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In Carlos Fuentes, Mexico, and Modernity, Maarten van Delden argues that there is a fundamental paradox at the heart of Fuentes's vision of Mexico and in his role as novelist and critic in putting forth that vision. This paradox hinges on the tension between national identity and modernity. A significant internal conflict emerges in Fuentes's work from his attempt to stake out two different positions for himself, as experimental novelist and as politically engaged and responsible intellectual. Drawing from the fiction, literary essays, and political journalism, van Delden places these tensions in Fuentes's work in relation to the larger debates about modernity and postmodernity in Latin America. He concludes that Fuentes is fundamentally a modernist writer, in spite of the fact that he occasionally gravitates toward the postmodernist position in literature and politics. Van Delden's thorough command of the subject matter, his innovative and sometimes iconoclastic conclusions, and his clear and engaging writing style make this study more than just an interpretation of Fuentes's work. Carlos Fuentes, Mexico, and Modernity offers nothing less than a comprehensive analysis of Fuentes's work. Carlos Fuentes, Mexico, and Modernity offers nothing less than a comprehensive analysis of Fuentes's intellectual development in the context of modern Mexican political and cultural life.
Winner of the Cervantes Prize Carlos Fuentes, one of the world’s most acclaimed authors, is at the height of his powers in this stunning new novel—a magnificent epic of passion, magic, and desire in modern Mexico, a rich and remarkable tapestry set in a world where free will fights with the wishes of the gods. Josué Nadal has lost more than his innocence: He has been robbed of his life—and his posthumous narration sets the tone for a brilliantly written novel that blends mysticism and realism. Josué tells of his fateful meeting as a skinny, awkward teen with Jericó, the vigorous boy who will become his twin, his best friend, and his shadow. Both orphans, the two young men intend to spend their lives in intellectual pursuit—until they enter an adult landscape of sex, crime, and ambition that will test their pledge and alter their lives forever. Idealistic Josué goes to work for a high-tech visionary whose stunning assistant will introduce him to a life of desire; cynical Jericó is enlisted by the Mexican president in a scheme to sell happiness to the impoverished masses. On his journey into a web of illegality in which he will be estranged from Jericó, Josué is aided and impeded by a cast of unforgettable characters: a mad, imprisoned murderer with a warning of revenge, an elegant aviatrix and addict seeking to be saved, a prostitute shared by both men who may have murdered her way into a brilliant marriage, and the prophet Ezekiel himself. Mixing ancient mythologies with the sensuousness and avarice and need of the twenty-first century, Destiny and Desire is a monumental achievement from one of the masters of contemporary literature.
In this masterly, deeply personal, and provocative book, the internationally renowned Mexican writer Carlos Fuentes, whose work has been called “a combination of Poe, Baudelaire, and Isak Dinesen” (Newsweek), steps back to survey the wellsprings of art and ideology, the events that have shaped our time, and his extraordinary life and fiercest passions. Arranged alphabetically from “Amore” to “Zurich,” This I Believe takes us on a marvelous inner journey with a great writer. Fuentes ranges wide, from contradictions inherent in Latin American culture and politics to his long friendship with director Luis Buñuel. Along the way, we find reflection on the mixed curse and blessing of globalization; memories of a sexual initiation in Zurich; a fond tracing of a family tree heavy with poets, dreamers, and diplomats; evocations of the streets, cafés, and bedrooms of Washington, Paris, Santiago de Chile, Cambridge, Oaxaca, and New York; and a celebration of literary heroes including Balzac, Cervantes, Faulkner, Kafka, and Shakespeare. Throughout, Fuentes captivates with the power of his intellect and his prose. Here, too, are vivid, often heartbreaking glimpses into his personal life. “Silvia” is a powerful love letter to his beloved wife. In “Children,” Fuentes recalls the births of his daughters and the tragic death of his son; in “Cinema” he relives the magic of films such as Citizen Kane and The Wizard of Oz. Further extending his reach, he examines the collision between history and contemporary life in “Civil Society,” “Left,” and “Revolution.” And he poignantly addresses the experiences we all hold in common as he grapples with beauty, death, freedom, God, and sex. By turns provocative and intimate, partisan and universal, this book is a brilliant summation of an international literary career. Revisiting the influences, commitments, readings, and insights of a lifetime, Fuentes has fashioned a magnificently coherent statement of his view of the world, reminding us once again why reading Fuentes is “like standing beneath the dome of the Sistine Chapel. . . . The breadth and enormity of this accomplishment is breathtaking” (The Denver Post).
From time immemorial, Mexico's legendary beauty has been matched by intense historical drama. Mayan mythmakers, Aztec emperors, Spanish conquistadors, Yankee and French invaders, dictators and peasant revolutionaries are still vivid influences on Mexico's present. In this stunning collection of essays, first published in Britain in 1997, Carlos Fuentes examines mexico as it faces a new time. Torn between tradition and modernity, impatient with an exhausted political system but unsure how and with what to replace it, Mexicans are struggling to make the transition from authoritarian to democratic politics. Fuentes' bold and timely study discusses the origins and nature of the unforeseen events that have transformed Mexico's politics and scoiety: the 1994 rebellion in Chiapas, the subsequent rash of assassinations, the break between Presidents Salinas and Zedillo, and continual traumas for democratic self-rule.
Regarded as among modern Mexico’s foremost creative writers, Octavio Paz, Carlos Fuentes, Carlos Monsiváis, and Elena Poniatowska are also esteemed as analyzers of society, critics of public officials, and both molders and mirrors of public opinion. This book offers a reading of Mexican current affairs from 1968 to 1995 through a comparative study of these four writers’ political work. In hundreds of articles, essays, and comments published in the Mexican press—Excélsior, La Cultura en México, La Jornada, Proceso, and many other publications—these writers tackled current affairs as events unfolded. Yet the lack of detailed examination of their contributions in the press has left a gap in our understanding of their vital role in raising awareness of national concerns as they were happening. Claire Brewster has mined direct quotations from a host of publications to illustrate the techniques that they used in combating government and editorial restraints. Brewster first addresses the Student Movement of 1968—the violent suppression of which was a watershed in the relationship between the Mexican government and people—and illustrates the ways in which the student crisis affected the writers’ relationships with presidents Luis Echeverría Alvarez and José López Portillo. She next considers the profound social and political repercussions of the 1985 earthquake as described by Poniatowska and Monsiváis and the consequent emergence of Mexican civil society. She then outlines Paz’s and Monsiváis’s vociferous responses to the 1988 presidential election campaigns and their highly contentious result, and lastly she examines the Chiapas rebellion from January to July 1994. The eloquent Zapatista spokesman, Subcomandante Marcos, challenged Mexican writers to a duel of words, and Brewster analyzes the ways in which the four writers took up the gauntlet—and in so doing reveals the development of their political thoughts and their relationships with the Mexican people and the federal government. The work of these four authors charts an important historical era, and a close examination of their essays reveals their maturation as writers and provides an understanding of the development of Mexican society. By bringing their opinions and attitudes to light, Brewster unearths a rich lode of insight into the inner workings of Mexican intellectuals and invites observers of contemporary Mexico to reconsider their role in reflecting social change.
_____________________ 'An admirable novel'- The Times 'In this portrait of men and women swept along by great events, and determined to be on the side of the angels, Fuentes has invested the often colourless world of politics with romantic ardour' - Sunday Telegraph _____________________ An epic and heartbreaking love story that will leave no one untouched. Like Fuentes's masterpiece The Death of Artemio Cruz, the action in this novel begins in the state of Veracruz and moves to Mexico City. From 1905 to 1978, Fuentes traces the extraordinary Laura Díaz; a life filled with a multitude of witty, heartbreaking scenes and the sounds, colours, tastes and scents of Mexico. Laura grows into a politically committed artist who is also a wife and mother, a lover of great men, and a complicated and alluring heroine whose bravery prevails despite her losing a brother, son, and grandson to the darkest forces of Mexico's turbulent, often corrupt politics. Hers is a life which has helped to affect the course of history, and it is the story of a woman who has loved and understood with unflinching honesty. _____________________ 'Fuentes's affair with the fickle forces of creativity reaches a rare and poignant intensity ... a landmark book' - Scotsman
An exploration of Spanish culture in Spain and the Americas traces the social, political, and economic forces that created that culture.
Five novellas on the Spanish conquest of the New World which mix drama, philosophy and satire. In "The Two Americas" instead of discovering America, Columbus discovers paradise and decides to stay.
Where, Carlos Fuentes asks, is a modern-day vampire to roost? Why not Mexico City, populated by ten million blood sausages (that is, people), and a police force who won’t mind a few disappearances? “Vlad” is Vlad the Impaler, of course, whose mythic cruelty was an inspiration for Bram Stoker’s Dracula. In this sly sequel, Vlad really is undead: dispossessed after centuries of mayhem by Eastern European wars and rampant blood shortages. More than a postmodern riff on “the vampire craze,” Vlad is also an anatomy of the Mexican bourgeoisie, as well as our culture’s ways of dealing with death. For—as in Dracula—Vlad has need of both a lawyer and a real-estate agent in order to establish his new kingdom, and Yves Navarro and his wife Asunción fit the bill nicely. Having recently lost a son, might they not welcome the chance to see their remaining child live forever? More importantly, are the pleasures of middle-class life enough to keep one from joining the legions of the damned?
Terra Nostra is one of the great masterpieces of modern Latin American fiction. Concerned with nothing less than the history of Spain and of South America, with the Indian Gods and with Christianity, with the birth, the passion, and the death of civilizations, Fuentes's great novel is, indeed, that rare creation--the total work of art. Magnificently translated by Margaret Sayers Peden, Terra Nostra is, as Milan Kundera says in his afterword, "the spreading out of the novel, the exploration of its possibilities, the voyage to the edge of what only a novelist can see and say."