Kingdom Cons is the most recent translation of Yuri Herrera’s works. Originally titled Los trabajos del reino, it is Herrera’s first novel but the third to be translated into English by Lisa Dillman. The story follows the Artist, a struggling singer-songwriter who gains favor with “the King.” Upon entering the “Palace,” the Artist joins the King’s “Court” and is tasked with singing praises to the ruler.
Herrera’s writing style blends elements of myth, fairy tale, and contemporary drama. The setting of Kingdom Cons remains ambiguous throughout, leaving the reader to imagine it could be a border town, an eighteenth-century court, or Moctezuma’s Tenochtitlán. The characters in the story, including the King and the Artist, are not given names but are referred to by their roles at Court, such as the Jeweler, the Journalist, the Doctor, and the Witch. Despite feeling archetypal, Herrera imbues these characters with human qualities, making them relatable.
As the Artist settles into the Palace and becomes part of the King’s Court, he gathers tidbits of gossip to weave into his ballads. He glorifies the King and his courtiers through his music, only to realize that the King is not as omnipotent as his songs suggest, and the Palace is not invincible. Tensions rise as threats loom from neighboring kingdoms, leading to unrest within the Court. The Artist’s conflicting emotions, particularly his forbidden love for the Commoner, add depth to the narrative.
While some may categorize Herrera’s work as part of the “narcoliterature” genre, connecting it to Mexican narcocorridos that celebrate drug lords, the text avoids explicit references to drug trade. Herrera’s time in Ciudad Juárez, a city known for drug cartel activity, likely influenced the novel’s themes, yet the story’s richness allows for various interpretations beyond this context. The novel’s allure lies in its intricate narrative, balancing ambiguity with a compelling plot.
Herrera’s use of regional Mexican expressions presents a challenge for translators like Lisa Dillman, who skillfully navigates the cultural nuances in the text. The incorporation of phrases specific to northern Mexico, such as “raite,” poses difficulties in translation, yet Dillman’s choices effectively convey the essence of the original language. Despite the inevitable loss of certain cultural subtleties in translation, Dillman’s thoughtful decisions result in a compelling English rendition of Herrera’s work.
