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Marina Closs (Aristóbulo del Valle, Misiones, 1990) has a Bachelor of Arts from the University of Buenos Aires and currently is a Conicet doctoral fellow. She has published two short story collections, La doncella aguja (2013), and El violín a vapor (2016) and a reimagining of the life of Jesus called El pequeño sudario (2014). In 2018 she also won the Angélica Gorodischer Prize for the novel Álvar Núñez: trabajos de sed y de hambre.

Marina Closs – Tres truenosTres truenos
One. A young Guaraní woman tells of the curse of having given birth to twins – according to local tradition, an unequivocal proof of adultery. Her visit to the hospital for a caesarean section and the subsequent convalescence at her sister-in-law’s house are mixed with the longing for the simple life, childhood and virginity.

Two. Demut, a German girl at the beginning of the 20th century, runs away not only from the hunger and misery of central Europe, but also from the looks she gets because of the emerging incestuous relationship she maintains with her brother. An epic journey takes her to a German community settled in Misiones, in north eastern Argentina.

Three. Adriana, an arts student, has managed to gain relative economic independence in the city she chose to study. She is self-sufficient in a broad sense: she talks to herself, keeps a journal, maintains a distant bond with her mother, and has space to sustain a couple of relationships with painters of different pictorial and lovemaking abilities.

The stories of the three lives (one tragic, another brave, the third comic) explore, in their uniquely private languages, the sexual development of their protagonists. Three visceral stories about aspects of female sexuality (virginity, incest, orgasm) related through the invention of an oral language that is endearing, poetic and at times humorous. Marina Closs unfolds three distinct monologues, handling both irony and a sober lyricism to give shape to these three furies.

Tres truenos was awarded in 2018 the First Prize from the Fondo Nacional de las Artes, from a jury made up of Florencia Abbate, Selva Amada and Luis Sagasti.

“Blood occupies a cursed space in Marina Closs’s storytelling, and that is why in her text there is a constant question about what a woman is built on, what makes a woman a woman, fertility? Giving birth to children? To have orgasms?… Undoubtedly, it is the language that the author uses her greatest success: the mix of oral arguments and descriptions provokes such astonishment and wonder in the readers, leading them into the psyche of these three women.”
– Revista Ñ, Clarín

192 pages – Original language: Spanish (Bajo la Luna, Buenos Aires, May 2019); Foreign editions: Spain (Transito, Madrid, 2021), Mexico (Dharma Books, 2021)

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