(Considering the neoconservative slant of the book review section, this 
is a remarkably positive review.)


NY Times Book Review, August 23, 2009
A History of Us
By NEIL GORDON

MIRRORS
Stories of Almost Everyone
By Eduardo Galeano
Translated by Mark Fried
Illustrated. 391 pp. Nation Books. $26.95

Leftist political outrage is a tricky mode for storytellers, lending 
itself to platitudes and the verities of liberal self-righteousness. 
That’s why so many political novels turn to the techniques of suspense, 
and why so many fail.

And then there’s Eduardo Galeano, the lifelong political and literary 
activist recently brought to the American public eye when Hugo Chávez 
gave President Obama a copy of “Open Veins of Latin America,” Galeano’s 
seminal history of, as his subtitle has it, “Five Centuries of the 
Pillage of a Continent.” His political stance is one of consistent moral 
horror and his idiom the plain and sometimes primitivist voice of his 
native Uruguay, captured neatly in the memoir “Days and Nights of Love 
and War” in his description of an early political insight: “When I 
learned this, I had long since lost my innocence, but I felt like a 
cheated little boy.”

The literary form Galeano has created in his many books is unique: 
little narratives and descriptive vignettes — here elegantly translated 
by Mark Fried — that might range from a paragraph to a dozen pages and 
that progress with a powerful hypnotic rhythm. Each is self-contained 
and neatly tells its story not only by what it says, but, equally 
powerfully, by what it leaves out — and by its juxtaposition, or 
syncopation, with its neighbors.

Galeano’s latest book, “Mirrors,” uses this technique to create nothing 
less than a capsule history of the human race. In some 600 short 
entries, he travels from prehistory to the present, from the 
impressionistic to the brutally, precisely documented. Each entry is an 
avatar of outrage over the depredations of power against its 
multifarious victims, those rendered helpless by poverty, religion, 
race, sexual identity or — as in the vignettes about Galileo and Isaac 
Babel — the simple accident of being right when the truth defined by the 
prevailing authority was wrong.

The first dozen or so stories move us from the origin of humanity in 
desire (“Life was alone, no name, no memory. It had hands, but no one to 
touch. It had a tongue, but no one to talk to. Life was one, and one was 
none. . . . The arrow of desire split life down the middle, and life was 
two”) to a meditation on the likelihood that Adam and Eve were black, an 
evocation of the mystery of the cave paintings in the Sahara, an 
explanation of the origin of Indian castes and a tribute to the Rosetta 
stone. Greek mythology figures centrally in the book, as do the 
flowering of Moorish civilization in Spain, the Crusades and the 
Inquisition.

AT times the entries are simply testimonial: “In a single night in 
August 1944, 2,897 Gypsies, women, children, men, perished in the gas 
chambers of Auschwitz.” Elsewhere they are poetic. And sometimes they 
can be uncomfortably polemical: a brief history of the Holocaust (a 
“colossal butchery organized by Hitler”) concludes that “hunting Jews 
has always been a European sport. Now the Palestinians, who never played 
it, are paying the bill.” Is the elision of the complex victimization of 
the Palestinians by Arab states a necessary consequence of this lapidary 
form?

Galeano’s prose is nearly lulling in its lyricism, a quality that gives 
it an over­ridingly shamanic tone. His powerful voice reminds us, over 
and over again, of the responsibility of writers to be constantly in 
search of new forms of expression that may draw us out of our 
complacency, as he does so eloquently here. As in his previous books, he 
succeeds in capturing the bottomless horror of the state’s capacity to 
inflict pain on the individual, offering as effective an act of 
political dissent as exists anywhere in contemporary literature.

Neil Gordon is a novelist and the dean of Eugene Lang College the New 
School for Liberal Arts.

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