Biography of Liliana Heker (1943-VVVV)

Narrator, essayist and Argentine journalist, born in Buenos Aires in 1943. Author of a remarkable prosistica production that has moved beyond the borders of his native country to get to the most remote places in Europe and North America, is considered one of the most outstanding figures of contemporary Argentine literature written by women.

Encouraged from his youth by a marked literary vocation, he began writing poems at an early age and dared to send some of them to certain personalities enshrined in the Argentine literary scene. One of these early critics that Liliana Heker took was the great poet and playwright Abelardo Castillo, who, so sharply as intuition, answered in writing that seventeen-year-old girl that asked for its opinion: "the poem is lousy, but the letter feels that you're a writer". Thereafter, the Buenos Aires author decided to concentrate all its efforts on the prosístico genus, that - after a fruitful journalistic stage in different cultural media - provided a first and prodigious collection of short stories, presented under the title from those who saw the Bush (1966), opera prima that won praise from critics and readers and was consecrated early and Liliana Heker as one of the most promising voices of contemporary Argentine fiction. This first volume of stories already contained some of the best stories of the current letters from the second half of the 20th century, such as "Clerk" and "A glow that went out in the world", works which, together with other short stories of the Buenos Aires author, soon were translated into English and displayed on the shelves of bookstores in GermanyRussia, Turkey, Holland, Canada and Poland.

Without abandoning this complex genus of the brief narrative, Liliana Heker has also published the evil pears (Barcelona: El Cid, 1980) and the edges of the real (Buenos Aires: Aguilar, Altea and Alfaguara, Taurus), book - the latter - which has met all the stories that have emerged from his pen since it began to write until the beginning of the 1990s. But, in addition, the Narrator, Buenos Aires has cultivated with singular success extensive narrative, which performed a first foray in the mid-1980s with area of cleavage (Buenos Aires: Legasa, 1987). Subsequently, published another extensive narration which, under the title of the end of history (1996), became one of the major literary events of the year in Argentina and placed permanently to the Buenos Aires writer between the leading figures of the Argentine prose of the second half of the 20th century. On this so beautiful as crude narration, Liliana Heker rebuilt at a realistic level violent episodes in the history of their nation during the Decade of the 1970s, which obtained at the same time the applause and admiration of those who condemned such violence, as the reproach of those responsible for it. The controversy raised between them, added to the undeniable quality of the prose of Liliana Heker, contributed decisively to this splendid narration among the best-selling books of the moment.

In his work as an essayist and studious of contemporary southern literature, include a valuable contribution of Liliana Heker to knowledge of the prose of his generation, published under the title then here: argentina narrative back to the dictatorship (Buenos Aires: from people, 1996). But, without a doubt, where more has shone the Buenos Aires writer in his role as literary criticism is in the Argentine media specialized in cultural issues, such as the prestigious literary magazines El Oro and El Ornitorrinco beetle, in which, in addition to publishing its best reviews and factual articles, it fed the main literary polemics and held some of the cultural and ideological debates of greater impact in the Argentine intellectual landscape of the last third of the 20th century. For several years, she was Director of two publications just mentioned, and also collaborated with some regularity in other literary magazines of both popularity and role cricket.