Carlos Fuentes's Readings on Literary Traditions: From the New to the Great Latin American Novel

PMLA ◽  
2013 ◽  
Vol 128 (3) ◽  
pp. 698-701
Author(s):  
Anadeli Bencomo
Keyword(s):  
Latin American ◽  
Gabriel Garcia Marquez ◽  
Mario Vargas Llosa ◽  
Juan Rulfo ◽  
American Novel ◽  
Literary Traditions ◽  
Latin American Narrative ◽  
Nueva Novela ◽  
The 1960S ◽  
Narrative Forms

Carlos Fuentes, like many other writers of the Boom, discussed his peers' unprecedented renovation of Latin American narrative forms—specifically, the novel (e.g., Donoso; Vargas Llosa). In La nueva novela hispanoamericana (1969; “The New Spanish American Novel”), Fuentes reviews the most influential novels of the 1960s after presenting some of the founders of the literary modernity that preceded the Boom: Jorge Luis Borges, Juan Rulfo, Miguel Angel Asturias, and Alejo Carpentier. Fuentes focuses on the Boom's protagonists—Mario Vargas Llosa, Gabriel García Márquez, and Julio Cortázar—to highlight his ideas about the groundbreaking contributions of these novels.

¿¿Nueva narrativa? Entrevista con David Toscana

2002 ◽  
Vol 18 (2) ◽  
pp. 351-362
Author(s):  
Pablo A. J. Brescia ◽  
Scott M. Bennett
Keyword(s):  
Latin American ◽  
The Past ◽  
Current State ◽  
Latin American Narrative ◽  
Boom Latinoamericano ◽  
The 1960S ◽  
Time Frames ◽  
Insight Into

This interview with Mexican writer David Toscana ponders the current state of both Mexican and Latin American narrative and serves as an insight into his own works. Toscana's statements about the recurring themes in his narrative (failure, loneliness, characters put to the test, and a tendency to play with different time frames, especially in his novels) help illustrate some of the characteristics of his fiction, which, according to various critics, is one of the most promising today in Mexico. Also noteworthy are his comments about the tendency of writers from his generation (born in the 1960s and later) to reject the legacy of the "boom" writers. Toscana's own interest is to revisit history and tradition by constructing a different voice and a different vision, a new way of seeing and hearing both the past and the present. Esta entrevista con el escritor mexicano David Toscana trata de explorar el estado actual de la narrativa mexicana y latinoamericana, améén de servir como una aproximacióón a la incipiente obra de este autor. Las respuestas de Toscana sobre los temas recurrentes en su literatura (el fracaso, la soledad, los personajes sometidos a pruebas y una tendencia a proponer diferentes marcos temporales, especialmente en sus novelas) subrayan algunos rasgos de su ficcióón, la cual, segúún la críítica especializada, es una de las máás prometedoras en el panorama mexicano de hoy. De especial interéés son los comentarios de Toscana sobre la tendencia de los escritores de su generacióón a rechazar el legado del "boom" latinoamericano. Toscana reacciona contra ese rechazo y propone una voz personal que vuelva a la historia y a la tradicióón y plantee una nueva manera de ver el pasado y el presente de Mééxico.

“Mendacious Inventions”, Veracious Perceptions: “The Peruvian Reality of Vargas Llosa's La Ciudad Y Los Perros”

1987 ◽  
Vol 43 (4) ◽  
pp. 453-466
Author(s):  
Frederick M. Nunn
Keyword(s):  
Latin American ◽  
Gabriel Garcia Marquez ◽  
Cultural Development ◽  
Nobel Lecture ◽  
American Novel ◽  
X Ray ◽  
American Novels ◽  
Literary Achievement ◽  
Os Sertoes

“The interpretation of our reality through patterns not our own serves only to make us more unknown, ever less free, ever more solitary.”Gabriel García Márquez, Nobel Lecture, 1982In the second half of this century, we have been told, the Latin American novel came of age. Authors no longer felt constrained to subject indigenous contents to alien forms. Instead contents suggested forms truly representative of societies, polities, and cultures in search of identity and struggling with numerous historic problems, some not even of their own region's making.Although Latin American novels have long been recognized as important to the area's cultural development, as indicators of literary achievement, and as valuable sources for scholars, few works published between Machado de Assis's Dom Casmuro (1900) and Miguel Angel Asturias's Men of Corn (Hombres de maiz, 1949) could be described as aesthetic magna opera. In the long hiatus essayists took up the task of portraying reality, producing such classics as Euclides da Cunha's Rebellion in the Backlands (Os Sertões, 1902), José Vasconcelos's The Cosmic Race (La raza cósmica, 1925), José Carlos Mariátegui's Seven Interpretive Essays on Peruvian Reality (Siete ensayos de interpretación de la realidad peruana, 1927), Alberto Edwards Vives's The Aristocratic Fronde (La fronda aristocrática, 1927), and Ezequiel Martínez Estrada's X-Ray of the Pampa (Radiografía de la pampa, 1933).

scholarly journals Gabriel García Márquez, History and the Labyrinth of Literature

2020 ◽  
Vol 13 (4) ◽  
pp. 107-130
Author(s):  
Rodica Grigore
Keyword(s):  
Latin American ◽  
Historical Data ◽  
Gabriel Garcia Marquez ◽  
Historical Narrative ◽  
Literary Discourse ◽  
The Novel ◽  
American Novel ◽  
Simon Bolivar

Gabriel García Márquez’s novel centered on Simón Bolívar, The General in His Labyrinth (El general en su laberinto, 1989) provoked mixed reactions from the literary critics. Some of them praised another masterpiece, whereas the others accused the Colombian author of creating a disrespectful portrait one of Latin America’s most important historical and symbolic figures The novel combines historical data and fiction in order to humanize the character of the Liberator and to destroy his nearly mythological image while at the same time examining the implications of previous literary discourse on the contemporary Latin American novel. Moreover García Márquez finds an original means of establishing a profound relationship between the magical realist aesthetics he used in One Hundred Years of Solitude and this particular form of pseudo-historical narrative that succeeds in expressing the humanity of its protagonist.

scholarly journals La dictadora en La dama de cristal, de Zelmar Acevedo Díaz

LETRAS ◽  
2014 ◽  
pp. 77-86
Author(s):  
Elizabeth Abigail Sampson
Keyword(s):  
Latin America ◽  
Latin American ◽  
Gabriel Garcia Marquez ◽  
Mario Vargas Llosa ◽  
Literary Representation ◽  
Distinctive Features ◽  
The Feminine ◽  
America Latina ◽  
Fiesta Del Chivo

El estudio aborda el tema de la dictadora en La dama de cristal (1999), de Zelmar Acevedo Díaz (Argentina, 1951). Se comparan con otras novelas sobre el mismo tema y se examinan coincidencias o disparidades entre la representación literaria femenina y masculina del autoritarismo. La dictadura latinoamericana como fenómeno político ha persistido en América Latina con diferentes matices ideológicos. Gabriel García Márquez en El otoño del patriarca, Mario Vargas Llosa en La fiesta del Chivo o Luis Spota en El tiempo de la ira tratan este hecho para perfilar sus rasgos distintivos. Existe un caso particular en que el autoritarismo lo encarna una mujer. This study focuses on the theme of female dictator in La dama de cristal (1999), by Zelmar Acevedo Díaz (Argentina, 1951). It is compared with other novels on the same theme and an analysis is carried out of coincidences or disparities between the feminine and masculine literary representation of authoritarianism. Latin American dictatorships are a political phenomenon that has persisted in Latin America with different ideological tones. Gabriel García Márquez in El otoño del patriarca; Mario Vargas Llosa in La fiesta del Chivo or Luis Spota in El tiempo de la ira have approached this issue to profile its distinctive features. There is one particular case of a female dictator.

Spain in the Making and Reception of García Márquez’s Works

2021 ◽  
pp. 291-320
Author(s):  
Álvaro Santana-Acuña
Keyword(s):  
Latin American ◽  
Book Industry ◽  
Gabriel Garcia Marquez ◽  
Reading Practices ◽  
American Novel ◽  
Literary Education ◽  
History Of ◽  
Democratic Rule ◽  
Analytical Tools ◽  
Iconic Figure

Gabriel García Márquez is one of the most beloved and read writers of the last century in Spain. Yet his early literary works went almost unnoticed for more than a decade among Spanish publishers, critics, and readers. The success of One Hundred Years of Solitude and subsequent works transformed him into a popular bestselling writer and iconic figure in that country. Using little-known and new sources, including documents from contemporary reviews and readers’ reactions as well as the author’s archives, this article studies the reception of García Márquez’s works and his rise to stardom in Spain. Key to the successful response to his oeuvre were (1) the literary education of the author, which allowed him to develop a writing style with appeal to Spanish audiences; (2) the diffusion and consecration of the New Latin American Novel (aka Boom novel) during a crisis in Peninsular fiction; (3) the modernization of Spain’s book industry, which benefited the promotion of García Márquez’s works among the rising middle classes; and (4) the writer’s involvement in the country’s cultural and political affairs during its transition to and consolidation of democratic rule. The intersection of these threads resulted in the appropriation of García Márquez as a Spanish writer and his transformation into one of Spain’s cultural icons. This article builds on analytical tools developed by the fields of cultural sociology and the history of reading practices.

South Asian Readings of Gabriel García Márquez

2021 ◽  
pp. 263-276
Author(s):  
Sonya Surabhi Gupta ◽  
Shad Naved
Keyword(s):  
Latin American ◽  
South Asian ◽  
Magical Realism ◽  
Third World ◽  
Gabriel Garcia Marquez ◽  
Salman Rushdie ◽  
Michael Ondaatje ◽  
Political Dimension ◽  
Literary Traditions ◽  
The Third World

South Asian interest in Gabriel García Márquez and his works has been intense and diverse, and mapping its multiple trajectories offers a historical field of enquiry for assessing the reception of this Latin American writer in the subcontinent. This article uncovers various strands of the conceptual armature at work in the South Asian critical readings of García Márquez and magical realism. These range from approaches that privilege the “Third World” provenance of the genre; to the poststructuralist critique of such Third World nationalism; to the discomfort with an intermediating Euro-American critical apparatus, as also with decolonial readings of García Márquez’s magical realism as a transformative mode charged with a political dimension. The deployment of the “non-mimetic” realist mode in the works of diasporic South Asian writers such as Salman Rushdie or Michael Ondaatje has been noted by critics and is central to positing magical realism as the literary language of postcolonial writers. This article additionally explores the mode’s sturdiness in the works of some of their counterparts in the bhashas, that is, writers of the so-called vernacular languages of the subcontinent. It is in these languages with robust literary traditions such as Bengali, Malayalam, Sinhalese, Tamil, Kannada, Hindi, and Urdu that García Márquez’s works have been intercepted through translations for the vast majority of readers in India, Pakistan, Bangladesh, and Sri Lanka, who do not read them in metropolitan languages. The article critically maps these diverse modes of accessing García Márquez in the “lettered cities” of South Asia.

Male or Female Time? Milorad Pavić’sDictionary of the Khazarsand Gabriel García Márquez’sOne Hundred Years of Solitude

2015 ◽  
Vol 23 (3) ◽  
pp. 396-405
Author(s):  
Ksenija Vulović
Keyword(s):  
Latin American ◽  
Jorge Luis Borges ◽  
Gabriel Garcia Marquez ◽  
Nobel Laureate ◽  
Male And Female ◽  
Literary Traditions ◽  
Cultural Dialogue ◽  
Equal Right ◽  
Relationship Of ◽  
The Relationship

The erudite and encyclopaedic prose of Milorad Pavić has been rightfully compared to the works of the famous Argentine writer Jorge Luis Borges. The question for the modern interpreter is the extent to which this critical view prevents us from observing less remarkable similarities between Pavić’s novel and Latin American literary traditions. Interlaced motifs of time and text in the prose of Milorad Pavić can, with equal right, be linked to a masterpiece of the Colombian Nobel laureate Gabriel García Márquez. The distinction between male and female time or between male and female versions of the book in Pavić’sDictionary of the Khazarsis well-known. Less known is that inOne Hundred Years of Solitudeby García Márquez the relationship of time to text also depends on the sex of the characters. ComparingDictionary of the KhazarsandOne Hundred Years of Solitudeoffers a new possibility for approaching the issue of cultural dialogue.

scholarly journals El entenado, de Juan José Saer: “nueva crónica de Indias”, “nueva novela histórica”, “metaficción historiográfica”, “ficción y de archivo” y “novela neobarroca”

2020 ◽  
Vol 7 (13) ◽  
pp. 146-177
Author(s):  
Raquel Crespo-Vila
Keyword(s):  
Latin American ◽  
Historical Fiction ◽  
The Novel ◽  
Critical Approach ◽  
Common Features ◽  
Juan Jose Saer ◽  
Latin American Narrative ◽  
Interpretive Programs ◽  
Novela Historica ◽  
Nueva Novela

Taking into account the different interpretative frameworks that have been proposed for a critical approach to the emergence of the historical fiction in the latest Latin-American narrative, the following article proposes a set of reading keys for the novel El entenado (1983), by Juan José Saer, paying attention, in a special way, to the metafictional and intertextual character of the novel, as common features to all the interpretive programs that will be considered.

scholarly journals „Borg er byggð. Og byggð er borg.“

Ritið ◽  
2018 ◽  
Vol 18 (2) ◽  
pp. 1-16
Keyword(s):  
Urban Communities ◽  
Latin American ◽  
Gabriel Garcia Marquez ◽  
Isabel Allende ◽  
Emile Durkheim ◽  
Georg Simmel ◽  
Critical Approach ◽  
Latin American Narrative ◽  
The City

This introductory chapter focuses on the multiple and diverse representations of urban communities and their infinite complexity. Firstly, the chapter introduces samples of recent representations of the city of Reykjavík, from Icelandic artists and scholars. Then the focus shifts to Enrique del Acebo Ibáñez´s theoretical ideas, as revealed in his book Sociología del arraigo: Una lectura crítica de la teoría de la ciudad (1996), (Sociology of Rootedness: Theories on the Origin and Nature of Urban Communities), translated into Icelandic in 2007, where he discusses the complex phenomenon of the “city” and questions the role of its inhabitants. His reflections substantiate previous theories of scholars such as Ferdinand Tönnies, Emile Durkheim, Georg Simmel, Oswald Spengler, René König and Henri Lefebvre, whose writings are introduced and discussed in the chapter as well. Finally, the chapter applies a critical approach to a brief analysis of well-known Latin American narrative readily available in Icelandic, such as One hundred years of solitude (Cien años de soledad, 1967) by Gabriel García Márquez, The House of the Spirits (La casa de los espíritus, 1982) by Isabel Allende, and Amulet (Amuleto, 1999) by Eduardo Bolaño.

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