Vargas Llosa / Nobel Prize
passion and reason codes that did justice award Sunday October 10, 2010 control and, above all, lack of measurement and mold. Edwards account there was no way to convince him. Wanted nothing to do with these experiments, nor with those of Godard and Bergman. It is insanely fun, however, with the American cowboy films of the 40 and 50. Vargas Llosa
When he talks about his favorite novelists, always mentioned in the first teachers of the nineteenth century, beginning with Flaubert and Balzac, but without neglecting other more identified with popular literature, as his beloved Dumas. When I was young, in part by the desire to shock and partly because I really believe he said that the novels of knights-errant style were more Tirant lo Blanc Don Quixote creative: about creating a perfect world, operating with its own rules, the work of Cervantes dissolved only with their taunts.
These inclinations and tastes can be used to understand what kind of artists belonging to the brand new constitution and character Nobel Prize for Literature. Although endowed with a talent for telling such a size that makes it the envy becomes ringworm on his critics, Vargas Llosa is a writer who observes quite accurately gender norms and passing through the filter of reason all the ingredients of their stories. Also, never give rest when created.
"The truth is that the bohemian bores me and tears me apart. I lived in Lima came to fruition, but in general I find impoverishing "he said in explaining why he prefers to work even irregular attacks of inspiration. Canarino writer Juan José Armas Marcelo said that the 70 invited Vargas Llosa to visit in Las Palmas, and the idea was to be the big party with friends. "We started the spree with a Chinese dinner, with lots of drinks, beside the Playa de las Canteras. But at 12, like Cinderella, Vargas Llosa rose from the table and asked me to take him to hotel. ? Tomorrow I have to write eight hours, "he said, to my amazement. On the way back to the partying in Las Canteras, Carlos Barral told what had happened. 'Yes, yes, "replied the Catalan poet with laughter," Mario is the only writer I know who works as a laborer and living like a bourgeois'. "
for the Chilean José Donoso, during the Latin American boom of the 60 Vargas Llosa had been "first class". It sounds perhaps a bit ironic the school metaphor, but it is pretty amazing: thanks to that perfect student discipline, the Peruvian and had written to the thirties three novels can not qualify but master: The City and the Dogs, The Green House and Conversation in the Cathedral.
"I'd like to be one of those novelists of the nineteenth century, competing with God as equals in creating worlds. It was a special moment in the history of the novel. If I should stay with a time, I would stay with that of Tolstoy, Dostoevsky, Balzac, Dickens, Melville. That does not mean you have to write novels in the manner of the nineteenth century, but this grand ambition to imitate novel of the great cathedrals of the genre. In some of my books, I felt that trying to emulate. In The Feast of the Goat, of course, and in The War of the End of the world. In this attitude is naive, thinking that it can tell you everything, you can build a universe as complex and as broad as the human. But at the same time, that this literature was so naive amazing, so extraordinary, "he said here in 2000, when he came to present his book on the Dominican dictator Rafael Trujillo. All of a position, a definition of narrative art.
Peruvian literary critic José Miguel Oviedo thoroughly studied work of the novelist and the novelist himself, and also stresses the "tendency to order and clarity" of its expressive design as a counterweight to the passion "overwhelming and contagious," he puts into his work. "Their stories have a complex symphonic tone screening , environments, times and adventures, but the variegation is always resolved by a rigorous order and almost manic, where every thing finds its place for the apparent chaos adopt a precise figure, "he says.
Rigorous. Almost maniac. Vargas Llosa works with materials that are nearby, landscapes, characters and stories, separated into its parts, measured and weighed, calculated to the millimeter how gather and build with them a world that is both real and different. Julia Urquidi, who was married, is and is not the character of Aunt Julia and the Scriptwriter. The visiting brothels Pantaleon and Piura in the house Green also went through the physical and chemical laboratory of the author. still looking very real but are, in one way or another, also fictitious.
What Vargas said of the singer and Peruvian author Chabuca Granda, author of "The cinnamon skin, it could well apply to himself: "A Chabuca happened the best thing to happen to an artist. The world he invented in his songs and replaced the real Peru is through and imagine and dream that the Peruvian reality millions of people who have never set foot in my country. "
Under the law, reason and order There is nothing that Vargas Llosa can not do with the word. When allowed to escape the irrational (its defense of bullfighting, the windings erotic Notebooks of Don Rigoberto, and Mischief of the bad girl), do it for pure consistency logic, to give a specific space to less distinct facets of his mind. In his work, Vargas Llosa hardly leaps into the void, those races are exceptionally blind the operator to the sublime but often make much more plunged into the ground. Put
The domain amazing body you have about your means of expression and tendency to work on a program might have made him a perfect writer, but cool if it were not for its most controversial: that of putting the body forever. First, the exposure of his personal life. The troubled relationship with his father, whom he believed dead until he was ten years marriage with his aunt in 1955, the subsequent separation and union his cousin Patricia, in 1965, always gave food to their fictions. He refrained, however, to use other episodes, including the famous punch that was applied in 1976 the Colombian García Márquez or by doctrinal differences or because Gabo tried to seduce Patricia. But he could not prevent the episode never ran clear around the world become a sort of unwritten novel.
Second, Vargas Llosa put his body in politics. Few writers can say they have been exposed both in the field. Giving a twist to that beautiful verse on the second Machado da innocence in believing in nothing, Vargas went with the same passion for unrestricted left to right without censorship when he realized that something was amiss with Fidel Castro who imprisoned the poet Heberto Padilla, in 1971.
never went as far as 1990, when he tried to bring his sense of commitment to the polls. Anyone who has been in the Peruvian presidential campaign has been formed to provided an idea of \u200b\u200bhow bad they have the lyricism of a political novel, the rules of marketing, jingles that turn candidates in toothpaste and the popular perception about whether these candidates have or not have the minimum conditions to take control of their affairs. It was obvious that someone without scruples would the great man a fool. And that someone was Alberto Fujimori.
"When Vargas Llosa decided to stand for election to the presidency of Peru, some took a leap of pure shock. Maybe we would lose, for God knows how long, one of our most essential novelists in the shaking of a political dispute that started with the disadvantage of his honesty. It would certainly be the target of all sorts of misunderstandings and slander, and was even likely that he risks his life. It was difficult to accept, even understand. I remember during lunch at a restaurant in Madrid, Octavio Paz took me aside to say, very serious, 'Fernando, you have to persuade her ...' I laughed, 'Man, do not want we do ...'", campaign against his campaign was years later the philosopher Fernando Savater.
And yet, perhaps it is precisely those "crazy" that Vargas Llosa makes the writer he is. It is common tell him: "I like his work, but not what you say or think, but may not be possible to separate the two words: without the intensity that is committed without his outbursts and his statements, perhaps the work not have been so fortunately it was.
In 2005, almost 70 years and above all the glory, wanted to see with their own eyes what happened in Gaza, to tell a series of articles. His praise Margaret Thatcher and, indeed, the Italian premier Silvio Berlusconi, in the name of liberalism bulk earned him quite a few criticisms. Even grievances, to be precise. In 2008, during his visit to Argentina, a group of protesters stoned the bus he was riding Vargas Llosa way to a seminar organized by the Freedom Foundation. Earlier this year, was booed in Chile at the opening of the Museum of Memory, even when backed the candidate Sebastian Pinera. His views have borders or middle ground, "Cristina Fernandez is a total disaster," said a year ago.
But, right or wrong, it is not enough to say softly. It feels like that fish in water that was the title of his memoirs. It is believed with the right to dive fully into the mainstream. In the final analysis, will be those noises which will be converted to the cabinet for later or earlier in novels that are out of time. © THE NATION
By Hugo Caligaris 