By Mario Vargas Llosa
One in all Latin America’s such a lot garlanded novelists—and the recipient of the 2010 Nobel Prize in Literature—Mario Vargas Llosa can also be an acute and wide-ranging cultural critic and an acerbic political commentator. Touchstones collects Vargas Llosa’s awesome readings of seminal twentieth-century novels, from middle of Darkness to The Tin Drum; incisive essays on political and social thinkers; and modern items on Sept. 11 and the quick aftermath of the battle in Iraq.Fantastically clever, encouraged, and remarkable, Touchstones is a landmark number of essays from one of many world’s best writers and intellectuals.
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Extra resources for Touchstones: Essays on Literature, Art, and Politics
Sample text
The Cervantes novel is also used to illustrate Vargas Llosa’s views on liberty and of the nation, which we will examine below. Other essays are also concerned with the craft of fiction. Virginia Woolf offers a model of writing, in particular the effortless complexity of the narrative point of view – the melding of the style indirect libre and the interior monologue – which was to be a hallmark of Vargas Llosa’s own writings from the 1960s. In Woolf, also, the demarcation between the real world and the world of fiction is made very clear: ‘What gives a novel its originality – marks its difference from the real world – is the added element that the fantasy and art of the writer provides when he or she transforms objective and historical experience into fiction…Only failed fictions reproduce reality: successful fictions abolish and transfigure reality’.
There were at least three employees in the second patio, together with two intermediate figures of uncertain status: Joaquín, an orphan boy that grandpa had found in Saipina, and Orlando, a boy who had been abandoned by a cook in the house who had disappeared without trace. Grandma Carmen ended up grafting them onto the family. My cousin Nancy was a year younger than me, and cousin Gladys was two years younger. They were magnificent playmates, involved in all the adventures that I invented, which were usually inspired by the films that we saw in the Roxy Cinema and the Acha Theatre on Saturday matinées or Sunday morning screenings.
Of Tristán Vargas Llosa says: She was a bold and romantic campaigner for justice who, first in her difficult life, plagued by adversity, then in her writings and finally in the passionate militancy of the last two years of her life, offered an example of rebelliousness, daring, idealism, naivety, truculence and adventurousness which fully justifies the praise that she received from the father of surrealism, André Breton. Tristán is without doubt one of les justes. Society may have little place for such figures, as Vargas Llosa argued in the case of Grass, and indeed, as he wrote of Gauguin, paradise may not be of this world.