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Ornamental
US $6.19
ApproximatelyS$ 7.93
Condition:
Good
A book that has been read but is in good condition. Very minimal damage to the cover including scuff marks, but no holes or tears. The dust jacket for hard covers may not be included. Binding has minimal wear. The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins. No missing pages.
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Located in: Pittsburgh, Pennsylvania, United States
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Estimated between Tue, 16 Sep and Mon, 22 Sep
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eBay item number:226750336384
Item specifics
- Condition
- Release Year
- 2020
- ISBN
- 9781566895804
About this product
Product Identifiers
Publisher
Coffee House Press
ISBN-10
1566895804
ISBN-13
9781566895804
eBay Product ID (ePID)
22038637711
Product Key Features
Book Title
Ornamental
Number of Pages
144 Pages
Language
English
Topic
Psychological, Hispanic & Latino, Contemporary Women
Publication Year
2020
Genre
Fiction
Format
Trade Paperback
Dimensions
Item Height
0.5 in
Item Weight
5.3 Oz
Item Length
7.7 in
Item Width
5 in
Additional Product Features
Intended Audience
Trade
LCCN
2019-028582
Reviews
Praise for Ornamental Longlisted for the 2021 PEN Translation Award "With pitch-black comedy, Ornamental, nimbly translated by Lizzie Davis, channels the ways that egomaniacs in science and art--in any field--rise to the top, up the pyramid of capitalism. . . . [T]he rhythm of Cárdenas's writing compels and reassures, as if driven by the very humanity the lab has helped suppress." --Nathan Scott McNamara, The New York Times "[A] work of subtlety and restraint. . . . What makes Ornamental so deeply affecting, however, is not that its pages come together to form a beautiful work of exterior art--though it does--but its ability to cast unease on our interior worlds. . . . Brilliantly executed and cleverly translated, Ornamental leaves us with a fresh understanding of the creation of art and the nature of meaning-making." --Dashiel Carrera, Los Angeles Review of Books "Author Juan Cárdenas masterfully tells the tale of the junction of an experimenting doctor, his wife, and his subsidized voluntary narcotic patient. . . . [E]xpertly translated by seasoned editor Lizzie Davis." --Ellie Simon, World Literature Today "In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are 'a single crush of old houses and ruins'. . . . the overall effect offers both thrills and chills." --Publishers Weekly "[An] absurdist critique of class inequality. . . . Cárdenas also dabbles in art criticism and curation and uses that knowledge to acidic effect in a social drama that borders on the phantasmagorical. . . . with captivating moments." --Kirkus "[A]n exhilarating, slippery narrative where the reader knows much truth can be found, if only they can figure out how to decipher it. . . .Cárdenas's prose is economical yet lyrical; many of his images are veritable objets d'art. . . . Lizzie Davis has done a spectacular job rendering Cárdenas's novel in English." --Gillian Esquivia-Cohen, Kenyon Review "Cárdenas's narrative style hangs on outlines and sketches that give the short novel an allegorical heft surprising for its slimness. . . .It's in the unexpected reversal of focus, from the researcher to Number 4, from the moneyed to the impoverished, that Ornamental commits its boldest act and reminds us of the people sacrificed and ignored by the progress of science." --Sebastian Sarti, Cleveland Review of Books "Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities--someone 'threatening pain with extortion,' someone 'signing imagined telegrams of dried monkey meat,' the night recovering, at last, 'its vulgarity'--don't give us any pause. And translator Lizzie Davis is the next generation's Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish." --Forrest Gander "In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed." --Alia Trabucco Zerán, "In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are 'a single crush of old houses and ruins'. . . . the overall effect offers both thrills and chills." --Publishers Weekly "This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women's ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities--someone 'threatening pain with extortion,' someone 'signing imagined telegrams of dried monkey meat,' the night recovering, at last, 'its vulgarity'--don't give us any pause. And translator Lizzie Davis is the next generation's Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish." --Forrest Gander "In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed."--Alia Trabucco Zerán "Ornamento is a novel dense in ideas, witty in its style, and close to the prophetic in its condemnatory speech." --Nadal Suau, El Cultural "A novel of high density--in terms of ideas, plot, and language--Ornamento is the confirmation that Juan Cárdenas is one of the most interesting writers working in the Spanish language today." --Daniel Saldaña París, Tierra Adentro "Juan Cárdenas has conceived a maddeningly delightful, genuinely literary novel." --José de María Romero, Revista de Letras "The novels of Juan Cárdenas suggest that at times we can come close to understanding the terror of history." --Edmundo Paz Soldán, El boomeran(g) "The lyricism and the democratic polyphonies that constitute some of the best Latin American literature are present here. Juan Cárdenas's prose couldn't be further from predictable literary language." --Marta Sanz, El confidencial "With this story, Cárdenas achieves, once again, a detailed description of the Latin American scene, not by mentioning the places or countries, but by way of the accents and attitudes of his characters." --Verónica Figueroa, El País "The atmosphere of the novel goes ratcheting up its sense of unease by degrees, echoed by the dogs, whose initial unsettling barks become the terrifying howls of beasts in chains." --Teresa Lezcano, Sur "The works of Juan Cárdenas are disturbing and provocative." --Catalina Holguín Jaramillo, Revista Arcadia, "This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women's ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities--someone 'threatening pain with extortion,' someone 'signing imagined telegrams of dried monkey meat,' the night recovering, at last, 'its vulgarity'--don't give us any pause. And translator Lizzie Davis is the next generation's Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish." --Forrest Gander "In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed."--Alia Trabucco Zerán "Ornamento is a novel dense in ideas, witty in its style, and close to the prophetic in its condemnatory speech." --Nadal Suau, El Cultural "A novel of high density--in terms of ideas, plot, and language--Ornamento is the confirmation that Juan Cárdenas is one of the most interesting writers working in the Spanish language today." --Daniel Saldaña París, Tierra Adentro "Juan Cárdenas has conceived a maddeningly delightful, genuinely literary novel." --José de María Romero, Revista de Letras "The novels of Juan Cárdenas suggest that at times we can come close to understanding the terror of history." --Edmundo Paz Soldán, El boomeran(g) "The lyricism and the democratic polyphonies that constitute some of the best Latin American literature are present here. Juan Cárdenas's prose couldn't be further from predictable literary language." --Marta Sanz, El confidencial "With this story, Cárdenas achieves, once again, a detailed description of the Latin American scene, not by mentioning the places or countries, but by way of the accents and attitudes of his characters." --Verónica Figueroa, El País "The atmosphere of the novel goes ratcheting up its sense of unease by degrees, echoed by the dogs, whose initial unsettling barks become the terrifying howls of beasts in chains." --Teresa Lezcano, Sur "The works of Juan Cárdenas are disturbing and provocative." --Catalina Holguín Jaramillo, Revista Arcadia, "This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women's ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities--someone 'threatening pain with extortion,' someone 'signing imagined telegrams of dried monkey meat,' the night recovering, at last, 'its vulgarity'--don't give us any pause. And translator Lizzie Davis is the next generation's Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish." --Forrest Gander "Ornamento is a novel dense in ideas, witty in its style, and close to the prophetic in its condemnatory speech." --Nadal Suau, El Cultural "A novel of high density--in terms of ideas, plot, and language--Ornamento is the confirmation that Juan Cárdenas is one of the most interesting writers working in the Spanish language today." --Daniel Saldaña París, Tierra Adentro "Juan Cárdenas has conceived a maddeningly delightful, genuinely literary novel." --José de María Romero, Revista de Letras "The novels of Juan Cárdenas suggest that at times we can come close to understanding the terror of history." --Edmundo Paz Soldán, El boomeran(g) "The lyricism and the democratic polyphonies that constitute some of the best Latin American literature are present here. Juan Cárdenas's prose couldn't be further from predictable literary language." --Marta Sanz, El confidencial "With this story, Cárdenas achieves, once again, a detailed description of the Latin American scene, not by mentioning the places or countries, but by way of the accents and attitudes of his characters." --Verónica Figueroa, El País "The atmosphere of the novel goes ratcheting up its sense of unease by degrees, echoed by the dogs, whose initial unsettling barks become the terrifying howls of beasts in chains." --Teresa Lezcano, Sur "The works of Juan Cárdenas are disturbing and provocative." --Catalina Holguín Jaramillo, Revista Arcadia, Praise for Ornamental Longlisted for the 2021 PEN Translation Award "With pitch-black comedy, Ornamental, nimbly translated by Lizzie Davis, channels the ways that egomaniacs in science and art--in any field--rise to the top, up the pyramid of capitalism. . . . [T]he rhythm of Cárdenas's writing compels and reassures, as if driven by the very humanity the lab has helped suppress." --Nathan Scott McNamara, New York Times "[A] work of subtlety and restraint. . . . What makes Ornamental so deeply affecting, however, is not that its pages come together to form a beautiful work of exterior art--though it does--but its ability to cast unease on our interior worlds. . . . Brilliantly executed and cleverly translated, Ornamental leaves us with a fresh understanding of the creation of art and the nature of meaning-making." --Dashiel Carrera, Los Angeles Review of Books "Author Juan Cárdenas masterfully tells the tale of the junction of an experimenting doctor, his wife, and his subsidized voluntary narcotic patient. . . . [E]xpertly translated by seasoned editor Lizzie Davis." --Ellie Simon, World Literature Today "In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are 'a single crush of old houses and ruins'. . . . the overall effect offers both thrills and chills." --Publishers Weekly "[An] absurdist critique of class inequality. . . . Cárdenas also dabbles in art criticism and curation and uses that knowledge to acidic effect in a social drama that borders on the phantasmagorical. . . . with captivating moments." --Kirkus "[A]n exhilarating, slippery narrative where the reader knows much truth can be found, if only they can figure out how to decipher it. . . .Cárdenas's prose is economical yet lyrical; many of his images are veritable objets d'art. . . . Lizzie Davis has done a spectacular job rendering Cárdenas's novel in English." --Gillian Esquivia-Cohen, Kenyon Review "Cárdenas's narrative style hangs on outlines and sketches that give the short novel an allegorical heft surprising for its slimness. . . .It's in the unexpected reversal of focus, from the researcher to Number 4, from the moneyed to the impoverished, that Ornamental commits its boldest act and reminds us of the people sacrificed and ignored by the progress of science." --Sebastian Sarti, Cleveland Review of Books "Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities--someone 'threatening pain with extortion,' someone 'signing imagined telegrams of dried monkey meat,' the night recovering, at last, 'its vulgarity'--don't give us any pause. And translator Lizzie Davis is the next generation's Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish." --Forrest Gander "In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed." --Alia Trabucco Zerán
Synopsis
The lives of a doctor, his wife, and his patient collide, laying bare the political and personal narratives they have carefully constructed for themselves. A doctor recruits volunteers for the trial of a new recreational drug that exclusively affects women. Among them is "number 4," who becomes emotionally involved with first the scientist, then his wife, a well-known visual artist in the midst of a creative crisis. The scientist is oblivious to the atrocities his new drug will bring to the city; his wife is oblivious to the superfluousness of the objects she has committed her life to exhibiting in galleries and museums. Number 4's presence pierces the couple's complacency, gradually undoing the many certainties they've accumulated in their lives of ease., A scientist recruits volunteers for the trial of a new recreational drug that exclusively affects women. Among them is "number 4," who becomes emotionally involved with first the scientist, then his wife, a well-known visual artist in the midst of a creative crisis. The scientist is oblivious to the atrocities his new drug will bring to the city; his wife is oblivious to the superfluousness of the objects she committed her life to exhibiting in galleries and museums. Number 4's presence pierces the couple's complacency, gradually undoing the many certainties they've accumulated in their lives of ease., The lives of a scientist, his wife, and his patient collide, laying bare the carefully constructed political and personal narratives they have crafted for themselves.
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