The Reptant Eagle: Essays on Carlos Fuentes and the Art of the Novel

The Reptant Eagle: Essays on Carlos Fuentes and the Art of the Novel

Language: English

Pages: 330

ISBN: 1443870838

Format: PDF / Kindle (mobi) / ePub

The Reptant Eagle: Essays on Carlos Fuentes and the Art of the Novel

Language: English

Pages: 330

ISBN: 1443870838

Format: PDF / Kindle (mobi) / ePub


Carlos Fuentes (1928-2012) was the most prominent novelist in contemporary Mexico and, until his recent death, one of the leading voices in Latin America's Boom generation. He received the most prestigious awards and prizes in the world, including the Latin Civilization Award (presented by the Presidents of Brazil, Mexico, and France), the Miguel de Cervantes Prize, and the Prince of Asturias Award. During his fecund and accomplished life as a writer, literary theorist, and political analyst, Fuentes turned his attention to the major conflicts of the twentieth century - from the Second World War and the Cuban Revolution, to the Soviet invasion of Czechoslovakia, the war in Vietnam, and the post-revolutionary crisis of the one-party rule in Mexico - and attended to their political and international importance in his novels, short fiction, and essays. Known for his experimentation in narrative techniques, and for novels and essays written in a global range that illuminate the conflicts of our times, Fuentes' writings have been rightfully translated into most of the world's languages. His literary work continues to spur and provoke the interest of a global readership on diverse civilizations and eras, from Imperial Spain and post-revolutionary France, to Ancient and Modern Mexico, the United States, and Latin America. The Reptant Eagle: Essays on Carlos Fuentes and the Art of the Novel includes nineteen essays and one full introduction written exclusively for this volume by renowned Fuentes scholars from Asia, Europe, the United States, and Latin America. Collected into five parts, the essays integrate wide-ranging methods and innovative readings of The Death of Artemio Cruz (1962), Aura (1962), Terra Nostra (1975) and, among other novels, Distant Relations (1980); they analyze the visual arts in Fuentes's novels (Diego Rivera's murals and world film); chart and comment on the translations of Fuentes's narratives into Japanese and Romanian; and propose comprehensive readings of The Buried Mirror (1992) and Personas (2012), Fuentes' posthumous book of essays. Beyond their comprehensive and interdisciplinary scope, the book's essays trace Fuentes' conscious resolve to contribute to the art of the novel and to its uninterrupted tradition, from Cervantes and Rabelais to Thomas Mann and Alejo Carpentier, and from the Boom generation to Latin America's "Boomerang" group of younger writers. This book will be of importance to literary critics, teachers, students, and readers interested in Carlos Fuentes's world-embracing literary work.

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Otherness (amor): El lenguaje en la novela, portadora constante de la duda frente a la fe ideolંgica, la certeza religiosa o la conveniencia política, no puede dejar de lado ni ideología, ni religiંn ni política. Tampoco puede, la novela, ser dominada por cualquiera de ellas. Lo que puede hacer es convertir ideología, religiંn o política en problema, abriéndolas a la puerta de la interrogaciંn, levantando el techo de la imaginaciંn, bajando al sંtano de la memoria, entrando a la recámara del

vez de memoria: “si el oído no ha de oírlas” (246), etc. A través de la lectura de Calderón Laura expresa su melancólica conciencia de que la cobardía de Artemio le va a negar la vida nueva que anhela. Las referencias a los dos cuadros impresionistas que los amantes ven en París son introducidas sin preámbulos en tercera persona: “Se detuvieron frente a ese cuadro” (242); “Ella le preguntó si no le inquietaba saber” (247). Los comentarios de Laura sobre el cuadro fácilmente identificado como “La

futile reaching out to the world—is repeated several times in different forms as the novel progresses. There is a moment where we see Artemio reaching out to his daughter Teresa, who fails to notice his gesture: “Trato de alargar la mano hacia Teresa, pidiéndole alivio, pero mi hija se ha vuelto a perder en la lectura del diario” (62). Later in the novel, Artemio tries to signal a request that a tape-recorder which his assistant has brought to his bed-side be turned off, but he is too fatigued to

internacionalización de la literatura mexicana y en la modernización del género novelesco y del mundo de las letras (García Gutiérrez 2010 a, b). Diego Rivera y Carlos Fuentes fueron asociados por la crítica desde que apareció La región más transparente, que marca el inicio del segundo “Renacimiento”. La crítica veía en la novela un mural como los de Rivera. Al ahondar en este apunte se encuentra que Carlos Fuentes, inspirado en 3 Véase nota 3. No se descartan las sugerencias de los estudios

increasingly demented Hollywood actresses, Joan Crawford and Bette Davis. Like Orquídeas, which is an enormous series of mirror reflections and distortions of the lives of the two dazzling heroines, the dark world of What Ever Happened to Baby Jane? evokes and then ruthlessly parodies the spectacular and just about to be terminated Hollywood careers of the two finest of the super actresses whose achievements have never been equaled, thus paralleling the iconic status of Dolores del Río and María

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