Andrés Montero (Santiago de Chile, 1990). Writer and oral narrator, author of children, young adults and adults books. His work has been published in Chile, Argentina, Spain, Italy and Denmark and has received important literary prizes both in Chile and abroad, most notably is the 10th Ibero-American Novel Award Elena Poniatowska (Mexico, 2017) for his novel Tony Nobody. Montero has also been awarded with the Marta Brunet Award (Chile, 2017), Santiago Municipal Award (Chile, 2017), and has been a finalist for awards such as the Clarín de Novela, Roberto Bolaño and El Barco de Vapor. He has obtained three times the Scholarship for Literary Creation by the Chilean Ministry of Culture, Arts and Heritage. In 2018 he was part of the Latinoamérica Viva program of the FIL Guadalajara. He is also the founder of ‘La Matrioska’ Company of Oral Narrative and director of the Casa Contada School of Literature and Orality.
A literary work that celebrates the ability of stories to travel through time and to be told in multiple and unexpected ways.
At the beginning of the 19th century, in central Chile, a dazzling duel between the landowner Javier de la Rosa and a labourer of slave descent known as the "mulato Taguada" took place. Two centuries later, a young man hears this story from the mouth of Nicanor Parra (Cervantes Prize, 2011) himself and, amazed, decides to investigate the scenarios and implications of this famous counterpoint.
Taguada is a choral novel narrated by various characters: researchers, payadores (improvising folk trovadors), priests, fairground workers, soldiers, journalists, gravediggers and poets, who instead of solving the mystery behind the story, end up with more questions. Is it true that they competed for ninety-six hours? Is it true that the landowner was crowned and that Taguada on the other hand faced a disastrous future?
“Stories travel. Perhaps there is nothing in the world that travels like stories, or at least like good stories. They wander for years, centuries and even millennia going from voice to voice, from earth to earth, from fire to fire, crossing oceans, deserts and mountains, settling down and huddling in the voice of those who will now make them their own. Thus, it seems that they win over oblivion, time and death. Until one day nobody tells them again. Until one day they perish”.
It's summer and the only thing Gabriel is sure about is that he likes poetry.
As he begins one of his last school years, literature will push him to open up to new experiences that he had not wanted to know until then. Conversations with a former teacher and the arrival of some foreign brothers at his school will reveal a new world in which he was not used to live.
This book approaches readers to the world of poetry, while narrating a story of friendship, love and growth. Its direct and simple language will easily involve the reader, who will find the plot captivating, emotional and full of important surprises.
Finalist for the Barco de Vapor Award (Chile, 2017) / Finalist for the Santiago Municipal Literature Award (2019)
A young adult book that narrates the unsettling rural legends of Chile.
A journey across Chile is the perfect adventure for a man in his years of independence. But a series of encounters and conversations with the people who live in the most remote villages of the country will divert his path into a world of oral tradition, magic and mysterious apparitions.
Andrés Montero is an oral narrator and he travels through Chile telling stories to adults and children. With this book, he fascinates by his talent for telling in a way that captures the reader with stories from the Chilean oral tradition.
Marta Brunet Award (Ministry of Culture, 2017) / Santiago Municipal Literature Award (2017)
The young Chilean writer Andrés Montero set his eyes on the world of the circus, its ups and downs, its daily life and characters. By focusing on the inherited family tradition pass on from generation to generation he decided to create "Tony Nobody", a novel about oral narration and the importance of the stories we listen and reproduce, but also those we keep silent about.
In a village circus, one day a child is abandoned, the son of an Arab whom nobody knew, along with two thick antique books, The Thousand and One Nights. A few years later, when the trapeze artist of the circus breaks an arm, the boy learns the stories by heart and begins to tell them to the public in a performance never seen before. A magic act that will bring the books to life by confusing the abandoned child and the woman trapeze in their roles within the world of reality and illusion.
"I was Sherezade, nothing else. The person represented outside the circus was an interim act: it was the illusion that allowed the existence of truth. The circus was the only feasible and imaginable place. Only inside the tent there were talks of life and death. Outside, the important thing was barely to survive. People managed to survive and came to the circus to live, to live even for a couple of hours".
This novel holds the following awards: Creation Scholarship CNCA 2014, the Pedro de Oña Short Novel Award (First Place, 2015), the Clarín Novel Award (Finalist, 2014), the Roberto Bolaño Award (Special Mention, 2013) and finalist of the Gabriela Mistral Literary Games Municipal Award 2015.
Through anecdotes of Latin American storytellers, Andrés Montero builds this entertaining essay that defends the importance of storytelling for memory and identity, for pain and celebration, for freedom and imagination, and most fundamentally, for the union of humanity. A book especially thought for fathers and mothers, reading mediators, oral narrators and, for every single person who deals with words.
Aldo Méndez, Boniface Ofogo, Virginia Imaz, Laura Escuela, Nicolás Buenaventura, Paty Mix and Ana Griott are some of the renowned storytellers who share their best anecdotes rescued from storytelling at schools, prisons, plazas, homes and libraries throughout Hispanic America.
"More and more people are realizing the importance of reunion to tell each other about our lives, our identities and fictions, some of us do it by carefully listenting, others take it as a job. For some years now, professional, popular and instrumental oral storytellers have focused their efforts on retaking this ancient practice, many even assuming it as their source of work. Thanks to these word's militants, stories have found their space in schools, libraries, theaters, hospitals, bars, prisons, squares surrounded by armed forces and virtual platforms behind a phone".