caroline eaton tracey
writer

caroline.e.tracey at gmail dot com

Woman is Space: Oksana Vasyakina’s Rana
European Review of Books, June 2022

“Thinking with Woolf and others, Rana begins to overlay and intertwine the different scales of prostranstvo—textual, bodily, domestic, landscape—and thus elaborates a worldview that can reconcile Oksana’s uneasy relationship to womanhood, her nostalgia for Siberia, her grief. That worldview reconciles the comforts of her mother's domestic prostranstvo with her own lesbian desire by conjuring landscapes out of lovers' bodies: « When I look at the body of a woman, it enchants me...It glows in space, it's like bread or stone, I love it. I look upon it as I would a rich, complicated landscape. » And at the center of the novel, the prose dissolves into a long poem titled « Ode to Death », in which Oksana's mother transmogrifies into spaces of different scales: the space of her own body, the domestic space of her apartment, the sterile hospice in which she dies, the space of landscape.“
Женщина—это и есть пространство: Рана (Оксана Васякиниа)
European Review of Books, июнь 2022 г.

“Думая с Вулф и другими авторами, Рана накладывает и переплетает различные масштабы пространства—текстовый, телесный, домашний, ландшафтный—чтобы разработать мировоззрение, способное примирить непростое отношение Оксаны с женственностью, ее тоска по-Сибири, ее горе. То мировоззрение примиряет удобность домашнего пространства ее мамы со ее собственным лесбийским желанием, создавая пейзажи из тел своих возлюбленных: « Когда я рассматриваю тело жены, оно очаровывает меня...оно светится в пространстве, оно как хлеб или камень, я его люблю. Я рассматриваю ее как сложный богатый ландшафт. » А в середине романа, проза растворяется в длинное стихотворение под названием « Ода Смерти, » в котором мама Оксаны превращается в пространства различных масштабов: пространство своего тела; домашнее пространство своей квартиры; стерильный хоспис, в котором мама умирает; пространство ландшафта.“







Caroline Eaton Tracey writes about art, literature, environment, and migration in the US Southwest, Mexico, and the borderlands between the two. She speaks and works in English, Spanish, and Russian.

Currently, Caroline is the Climate Justice Fellow at the High Country News and an editor-at-large Zócalo Public Square. Her reporting appears in n+1, the Atlantic, the Nation, and elsewhere, as well as in Spanish in Mexico’s Nexos. Her reportage about migrant death in South Texas won the 2019 Scoundrel Time/Summer Literary Seminars nonfiction contest, and she was recently awarded the 2022 Waterston Prize for Desert Writing. 

Caroline’s personal essays appear in the Kenyon Review Online, Full Stop, New South, and elsewhere. “A River Passes By Here” was runner-up in the 2020 Financial Times/Bodley Head essay contest and “The Ephemeral Forever” won Ruminate Magazine’s 2021 VanderMey Nonfiction Contest. Her art writing has appeared in Nexos, Variable West, SFMOMA’s Open Space, and Burlington Contemporary.

Caroline holds a PhD in Geography from the University of California, Berkeley. She lives with her wife, Mexican architect and sculptor Mariana GJP, between Tucson, Arizona and Mexico City.

She is currently seeking representation for SALT LAKES, her manuscript of essays, and preparing a book proposal about the effects of US border and migration policy in Mexico. 

Ask her about sugar beets.
Caroline Eaton Tracey escribe sobre el arte, la literatura, el medioambiente y la migración en México, el Suroeste de Estados Unidos y la frontera entre ellos. Habla ingles, español y ruso.

Actualmente, Caroline cubre justicia climática para la revista High Country News y colabora como editora en Zócalo Public Square. Sus artículos aparecen en n+1, The Nation y The Atlantic, entre otros lugares. En español escribe frecuentemente sobre la frontera norte para Nexos. En 2019, un artículo suyo sobre el fallecimiento de migrantes en el desierto del sur de Texas ganó el premio de no ficción de Scoundrel Time/Summer Literary Seminars, y in 2022 ganó el Premio Waterston por Escritura del Desierto.

Sus ensayos aparecen en Kenyon Review Online, Full Stop y New South, entre otros lugares. “Aquí Pasa Un Río” ganó segundo lugar en el premio de ensayo Financial Times/Bodley Head de 2020; en 2021 “Lo Efímero, Para Siempre” ganó el concurso de no-ficción VanderMey de Ruminate Magazine. Sus reseñas y ensayos sobre el arte han aparecido en Nexos, Variable West, Open Space (plataforma del Museo de Arte Moderno de San Francisco) y Burlington Contemporary.

Caroline es Doctora en Geografía de la Universidad de California–Berkeley. Vive con su esposa, la arquitecta y escultora mexicana Mariana GJP, entre Tucson, Arizona y la Ciudad de México.

Actualmente está buscando publicar su manuscrito de ensayos y preparando una propuesta para un libro sobre los efectos de la política migratoria/fronteriza de Estados Unidos en México. 

Pregúntale sobre betabeles.