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The format of the book was both untraditional and appropriate--interweaving the narrator's present-day hospital waiting room thoughts with his memories that told the actual story of his life with Rosario--but the lack of break between them sometimes made the narration confusing and forced me to go back and reread the transition or lack thereof so I was certain I had entered a new timeframe.

This is jarring and disruptive in any book and detracts from the ideal immersive reading experience. To its credit, however, it was a short and quick read. I wish I knew Spanish, because I would be very inclined to read the novel in its native language.

Alternatively, I would also be interested in reading it translated by a different translator, because I am sure this would also affect the interpretation.

What a fascinating job that would be! Goodreads helps you keep track of books you want to read. Want to Read saving….

Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Rosario Tijeras by Jorge Franco. Gregory Rabassa Translator.

Rosario Tijeras es una obra que pertenece al estudio socio-realista Latinoamericano. Get A Copy. Paperback , pages. Published January 6th by Siete Cuentos first published November 30th More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Rosario Tijeras , please sign up. Lists with This Book. Community Reviews.

Showing Average rating 3. Rating details. More filters. Sort order. Start your review of Rosario Tijeras. Dec 17, Fabian rated it really liked it. The P. That the villains have no faces, no attributes but BADness elevates the work: makes it contemporary, makes it more immediate and more terrible.

You have very little idea what our titular antihero is involved in, but the redness of blood is omnipresent. You get a sense of this generation of Colombian malcontents. A stellar read: you sigh at the fact that so little pages remain til the tra The P. A stellar read: you sigh at the fact that so little pages remain til the tragic conclusion. It is worth it. I found the Spanish copy in Sanborns in Juarez--hella lucky!

Apr 02, Pammy rated it it was amazing. I have read this book over 20 times! Ok, so I fell in love with the character herself in my opinion one of the greatest characters of all time but I really think Jorge Franco did an amazing job with this story! It makes a point on everything from Colombian culture, to poverty, to sex, to violence, to love, to women's rights, to forgiveness, to vengeance. It's pretty much the most kick-ass book I've ever read Can I give more than 5 stars? It's also pretty intense, and one of my favorite movies, but like most movies based on a book, they change alot of things including Rosario herself.

In the book she is way more bad-ass than in the film, and though Flora Martinez actress that plays Rosario does an AMAZING job with that role, I still think she was portrayed way too whiny in the film compared to the book Still, don't get me wrong, the film gets 5 stars! Read this book, you wont regret it! View 2 comments. The setting is Medellin during the drug wars of the s. There are three main characters: the beautiful but deadly Rosario Tijeras which means "scissors" in Spanish , her current boyfriend Emilio, and the narrator Antonio, who is hopelessly in love with her.

At the very outset, Rosario is shot and taken to the hospital. Antonio reminisces about the love he bore for this strange woman who is fighting for her life in a Colombian hospital. The clock on the wall is permanently stuck at as he The setting is Medellin during the drug wars of the s.

The clock on the wall is permanently stuck at as he agonizes about his love for a woman who is at the same time a cold-blooded killer and a little girl deep inside. Rosario Tijeras is one of those short but intense stories of love and loss that reads well, but makes you want to take deep breaths when you come to the last page -- and make you feel as if you have just escaped from a very dark closet.

Jun 21, Liz rated it liked it Shelves: fiction , colombian-authors , spanish , politics-prose-bookclbu. Originally read this in English in , when I first moved to Medellin; re-read in Spanish for my current Spanish language book club.

IMHO this book does many things very well. I like the sections that explore the line between truth and memory. Rosario is a very mysterious, removed and unknowable character, and her dialogue always seems authentic to me, at least.

The drug conflict and the "duros de los duros" are never made explicit and instead lurk in the background, which I thought was a mo Originally read this in English in , when I first moved to Medellin; re-read in Spanish for my current Spanish language book club.

The drug conflict and the "duros de los duros" are never made explicit and instead lurk in the background, which I thought was a more effective approach than being all, Pablo Escobar, boo hoo. The passages describing Medellin are probably some of my favorite in all of literature -- Franco really captures the essence of the city in a way I could not articulate.

At the end of the day, I would recommend this book to people who are interested in Colombia, because it does give you a strong sense of the social divides and the violence that was tearing Medellin apart.

However, I wouldn't recommend to a general audience, and I would only recommend to Colombia aficionados with a major caveat She doesn't really get a character arc -- the last third of the book is consumed by Antonio's lovesick musings which, believe me, gets old real fast. The plot literally "uses" Rosario as a vehicle for Antonio to come to his final realization -- he's not a kid anymore, everything is more complicated than it first appears, etc. But while the book creates a lot of tension by withholding information about Rosario, I think it goes too far.

Antonio's perspective is too limited -- because he knows so little about her, we as readers never know what's really driving Rosario as a character. I'm not saying that Franco needed to interject an epic Rosario monologue near the end, but I needed An additional scene, a few extra lines of dialogue that give us a stronger sense of Rosario having needs and desires outside of what Antonio thinks she wants.

Now, Antonio is a melodramatic, horny teen You can literally feel his eyes lingering over her body parts. So yeah, I understand why ogling over Rosario's bod would make the narrative feel more "accurate," bc of course this is what a teenage boy is gonna focus on. Still, the implication is that we as readers should be interested and invested in what happens to Rosario as a character isn't just because she's a sicaria, she's a HOT sicaria.

She's not black, she's not a dumpy indigena, she's a mestiza who wears ombligueras. Because these are the qualities that bring pleasure to all the male characters in the book, we as readers are supposed to see them as "pleasurable" as well. Isn't that kind of weird?? What does she think of her body?

What does she think when she looks at the men who are looking at her? I had to turn it off after 10 minutes because it was just too gross. I had some curiosity about this book, I have not seen neither the film nor the series that were made based on it, but that's not what caught my attention, but to dig a bit in the origins and in the most representative of what has come to be called narcoliterature, novels of drug dealers or sicarios or even "sicaresca".

The genre is very common in Mexico and also in Colombia. The story is presented on the back cover as that of a girl who becomes a prostitute and hitwoman in the Medellin drug trafficking scene of the 90's the book was published in and in its development it has the good sense not to fall into glorification of the narco, which is one of the most common criticisms of the genre.

What they do not say is that basically the book is a love story, a love story where the beloved girl friendzones the intended lover boy, who not only accepts it but lives happy with that for a long time. Well, it's a novel. Otherwise the book seemed pretty good, is well written and in a not boring style, and it makes you pass the pages without realizing it. Although the narco is at the heart of the narrative, the narcos the hard of the hard as they say in the novel are not presented directly, in fact they only appear briefly, unnamed, just for once.

What we see is their workers, those who do the errands, those who put the chest, the assassins, the sicarios. And spoilers they are the ones who die, because in this novel the poor who take the narco as an escape route to their poverty, die, while the rich who take the narco only as a diversion, live.

It is not fair you'll say, but come on, justice is not one of the constituent elements of the universe.



One of the fellow Colombians to whom "Gabo" wished to "pass the torch" was Jorge Franco, in his forties, whose anguished narco-realism is an age away from the butterflies of rural Macondo. Franco is part of a Latin American new wave dubbed the McOndo realists, in a nod to a magic-realist genre superseded by the urban ubiquity of McDonald's, Macintoshes and condos. Narco-dollars encroached by stealth in the big buildings and luxury cars of the s, until drug lord Pablo Escobar took open control of the city through terror and kidnappings. In the novel this transformation is seen through the eyes of Antonio, a middle-class youth in hopeless love with the eponymous Rosario, a cinnamon-skinned girl-woman who earned her alias, Tijeras "scissors" , by castrating the man who raped her at Rosario is the most literal of femmes fatales, a hit woman hired by the Cartel to "tuck in" cops or meddlesome politicians, but who is paid back in her own coin, "shot at point-blank range while she was being kissed". As Antonio paces the hospital where she lies, he retraces his unfulfilled passion.

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The American debut by award-winning Colombian novelist Franco is an energetic but awkward combination of As I Lay Dying and a Quentin Tarantino splatter-fest—a slim novel that leans more toward the latter's B-movie violence than Faulkner's penetrating examination of a character's death. Beginning when Rosario Tijeras is shot at point-blank range, the narrator, one Antonio, tells the story of the Colombian beauty who got her name Tijeras means scissors from the weapon she once used to castrate a man who attacked her. Unfortunately, his infatuation with Rosario, "one of those women who are poison and antidote at the same time," feels like a mixture of adolescent infatuation and routine sexual tension. Meanwhile, Rosario's story is full of South American hit men and drug runners; she's a neighborhood idol—"Castrate me with your kisses," reads graffiti scrawled in her honor—but she never feels completely real. Franco's prose is uneven: it's impassioned and colorful, but marred by overly dramatic lines like "Rosario looked most deadly and most woman when she was making love.

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