Don Segundo Sombra is presented as a bilingual, Spanish/English book, with side-by-side texts. This book shows how a rebellious teenager transforms himself into a gaucho of the pampas, under the guidance of Don Segundo Sombra, the image of the ideal gaucho. The gauchos loved their freedom, they were nomads who wandered through the fields, at a time when there were no fences and wild cattle abounded, which allowed them to live off the land. They only looked for temporary work in a ranch, when they needed some money. The figure of the gaucho always appears linked to the horse; they were…mehr
Don Segundo Sombra is presented as a bilingual, Spanish/English book, with side-by-side texts. This book shows how a rebellious teenager transforms himself into a gaucho of the pampas, under the guidance of Don Segundo Sombra, the image of the ideal gaucho. The gauchos loved their freedom, they were nomads who wandered through the fields, at a time when there were no fences and wild cattle abounded, which allowed them to live off the land. They only looked for temporary work in a ranch, when they needed some money. The figure of the gaucho always appears linked to the horse; they were excellent riders and wranglers. When the fields were wired and the railway connected the pampas with the rest of the country, well into the 19th century, the gaucho lost his freedom and the way of life portrayed in this book came to an end. The original edition of Don Segundo Sombra doesn't have a Table of Contents because although the book is divided in 27 chapters, they have no titles. To help readers locate easily the different parts of this book we added a TOC with titles for each chapter, but such titles are no part of the original book. There are two other English translations of this book, the 1935 translation by Harriet de Onís, published by Signet in 1966, with an afterword by herself and the 1995 translation by Patricia Owen Steiner, accompanied by extensive critical materials, published by the University of Pittsburgh. Both translations, although very good, are out of print but also, they were not written by people familiarized with the gaucho culture of Argentina, which made them not very faithful to the original text. Don Segundo Sombra was written by an educated man who used the real language spoken by the gauchos of the XIX century; this complicates the translation of this book because it is full of colloquialisms and jargon. This translation is the first one written by an Argentinean, familiar with the cultural and gaucho jargon of the time. Some words couldn't be translated properly, because there are not English words for them, in such cases the Spanish word was not translated, but its meaning is explained in the Glossary. All words included in the Glossary are underlined. Also, the same words can mean different things in different places and times, those Spanish words who don't have the normal meaning in the time and place of this story (the province of Buenos Aires, in some moment of the XIX century), also were underlined in the Spanish text and added to the Glossary. We hope this bilingual translation can help English readers to understand better this classic work of the Latin-American literature.
(1886-1927) Argentine poet, short story writer and novelist, Güiraldes is one of the greatest exponents of "criollismo" along with Rómulo Gallegos (Venezuela), José Eustasio Rivera (Colombia), Horacio Quiroga (Uruguay-Argentina), and Benito Lynch (Argentina). In his work the search for a literary language capable of expressing and objectifying the essential values ¿¿of his country is appreciated. He covered the regionalist narrative with an undoubted poetic value, and managed to combine an elaborate literary language with regional speech. His famous novel Don Segundo Sombra managed to literarily elevate the gaucho and reveal the collective soul of Creole Argentina. Born in Buenos Aires, the son of a wealthy rural family. During his childhood, at Estancia La Porteña, he got to know gaucho life up close. He studied architecture and law studies but did not finish them. He traveled to Paris, a city to which he returned several times, and toured Europe and some eastern countries such as India and Japan. In his travels he met and befriended various European writers, particularly Valery Larbaud. In Paris he experienced bohemian life and came into contact with European literature and avant-garde trends, an experience that influenced his literary training, and in Buenos Aires he participated with Jorge Luis Borges in the foundation of the Argentine magazine Proa. His first publication was The Crystal Cowbell (1915), of a postmodernist style and in which his taste for symbolist French poetry and, particularly, that of Jules Laforgue is evident. Although considered primarily a novelist, Güiraldes was always a poet in prose, with a unique aesthetic gift, combining storytelling and lyricism. Published in 1915 the Tales of Death and Blood, already show the aesthetics of his greatest works: the emptying of a reality of his own that he deeply loves - the native land and its traditional themes - in European molds of post-war literature. Progressively the novels appeared: Raucho (1917), autobiographical cut; Rosaura (1922), sentimental history, and then his two best-known works: Xaimaca (1923), a love trip from Buenos Aires to Jamaica, and Don Segundo Sombra (1926). Güiraldes configured the image of the gaucho outside of a social context and the sublime: loneliness is its essence and its wandering on the road is the way to conquer and give meaning to life; It is the symbol of the pampa and therefore an American symbol. The pictures of the gaucho life and the Argentine landscape that are elaborated throughout his work are impregnated with a powerful lyrical vigor. Shortly after receiving the National Literature Prize, Güiraldes traveled to Paris, where he died in 1927.
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