... lying is sometimes necessary to find the path of truth ...
VF
Although notable journalist, founder and director of Summa weekly disappeared, Mexico in Paris correspondent for various media since 1975 and novelist more singular voice, Vilma Fuentes (Mexico City, 1948) is more recognized in Europe, particularly France which lies more than twenty years in their country of origin. Almost all his books are translated into a lingua franca, even the novel L 'bus from Mexico (Actes Sud, 1998), originally written in English but has not yet been published in our language. His most acclaimed novel, black-Flores translated into French as almost all books by Ugné Karvelis, mythical wife of Cortázar in which it is said, was inspired to "The Magician", published in 1988 - and about to become film is the reference cooler for Mexican readers. It is also the author of two outstanding novels, of which, to paraphrase Borges indiscriminately, the latter would become the first anti-free. Yesterday I mean is never (1998, great success in France where he graduated La Castañeda), one of the few female views on the student movement of 68 in Mexico, and Gloria (1992), originally published by Joaquin Mortiz and recently collected in one volume in the library reading Mexican CONACULTA, with a presentation by Carlos Montemayor that among the virtues of writing Vilma, lists the dedication, wit and rhythm, "So also the character who tells the stories," continues Montemayor-maintained one constant: a kind restraining of things to understand them better, a form of neglect of life to get closer to them, a tough choice to make the impossible possible what you want. "
Note that Montemayor says" the character. "Both novels are told, unequivocally, by the same woman whose capacity to love running parallel or confused with their capacity for suffering, never revealing her name is Gloria trajinera calls where the second narrator is reunited with his past. What distinguishes them is the age, as the star of yesterday is never a girl arise when the slaughter of students in Tlatelolco, while Gloria is a mature woman and self-sufficient, professional journalist. Published just four years apart, we note, however, both heroines are contemporary and are also of the author. This, as well as some overlapping experiences, suggest that it is autobiographical. Yesterday's protagonist, an arts student, early pregnant and married to Daniel, the boyfriend who impregnates, is trying, since it starts until it ends the novel, writing a book, which, although finished burning as a sign of love Daniel who "persisted in seeking the evidence of my past loves" never give up in his attempt to write. Vilma Fuentes intended, in fact, write that great book since he was fifteen, when he published his first Cuentillo in a magazine, "by which also paid me!", Which aroused the fear of his father, Roberto Hernandez Hinojosa, I did not want her daughter to devote to a job that is considered risky. End, of course, feeling proud of her.
At the age of the star of yesterday ... (19 years), Vilma published his first book, the essay Young (Siglo XXI, 29 edition, 1971) in which very clearly be seen the germ of the novel, ending years Later, at the height of his literary powers. "This is this generation (yours, the youth of late 60), admires and speaks little, collected and concentrated, judges and carelessly suffers its disappointments and pain, while clamping and remake their scales of values \u200b\u200balways careful not to become contaminated by the sick. " (P. 13) And later he adds: "Heroism is a mixture of value in shame." (P. 15). This sentence
appreciate the splendor of the essence Vilma novel: the hero (heroine in this case) that seeks to heal the shame of the world by itself, a constant pursuit of pain, madness and death, an instinct could be called off as "self-destructive," but I qualify for reconstructive and reaching its apotheosis in the King Lopitos Castle in Hell (Alfaguara, 2006), Vilma mature novel which recreates the legend of Robin Hood that kind of Acapulco Alfredo Lopez was Cisneros. The narrators of the first two novels assembled and disassembled components (memories) in an effort to rebuild themselves in the interim negotiating with the demon of madness. Ayer's is itself a poignant metaphor for youth in the deepest wound of his ideals: pregnant, sexy, sleepless, fearful and reckless time, "But if they, the politicians, had the pompous voice of the Revolution we were haughty thoughts for the dream of revolution. " (P. 39). But the revolution in lower case (to paraphrase the narrator), the peaceful revolution, intimate, loving, is also abolished by the fury of bullets. She is giving birth to a girl while death retumba en las paredes del hospital, a unos cuantos metros de las calles vueltas paredones. Un parto más que significativo por sincronizarse con la muerte. Algo se desajusta entonces en el alma de la joven, "el luto consumido como una brasa" (p. 109). La niña que ha parido apenas vuelve a ser mencionada -ella no lo dice, pero de alguna manera el lector percibe ese extraño sentimiento de culpa por haber otorgado vida cuando debería estar muerta- y se entrega a voluntad al abismo de sus emociones. Se recluye en un manicomio, dispuesta a convertirse en espectadora de la locura. "La inteligencia, soledad en llamas, confundido con la locura en cuyo umbral vacila (...) Me sentí excluida, no por ellos, sino por mi falta de locura, mi incapacidad (...) I rave about the poor pages I wrote, where he had things anyone could experience and understand. "(p. 123).
But while the star of yesterday is locked in a mental hospital to be reunited, that of Gloria walks his recklessness in the alleys of the underworld, the sewers of Mexico City in search of love. A love that, as in the case of the young woman yesterday, seems to perpetuate a nightmare peopled by encounters and meaningless, the inability of the letters. Alberto, debased alcoholic to shame (which could be related to Hector, the young lover of the first novel), is ripe for heroin, as indeed it is Daniel for Yesterday's girl, first love and first curse. Interestingly, while Daniel struggles to start the madness link that ties with his wife, Alberto is the ominous shadow of her lover since she was practically a child: "He was only thirteen, but already with the cigarette in his mouth, stubborn , ready to do its will (Alberto) against everything and everyone. " (P. 251).
Apart from the obvious autobiographical in both novels, two of them are worth highlighting: the status of writer and exile. Both protagonists prevail such concepts, the second, much more present in Gloria but latent as desire and metaphor in Ayer, where the girl looks self-exile. On page 119 suggests the possibility of withdrawal clearly: "(...) I would leave it a day, away from this country who are friends of my own volition, seeking forgetfulness of myself, only to emerge, clearer, I love them and I remember who I was. " Gloria's narrator is already, so to speak, a professional exile: "(...) As the miser in his agony he clings to his riches and would like to be buried with them knowing that without the hypocrisy of beating of the thieves, death would deprive him of all his property, the exiled fill their Valises of useless objects that nothing will carry over into exile (...)" (p.p 219 y 228). Ambas narradoras, por otra parte, practican la escritura, la primera por exploración, la segunda como profesión. "Eres una mujer hecha de palabras", le dice Daniel a su joven esposa recluida en el manicomio.
Castillos en el infierno es, como Flores negras, un thriller político donde se exhiben las almas podridas de los poderosos. Inspirada en el llamado Rey Lopitos, Vilma asume el reto de pasar por encima de la leyenda, casi un culto, del llamado “líder popular” que combatió las disposiciones de un gobernador corrupto para procurar viviendas dignas a los colonos, y que goza incluso de un monumento. Vilma exhibe el rostro del héroe que los cronistas actuales insisten en omitir: that of gangster, no less heroic. Lopitos their King, whose real name is never mentioned "needless" is an expert puppeteer consciousness pleasure playing with presidents, magnates gringos and a beautiful and powerful woman known as The Saint or The World's Most Beautiful Women. From the first lines Lopitos known to have been murdered by the person who wanted him in the world, his own refuge gunman nicknamed Franky that his conscience hurt in prison that he represents the kindergarten, where he serves as caretaker. It is through memory that manifests executioner King Lopitos to tell us the chiaroscuro of his peculiar biography, as would be the fact that being capable of pulling the trigger indiscriminately keeps you absolute fidelity to the only woman he has loved, Marina, despite having been disfigured during an attack.
Vilma Fuentes is one of the most intriguing writers of Mexican literature, not only for its sophisticated irony but also for its style gorostiziano "that the prose is interwoven with bizarre images juxtaposed. The central story takes over the text, the plot does not advance towards a denouement but spins, self-absorbed, about the characters that mutate and travel but end up the starting point, something like a poetic symbiosis of life itself. He currently lives in Paris with her husband, the novelist Jacques Bellefroid -Of Vilma who translated his own novel The thief of time ", their children and grandchildren.
VF
Although notable journalist, founder and director of Summa weekly disappeared, Mexico in Paris correspondent for various media since 1975 and novelist more singular voice, Vilma Fuentes (Mexico City, 1948) is more recognized in Europe, particularly France which lies more than twenty years in their country of origin. Almost all his books are translated into a lingua franca, even the novel L 'bus from Mexico (Actes Sud, 1998), originally written in English but has not yet been published in our language. His most acclaimed novel, black-Flores translated into French as almost all books by Ugné Karvelis, mythical wife of Cortázar in which it is said, was inspired to "The Magician", published in 1988 - and about to become film is the reference cooler for Mexican readers. It is also the author of two outstanding novels, of which, to paraphrase Borges indiscriminately, the latter would become the first anti-free. Yesterday I mean is never (1998, great success in France where he graduated La Castañeda), one of the few female views on the student movement of 68 in Mexico, and Gloria (1992), originally published by Joaquin Mortiz and recently collected in one volume in the library reading Mexican CONACULTA, with a presentation by Carlos Montemayor that among the virtues of writing Vilma, lists the dedication, wit and rhythm, "So also the character who tells the stories," continues Montemayor-maintained one constant: a kind restraining of things to understand them better, a form of neglect of life to get closer to them, a tough choice to make the impossible possible what you want. "
Note that Montemayor says" the character. "Both novels are told, unequivocally, by the same woman whose capacity to love running parallel or confused with their capacity for suffering, never revealing her name is Gloria trajinera calls where the second narrator is reunited with his past. What distinguishes them is the age, as the star of yesterday is never a girl arise when the slaughter of students in Tlatelolco, while Gloria is a mature woman and self-sufficient, professional journalist. Published just four years apart, we note, however, both heroines are contemporary and are also of the author. This, as well as some overlapping experiences, suggest that it is autobiographical. Yesterday's protagonist, an arts student, early pregnant and married to Daniel, the boyfriend who impregnates, is trying, since it starts until it ends the novel, writing a book, which, although finished burning as a sign of love Daniel who "persisted in seeking the evidence of my past loves" never give up in his attempt to write. Vilma Fuentes intended, in fact, write that great book since he was fifteen, when he published his first Cuentillo in a magazine, "by which also paid me!", Which aroused the fear of his father, Roberto Hernandez Hinojosa, I did not want her daughter to devote to a job that is considered risky. End, of course, feeling proud of her.
At the age of the star of yesterday ... (19 years), Vilma published his first book, the essay Young (Siglo XXI, 29 edition, 1971) in which very clearly be seen the germ of the novel, ending years Later, at the height of his literary powers. "This is this generation (yours, the youth of late 60), admires and speaks little, collected and concentrated, judges and carelessly suffers its disappointments and pain, while clamping and remake their scales of values \u200b\u200balways careful not to become contaminated by the sick. " (P. 13) And later he adds: "Heroism is a mixture of value in shame." (P. 15). This sentence
appreciate the splendor of the essence Vilma novel: the hero (heroine in this case) that seeks to heal the shame of the world by itself, a constant pursuit of pain, madness and death, an instinct could be called off as "self-destructive," but I qualify for reconstructive and reaching its apotheosis in the King Lopitos Castle in Hell (Alfaguara, 2006), Vilma mature novel which recreates the legend of Robin Hood that kind of Acapulco Alfredo Lopez was Cisneros. The narrators of the first two novels assembled and disassembled components (memories) in an effort to rebuild themselves in the interim negotiating with the demon of madness. Ayer's is itself a poignant metaphor for youth in the deepest wound of his ideals: pregnant, sexy, sleepless, fearful and reckless time, "But if they, the politicians, had the pompous voice of the Revolution we were haughty thoughts for the dream of revolution. " (P. 39). But the revolution in lower case (to paraphrase the narrator), the peaceful revolution, intimate, loving, is also abolished by the fury of bullets. She is giving birth to a girl while death retumba en las paredes del hospital, a unos cuantos metros de las calles vueltas paredones. Un parto más que significativo por sincronizarse con la muerte. Algo se desajusta entonces en el alma de la joven, "el luto consumido como una brasa" (p. 109). La niña que ha parido apenas vuelve a ser mencionada -ella no lo dice, pero de alguna manera el lector percibe ese extraño sentimiento de culpa por haber otorgado vida cuando debería estar muerta- y se entrega a voluntad al abismo de sus emociones. Se recluye en un manicomio, dispuesta a convertirse en espectadora de la locura. "La inteligencia, soledad en llamas, confundido con la locura en cuyo umbral vacila (...) Me sentí excluida, no por ellos, sino por mi falta de locura, mi incapacidad (...) I rave about the poor pages I wrote, where he had things anyone could experience and understand. "(p. 123).
But while the star of yesterday is locked in a mental hospital to be reunited, that of Gloria walks his recklessness in the alleys of the underworld, the sewers of Mexico City in search of love. A love that, as in the case of the young woman yesterday, seems to perpetuate a nightmare peopled by encounters and meaningless, the inability of the letters. Alberto, debased alcoholic to shame (which could be related to Hector, the young lover of the first novel), is ripe for heroin, as indeed it is Daniel for Yesterday's girl, first love and first curse. Interestingly, while Daniel struggles to start the madness link that ties with his wife, Alberto is the ominous shadow of her lover since she was practically a child: "He was only thirteen, but already with the cigarette in his mouth, stubborn , ready to do its will (Alberto) against everything and everyone. " (P. 251).
Apart from the obvious autobiographical in both novels, two of them are worth highlighting: the status of writer and exile. Both protagonists prevail such concepts, the second, much more present in Gloria but latent as desire and metaphor in Ayer, where the girl looks self-exile. On page 119 suggests the possibility of withdrawal clearly: "(...) I would leave it a day, away from this country who are friends of my own volition, seeking forgetfulness of myself, only to emerge, clearer, I love them and I remember who I was. " Gloria's narrator is already, so to speak, a professional exile: "(...) As the miser in his agony he clings to his riches and would like to be buried with them knowing that without the hypocrisy of beating of the thieves, death would deprive him of all his property, the exiled fill their Valises of useless objects that nothing will carry over into exile (...)" (p.p 219 y 228). Ambas narradoras, por otra parte, practican la escritura, la primera por exploración, la segunda como profesión. "Eres una mujer hecha de palabras", le dice Daniel a su joven esposa recluida en el manicomio.
Castillos en el infierno es, como Flores negras, un thriller político donde se exhiben las almas podridas de los poderosos. Inspirada en el llamado Rey Lopitos, Vilma asume el reto de pasar por encima de la leyenda, casi un culto, del llamado “líder popular” que combatió las disposiciones de un gobernador corrupto para procurar viviendas dignas a los colonos, y que goza incluso de un monumento. Vilma exhibe el rostro del héroe que los cronistas actuales insisten en omitir: that of gangster, no less heroic. Lopitos their King, whose real name is never mentioned "needless" is an expert puppeteer consciousness pleasure playing with presidents, magnates gringos and a beautiful and powerful woman known as The Saint or The World's Most Beautiful Women. From the first lines Lopitos known to have been murdered by the person who wanted him in the world, his own refuge gunman nicknamed Franky that his conscience hurt in prison that he represents the kindergarten, where he serves as caretaker. It is through memory that manifests executioner King Lopitos to tell us the chiaroscuro of his peculiar biography, as would be the fact that being capable of pulling the trigger indiscriminately keeps you absolute fidelity to the only woman he has loved, Marina, despite having been disfigured during an attack.
Vilma Fuentes is one of the most intriguing writers of Mexican literature, not only for its sophisticated irony but also for its style gorostiziano "that the prose is interwoven with bizarre images juxtaposed. The central story takes over the text, the plot does not advance towards a denouement but spins, self-absorbed, about the characters that mutate and travel but end up the starting point, something like a poetic symbiosis of life itself. He currently lives in Paris with her husband, the novelist Jacques Bellefroid -Of Vilma who translated his own novel The thief of time ", their children and grandchildren.
0 comments:
Post a Comment