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In the sequel to The Codex Mojaodicus, Steven Alvarez’s experimental Manhatitlán returns to the mythopoetic mode to build a network of layered rhythms, designs, images, languages, and voices, with the nodal point centered on Mexican New York City, past, present, and future. The novel in verse weaves narratives, histories, and stories into a slanguage chingazo straight to the panza.
A citational landscape and the prismatic vernaculars of a self in constant motion, Steven Alvarez’ Manhatitlán is the ontological codex we need right now. This is a generative rupture from the tyranny of fragmentation of identity that instead incites a radical semantic potentiality of simultaneity. Alvarez creates a new vocabulary of understanding the ways a country is more than just a country but an ancestral seizure in the everyday life of a New Yorker--he who considers the border, its ellipses, and the lines by which he is crossed.
And so it begins, this blurb, as is only right, just as the book it seeks to crystalize, aware of itself. Cognizant of its own existence and this world’s obsessive demand of brevity, this blurb in the time it has left, will now attempt to capture the interest of you, gentle reader, for the immediacy of commerce, with tales of the Messican Desert, of Pancho at the wheel, of nortenos families forgotten, of La Llorona throwing two fingers up across the menace of the Amurikan cityscape of MANHATITLÁN. This blurb will now tell you that Steven Alvarez has here within these pages accomplished miraculous dread and wonder, the feel of foreign giving way to the sense of a Metropolis that could be trampled any moment under the weight of ancestral claim. Alvarez knows there is pain and power in the renaming. And so it the blurb ends attaching its dreams of annals and posterity to the contents of these pages, just another Amurkin tale from MANHATITLÁN.
In the sequel to The Codex Mojaodicus, Steven Alvarez’s experimental Manhatitlán returns to the mythopoetic mode to build a network of layered rhythms, designs, images, languages, and voices, with the nodal point centered on Mexican New York City, past, present, and future. The novel in verse weaves narratives, histories, and stories into a slanguage chingazo straight to the panza.
