Las Biuty Queens: Stories

16.00 JOD

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Description

“A dazzling collection of stories based in part on his/her life… Readers will want to consume these bonbons slowly because they are so rich and delicious.” – Gay City News “Chilean American writer Ojeda dazzles and devastates in this rich collection about a group of trans Latinx immigrants as they try to make it in New York City.” – Publishers WeeklyDrawing from his/her own experience as a trans performer, sex worker, and undocumented immigrant, Iván Monalisa Ojeda chronicles the lives of Latinx queer and trans immigrants in New York City. Whether she is struggling with addiction, clashing with law enforcement, or is being subjected to personal violence, each character choses her own path of defiance, often responding to her fate with with irreverent dark humor. What emerges is the portrait of a group of friends who express unquestioning solidarity and love for each other, and of an unfamiliar, glittering and violent, New York City that will draw readers in and swallow them whole.On every page, Iván Monalisa’s unique narrative talent is on display as he/she artfully transforms the language of the streets, making it his/her own — rich with rhythm and debauchery. This bold new collection positions Ojeda as a fresh and necessary voice within the canon of world literature.

Additional information

Weight 1.55 kg
Dimensions 1.81 × 14.76 × 21.75 cm
PubliCanadation City/Country

USA

by

, ,

Format

Hardback

Language

Pages

176

Publisher

Year Published

2021-6-1

Imprint

ISBN 10

1662600305

About The Author

Iván Monalisa Ojeda was born in the late sixties in southern Chile and grew up on the shores of Lake Llanquihue. He/she studied theater at the University of Chile, in Santiago, and when he/she got his/her degree, Iván Monalisa settled in New York, where he/she currently lives. He/she published an essay collection, La Misma Nota, Forever (Sangria Publishers, 2014) and has written articles for magazines and plays. In addition to being a writer, he/she is a performer and is at work on a novel. Iván Monalisa's pronouns are he/she, his/hers, him/her because he/she considers him/herself to be both genders.

“Iván Monalisa Ojeda brings to life a breathtaking world of camaraderie, beautiful messiness, pain, and resilience in Las Biuty Queens. He/she offers us captivating snapshots of Latinx trans sex workers living, working, and loving in New York City, telling a story close to my heart: that of keeping one another alive, fed, bailed out, and in deliciously deviant company amidst the harshness of criminalization. This book is like the money a friend slips in your pocket when they know you can't make rent: a fortifying whisper to carry on, and carry each other with us.” — Tourmaline, filmmaker and activist"This story collection marks the arrival of a singular personality with a unique and quintessential American voice. You can’t just read this book; you bathe in its grit, the resilience of its characters and, most of all, its beauty. What a stunning book." — Jose Antonio Vargas, founder of Define American and author of Dear America: Notes of an Undocumented Citizen"Chilean American writer Ojeda dazzles and devastates in this rich collection about a group of trans Latinx immigrants as they try to make it in New York City. . . . Throughout, Ojeda proves to be a captivating presence on the page."— Publishers Weekly"No one in Chile writes like Iván Monalisa Ojeda. No one has his/her ease, his/her boldness, his/her tenderness. The stories we find in Las Biuty Queens fiercely depict the life of an undocumented immigrant in New York. Here the glamor and lights coexist with misery and solitude. The American dream doesn't exist. We're left with the fragile voices of this book as they tell, in rabid Spanglish, the story of a nightmare as gorgeous as it is infinite."— Diego Zúñiga, award-winning author of Camanchaca"Las Biuty Queens is a superb collection. Its thematic content – the lives of this vibrant community – is central to the stories, and yet the stories can be appreciated for their style and effusive characterization alone. Put the two together, and Ojeda has produced a magnificent debut that’s both politically important, as well as simply beautiful to read."— PopMatters Magazine

Table Of Content

Introduction by Pedro AlmodóvarOverdoseIn the BoteOrtiz Funeral HomeJennifer’s CarnationsAdriana la Chimba, or The Gorgeous Adriana de PereiraEmergency RoomBiuty QueenLittle Miss Lightning BoltThe Boricua’s BluntsLorena the ChilenaA Coffee Cup ReadingMother Hen and Her ChicksSabrina’s Wedding

Excerpt From Book

OverdoseNight falls. I haven’t slept in three days. My pupils are dilated and my eyes are red. Sprawled out on the bed, almost motionless, I’m convinced my body smells of ether. When I turn out the lights in my room, everything falls into shadows. Little by little, piles of clothing start to take human shape. Immobile forms everywhere I turn. As night draws on, they look more and more like the silhouettes of people. It must be the effect of not having closed my eyes in days. It’s the middle of summer, and the room I’m renting is on the third floor of a house in the Bronx. A house made of wood that holds in all the heat. I don’t have air conditioning and the fan does nothing to regulate the rising temperature of my body. I sweat something that smells like chemicals and artificial sweetener. I have a big bottle of water next to my bed, but I can’t bring myself to move, not even to reach for a drink. It doesn’t matter that I haven’t had a drop of water in over ten hours.  My intestines feel all crunchy because my stomach is empty, but I’m not hungry. I have enough money to order delivery, but something keeps me from picking up the phone. I can’t let anyone hear my voice. The last time I made a call on my cell, my friend asked what was going on, why my voice sounded all metallic, like I was calling from beyond the grave. Calling 9-11 isn’t an option. I know from experience that nothing good can come of it. First they’ll cart me off to the emergency room, and then straight to the psych ward at Bellevue. I pick up the rosary just as I always have since the age of ten whenever I feel rage or fear coming on. I try to pray, but I don’t have the patience. I barely make it through seven Ave Marias.  I get used to the dark. I can distinguish between objects, but I can’t let my eyes focus on anything in particular. I know that, if I do, I’ll see someone.  Without wanting to, I look toward the closet. The door’s cracked open. I make out a pair of shoes, and then, all of a sudden, the shoes are attached to a pair of legs. There’s someone inside my closet. I can see him clearly. He has long legs. I sit up in bed and whisper to him to leave me alone. Then I see my silk kimono shining in the semi-darkness. It’s draped over a suitcase. In a second, it transforms before my eyes into the silhouette of a woman who is face-down, kneeling. I can’t bear to look at her face. I squeeze my eyes shut.  I lay back down on the bed, which is damp and has a sweet smell. I take a deep breath and decide to start opening my eyes very, very slowly. On the opposite end of the bed, just beyond my feet, the only window in the room opens onto a giant tree that must be over a century old. A faint wind rustles its branches. Little by little, the swaying starts to accelerate and I hear what sounds like voices repeating an unintelligible mantra.  I close my eyes again and try to breathe deeply. Something tells me it’s all in my head, or it must be the effect of so many sleepless nights. I try to snap out of it. I look for the bottle of water at the foot of the bed. I’m not thirsty, but I know I should drink something. I feel better. Better than I’ve felt in many hours. I promise myself this really will be the last time. I pull the glass pipe out from under my pillow and open the little plastic bag of crystal meth. I empty some of it into the pipe. I take the lighter and begin heating up the glass bulb. When I see the white smoke building up in the center of the bulb, I take a long hit. I repeat this four times. I wait for the pipe to cool down and put it back under the pillow. I lie face up on the bed. I think of the time I told a friend that whenever I’m high on crystal meth and haven’t slept for a few days, I start seeing human forms. This isn't the first time. My friend said they must be the ghosts of people who overdosed. Looking me straight in the eye, she warned me never to talk to the shadows, never to make any kind of contact with them. I should ignore them. It was for my own good, she said. I close my eyes and try to get them out of my head. But suddenly, everything starts spinning very slowly, in a way that feels almost pleasant, until just as suddenly, everything falls still. I muster the courage to sit down on the edge of the bed. I open my eyes and look toward the closet with the open doors. There are the shoes, which now connect to a pair of legs and the shadow of a man. I whisper to him without fear. I tell him this can’t be real, that what I’m seeing is no ghost. I ask if he’s really there, but the shadow doesn’t reply. I say it over and over again until I hear a voice saying no, none of us are dead. We are only shadows. I turn my head to see who’s speaking. My kimono is still being worn by the woman who, just a moment ago, was kneeling, face-down. Now she’s raised her head. I can’t help but stare. She tells me not to worry. Not to be afraid. She tells me to lie down and try to close my eyes. It’s time to rest. They’ll watch over me as I dream. And then the voices disappear and with them go all of the colors.

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