing when I recalled a conversation that had taken place during a dinner a few days before, and I asked him if he’d ever heard of someone called Meucci. Euclid put down his bucket, looked at me and asked if I meant Antonio Meucci. Yes, of course he knew the name. He grabbed my bucket, poured the water into the drum and informed his mother that he was tired and would finish the task later. She protested, but Euclid turned a deaf ear. He took my arm, led me to his room, switched on the radio – his usual practice when he didn’t want to be overheard – and tuned in to CMBF, the classical music station. Then he asked for the full story. I told him what little I knew, and added that it had all started because the author was writing a book about Meucci. An author? What author? he asked gravely, and that irritated me because I didn’t see the need for so many questions. Euclid got to his feet, went over to the wardrobe and returned with a folder. He sat down next to me on the bed and said: I’ve been interested in this story for years.And then he began to explain. I learned that Antonio Meucci was an Italian, born in Florence in the nineteenth century, who had sailed to Havana in 1835 to work as the chief engineer in the Teatro Tacón, the largest and most beautiful theatre in the Americas at the time. Meucci was a scientist with a passion for invention who, among other things, had become interested in the study of electrical phenomena – it was known as galvanism in those days – and their application in a variety of fields, particularly medicine. He’d already invented a number of devices and was in the middle of one of his experiments in electrotherapy when he claimed to have heard the voice of another person through an apparatus he’d created. That’s the telephone, right? Transmitting a voice by means of electricity.Well, he took this thing he called the ‘talking telegraph’ to New York, where he continued to perfect his invention. Some time later he managed to get a kind of provisional patent that had to be renewed annually. But Meucci had no money, he was flat broke, so the years passed and one fine day in 1876 Alexander Graham Bell, who did have cash, turned up to register the full patent for the telephone. In the end it was Bell who went down in the history books as the great inventor, and Meucci died in poverty, his name forgotten everywhere except in his native land, where his work was always recognised.But they lie, the history books lie, said Euclid, opening the folder to show me its contents. There was a photocopy of an article, published in 1941 by the Cuban anthropologist Fernando Ortiz, which mentioned Meucci and the possibility that the telephone had been invented in Havana. In addition, there were several sheets of paper covered in notes, a few old articles from Bohemia and Juventud Rebelde , plus a copy of Granma from 1989 with that article I just mentioned.
Produktdetaljer
Biografisk notat
Karla Suárez Karla Suárez was born in Havana in 1969. Since her childhood, she has been passionate about mathematics, writing stories, and music. She studied classical guitar and has a degree in electronic engineering, a profession she continues to develop. Suárez is the author of five collections of short stories and four novels. Her novels received many awards, such as the Lengua de Trapo Prize for her 1999 debut novel Silencios (Silences ); and the Prix Carbet of the Caribbean and Tout-Monde and the Insular Book Prize, both in France, in 2012. Many of her stories have appeared in anthologies and magazines published in Europe, the United States, and Latin America. Several of her stories have been adapted for television and theatre. Suárez has received several creative grants, including the one awarded by the National Book Center of France (CNL). In 2007, she was selected by the Hay Festival and Bogota World Book Capital, as one of 39 representative young writers of Latin America. She lives in Lisbon, where she coordinates the Reading Club of the Cervantes Institute and works as a writing teacher at the Writers’ School in Madrid.
Christina MacSweeney received the 2016 Valle Inclán prize for her translation of Valeria Luiselli’s The Story of My Teeth , and her translation of Daniel Saldaña París’ Among Strange Victims was a finalist for the 2017 Best Translated Book Award. Other authors she has translated include: Elvira Navarro (A Working Woman ), Verónica Gerber Bicecci (Empty Set ; Palabras migrantes/ Migrant Words ), and Julián Herbert (Tomb Song; The House of the Pain of Others ).