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This is a few days old now, but it was great to see Larry Rohter of the New York Times do a on Mexican novelist Mario Bellatin. Bellatin—and his books—are really interesting. Even the opening story in the piece is awesome:

A few years ago the Mexican novelist Mario Bellatin attended one of those literary conferences here where writers are asked to talk about their own favorites. Unwilling to make a choice, he invented a Japanese author named Shiki Nagaoka and spoke with apparent conviction about how deeply Nagaoka had influenced him, fully expecting the prank to be unmasked during the question-and-answer period.

Instead the audience peppered him for more information about Nagaoka, who was said to have a nose so immense that it impeded his ability to eat. So Mr. Bellatin (pronounced Bay-yah-TEEN) decided to extend the joke and promptly wrote a fake biography ���Ĵ�ý� complete with excerpts, photographs and bibliography ���Ĵ�ý� called ���Ĵ�ý�Shiki Nagaoka: A Nose for Fiction.���Ĵ�ý�

And if this sort of intellectual game-playing wasn’t already intriguing enough, he also fools around with his body:

Mr. Bellatin himself is missing much of his right arm, the result of a birth defect that he says he ���Ĵ�ý�plays with, takes advantage of and acknowledges���Ĵ�ý� in his work by ���Ĵ�ý�writing with my whole body.���Ĵ�ý� He jokes about ���Ĵ�ý�my left hand knoweth not what my right hand doeth,���Ĵ�ý� and depending on his mood, he sometimes appears in public wearing a prosthesis with an attachment, chosen from his collection of more than a dozen, that gives him the appearance of Captain Hook.

���Ĵ�ý�People often say, with a lot of truth to it, that all good fiction writing comes from some wound, out of some distance that needs to be breached between a writer and normalcy,���Ĵ�ý� said the novelist and critic Francisco Goldman, a friend of Mr. Bellatin. ���Ĵ�ý�In Mario���Ĵ�ý�s sense, the wound is literal and comes with all kinds of psychological nuance and pain, and seems related to sexuality and desire, the desire for a whole body. One of my favorite aspects of him is this sense that he is writing for all the freaks ���Ĵ�ý� either literally freaks or privately and metaphorically, that he really touches us.���Ĵ�ý�

came out from City Lights this week (see “our review”: by Larissa Kyzer) and has been nominated for this year’s Best Translated Book Award. Definitely worth checking out, and hopefully City Lights will be bringing out more of Bellatin’s works in the near future.