Paramètres
- 143pages
- 6 heures de lecture
En savoir plus sur le livre
Urbane stories – almost all set in Mexico City. The weakest tales here simply exploit a single metaphor: in «Chac-Mool», a collector buys a pre-Columbian statue of a god, and the god turns into flesh; in «In a Flemish Garden», a Europeanized house is haunted by the Empress Carlotta. But the strongest of them take on Mexico City's schizoid energy in total. An old bachelor, mother-stifled, lives alone in a crumbling house and keeps to the genteel practices of 30 years before (wakes late, eats in one restaurant, wears spats and a bowler): he's eventually murdered by the street hustlers who are his cultural opposites. «The Two Elenas» portrays a young woman so desperate to be hip and ‘with-it’, decultured, that she becomes a mirror image of herself, her own bouncing infinity. And the final story, «The Son of Andres Aparacio», is perhaps the best: a rolling, careening, ashy tale of a young man without prospect who becomes involved with a neo-Fascist brigade of terrorists: here Fuentes is able to run without a leash what he knows best – disappointment. In general, however, stories are a less hospitable form for this writer than are novels, and the single ideas here mostly seem merely tantalizing, not a full measure.
Achat du livre
Agua quemada, Carlos Fuentes
- Langue
- Année de publication
- 1983
- Reliure
- (souple),
- État du livre
- Abîmé
- Prix
- 9,39 €
Modes de paiement
Personne n'a encore évalué .
- Titre
- Agua quemada
- Sous-titre
- Cuarteto narrativo
- Langue
- Espagnol
- Auteurs
- Carlos Fuentes
- Éditeur
- Fondo de Cultura Económica
- Publié
- 1983
- Format
- souple
- Pages
- 143
- ISBN10
- 9681615778
- ISBN13
- 9789681615772
- Séries
- Catégories
- Description
- Urbane stories – almost all set in Mexico City. The weakest tales here simply exploit a single metaphor: in «Chac-Mool», a collector buys a pre-Columbian statue of a god, and the god turns into flesh; in «In a Flemish Garden», a Europeanized house is haunted by the Empress Carlotta. But the strongest of them take on Mexico City's schizoid energy in total. An old bachelor, mother-stifled, lives alone in a crumbling house and keeps to the genteel practices of 30 years before (wakes late, eats in one restaurant, wears spats and a bowler): he's eventually murdered by the street hustlers who are his cultural opposites. «The Two Elenas» portrays a young woman so desperate to be hip and ‘with-it’, decultured, that she becomes a mirror image of herself, her own bouncing infinity. And the final story, «The Son of Andres Aparacio», is perhaps the best: a rolling, careening, ashy tale of a young man without prospect who becomes involved with a neo-Fascist brigade of terrorists: here Fuentes is able to run without a leash what he knows best – disappointment. In general, however, stories are a less hospitable form for this writer than are novels, and the single ideas here mostly seem merely tantalizing, not a full measure.