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.“






reporting on the Arizona border wall, november 2022 (photo: Eliseu Cavalcante)


with Ellen Waterston and guest judge Raquel Gutiérrez at the 2022 Waterston Desert Writing Prize awards ceremony
Caroline Eaton Tracey writes about environment, migration, art, and literature in the US Southwest, Mexico, and the borderlands between the two. She speaks and works in English, Spanish, and Russian.

Caroline’s reporting appears in the New Yorker, n+1, the Atlantic, and elsewhere, as well as in Spanish in Mexico’s Nexos. In 2022-2023 she was the climate justice fellow at High Country News. In 2022 she was awarded the Waterston Prize for Desert Writing and in 2023 she received Columbia University’s Ira A. Lipman Fellowship in Journalism and Human and Civil Rights. She is also an editor-at-large at Zócalo Public Square.

Her essays appear in the Kenyon Review Online, Shenandoah, 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, SFMOMA’s Open Space, and Burlington Contemporary, and her book reviews appear in the European Review of Books and the Nation.

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 her manuscript SALT LAKES, which combines personal narrative and science journalism to provide a new, queer perspective on climate change in arid environments, and a book proposal about the US-Mexico borderlands. 

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

Sus artículos aparecen en The New Yorker, n+1 y The Atlantic, entre otros lugares. En español escribe frecuentemente para la revista Nexos. En 2022-2023, cubría la justicia climática para la revista High Country NewsEn 2022 ganó el Premio Waterston por Escritura del Desierto y en 2023 recibió la beca Ira A. Lipman de periodismo de derechos humanos y civiles de Columbia University. También colabora como editora en Zócalo Public Square.

Sus ensayos aparecen en Kenyon Review Online, Shenandoah 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, Open Space (plataforma del Museo de Arte Moderno de San Francisco) y Burlington Contemporary, y sus reseñas literarias en European Review of Books y The Nation.

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 busca publicar su manuscrito de no-ficción sobre los lagos salados y está preparando una propuesta para un libro sobre la zona fronteriza México-Estados Unidos. 

Pregúntale sobre betabeles.