AUNT JULIA AND THE SCRIPTWRITER is a semi-autobiographical Bildungsroman and the seventh novel by the great Peruvian author Mario Vargas Llosa – another Nobel laureate for our list. It was translated from Spanish to English in 1982 by Helen R. Lane. (You can read an extensive interview with Helen Lane here in which she discusses various aspects of translation.)
The plot of AUNT JULIA AND THE SCRIPTWRITER mirrors events from the author’s youth. A young radio journalist and would-be writer named Mario becomes involved with the older Julia, his beautiful aunt-by-marriage. As Vargas Llosa did, Mario has an eccentric and charismatic colleague: a prolific writer of radio soaps called Pedro Camacho. This comic ‘Boom’ novel switches back and forth between Mario’s affair with ‘Aunt Julia’ and the scripts for Camacho’s increasingly bizarre and convoluted soap operas. It was adapted for the screen as TUNE IN TOMORROW, and the setting moved from 1950s Lima to New Orleans.
1982 also saw the publication of A GREAT LOVE by Alexandra Kollontai, in a translation by her biographer, Cathy Porter. This was the first English edition to include all three stories from the original Russian collection. (The title novella was translated by Lily Lore and published separately in 1929.)
Kollontai was a remarkable character. A convinced Marxist, she was politically active from an early age, first with the Mensheviks and later as a Bolshevik. She was the only woman in the first Soviet government, although she did not always see eye to eye with Lenin, which led to her falling out of favour with the Communist Party. She was removed from influence and appointed to a series of diplomatic positions abroad. Kollontai was a feminist and an outspoken advocate of sexual liberation; she is thought to have been the inspiration for Greta Garbo’s character in the film NINOTCHKA. She was the only member of the original Bolshevik Central Committee to survive the Stalinist purges, other than Stalin himself.