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Literature

By Carlos Fuentes

ISBN-10: 6073139705

ISBN-13: 9786073139700

Un poderoso empresario come to a decision llevar adelante su propia lucha contra el tráfico de droga y los narcos, y ganarles los angeles partida con su mismo juego, siendo más legal que ellos. En esta novela de Carlos Fuentes, como a veces en los angeles realidad, todo se derrumba.

Ciudades perdidas, callampas, villas miseria, favelas, todas son lo mismo. Eso lo sabe Adán Gorozpe, cínico arribista que pasó de pobretón estudiante a poderoso mandamás gracias a un afortunado "braguetazo", y también Adán Góngora, ministro a shipment de l. a. seguridad nacional que ha puesto en marcha una estrategia espeluznante que incluye alianzas con criminales, encarcelamiento de inocentes y uno que otro asesinato.

Un día, Góngora le propone a Gorozpe asociarse para elevar su juegp al más alto nivel: "¿Qué tal si usted y yo, tocayo, apoyamos a un candidato imposible para l. a. primera magistratura del país?". Ese candidato, claro, sería Gorozpe. Sólo que para ese momento, él lo sabe, deberá deshacerse de Góngora, o al menos neutralizarlo. ¿Cómo proceder contra tan bold adversario? ¿Cómo detener el remolino que arrastra al país hacia l. a. cloaca?

La única vía abierta siempre es l. a. del espíritu. Ciega e irracional, pero también poderosa, avasalladora, l. a. fe sigue ahí. Un Niño Dios alado empieza a predicar en medio del tráfico de los angeles mayor avenida de l. a. ciudad y su madre, l. a. Virgen, lo acompaña. Las unfortunately del niño son postizas y su madre es quien se las coloca, pero eso no importa. l. a. gente cree, quiere creer, necesita creer, y eso basta.

La crítica ha opinado:

"En Adán en Edén brotan algunas páginas del excelente y lúcido escritor que sigue siendo Fuentes, una de las voces imprescindibles de los angeles narrativa latinoamericana y universal" -Joaquín Marco, El Cultural -

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Sample text

They share this with a whole range of effects, both verbal and pictorial, beginning with the long dashes surrounding Tristram’s conception, and the advice to ‘skip over’ the rest of the chapter (i. iv), a trick used by Fielding in Tom Jones and Amelia in a more urbane register, the coyness as to the narrator’s relationship with ‘dear, dear Jenny’ (i. xviii), and culminating most spectacularly with the blank page about the Widow Wadman’s indescribable beauty, which is logically left undescribed in word or image (vi.

Xviii–xix), themselves a mock-editorial or mock-bibliographical variant, or prototype, of a device applied to plotstructuring purposes in some fiction of the period, including Mackenzie’s Man of Feeling (1771). ‘Structuring’ is not really what happens in Tristram Shandy, whose structure is to have no structure and whose narrative mode is to follow its own motions in absolute denial of plot. The structuring of Tristram Shandy is cumulative but local, privileging the momentary as a matter of principle in precisely the way the mock author of the Tale was castigated for doing.

In jeering at self-affirmation, Swift gives it surplus value by trumping it, as Sterne was to trump Swift by unparodying or outparodying him. The role played by typography, as well as by mock-scholarship, as a mode of egocentric showing-off is clear in Sterne, down to paraded awareness of Swift’s prior mockery. If the Tale’s parody of L’Estrange’s typographic egotrips becomes a second-time-round ego-trip, Tristram Shandy offers a thirdtime-round version, to end all ego-trips, or to begin an infinite series of new ones, of which the formally ‘unfinished’ character of the book, like that of Swift’s Tale, is itself an integral sign.

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Adán en Edén by Carlos Fuentes


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