Based on the short story by Hassan Blasim. Salim, an Iraqi refugee, takes on a new identity In London after fleeing persecution in Baghdad. He is picked up, and marries a wealthy older woman, who enthusiastically coaches him in the bedroom for his forthcoming citizenship test. But Carlos Fuentes finds that knowing the names of all six of Henry VIII’s wives can neither satisfy his new wife nor turn him into a “Britishman”. The nightmare of the violence of his past catches up with him, and suddenly he is at the airport, accompanied by a G4 security guard, waiting for a plane to take him back to Iraq.
A blistering debut that does for the Iraqi perspective on the wars in Iraq and Afghanistan what Phil Klay’s Redeployment does for the American perspective “[A] wonderful collection.” —George Saunders, The New York Times Book Review The first major literary work about the Iraq War from an Iraqi perspective—by an explosive new voice hailed as “perhaps the best writer of Arabic fiction alive” (The Guardian)—The Corpse Exhibition shows us the war as we have never seen it before. Here is a world not only of soldiers and assassins, hostages and car bombers, refugees and terrorists, but also of madmen and prophets, angels and djinni, sorcerers and spirits. Blending shocking realism with flights of fantasy, The Corpse Exhibition offers us a pageant of horrors, as haunting as the photos of Abu Ghraib and as difficult to look away from, but shot through with a gallows humor that yields an unflinching comedy of the macabre. Gripping and hallucinatory, this is a new kind of storytelling forged in the crucible of war.
Utopian Dreams, Apocalyptic Nightmares traces the history of utopian representations of the Americas, first on the part of the colonizers, who idealized the New World as an earthly paradise, and later by Latin American modernizing elites, who imagined Western industrialization, cosmopolitanism and consumption as a utopian dream for their independent societies. Carlos Fuentes, Homero Aridjis, Carmen Boullosa, and Alejandro Morales utilize the literary genre of dystopian science fiction to elaborate on how globalization has resulted in the alienation of indigenous peoples and the deterioration of the ecology. This book concludes that Mexican and Chicano perspectives on the past and the future of their societies constitute a key site for the analysis of the problems of underdevelopment, social injustice, and ecological decay that plague today's world. Whereas utopian discourse was once used to justify colonization, Mexican and Chicano writers now deploy dystopian rhetoric to interrogate projects of modernization, contributing to the current debate on the global expansion of capitalism. The narratives coincide in expressing confidence in the ability of Latin American and U.S. Latino popular sectors to claim a decisive role in the implementation of enhanced measures to guarantee an ecologically sound, ethnically diverse, and just society for the future of the Americas.
Mexico, 1991: Black acid rain falls on "Makesicko City", the most polluted, most populated city in the world. Amid this apocalyptic landscape a prize is being offered to the first child born on the 500th anniversary of Columbus' discovery of America. That child is the narrator of this passionate, savage novel by one of the world's preeminent writers.
Renowned as a novelist of unsurpassed invention, Carlos Fuentes here presents his second collection of stories to appear in English. Where his first, Burnt Water, published in 1980, had as its underlying theme Mexico City itself, Constancia and Other Stories for Virgins extends its imaginative boundaries out to Savannah, to Cadiz, to Glasgow, to Seville and Madrid, both past and present. This new collection is more mysterious, more magical, too, than its predecessor, and in its five related stories Fuentes comes closer to the registers of language and feeling that he explored so memorably in Aura. It reveals Fuentes at the height of his powers--bold, erudite, enthralling. In the title story, a man discovers his wife's secret complicity with the Russian actor who is their neighbor--a complicity that includes not just a previous life but possibly a previous death as well. He finds himself "a mediator . . . a point between one sorrow and the next, between one hope and the next, between two languages, two memories, two ages, and two deaths." In "La Desdichada," two students steal--and fall in love with--a store-window mannequin. In "The Prisoner of Las Lomas," a wealthy lawyer in possession of a powerful secret is held hostage by the past he has attempted to subvert and keep at bay. The celebrated bullfighter whose fame is the theme of "Viva Mi Fama" steps from the present into a past immortalized by Goya's portrait of the matador Pedro Romero; and the architects who are the "Reasonable People" of that story find themselves drawn into the irrational mysteries not only of religious fervor but of their famous mentor's identity--they discover "there are no empty houses," only a present fraught with the past. Though each of these novella-length stories offers compelling evidence of Fuentes's talent for narrative free rein as well as for containment and closure, they are also brilliantly interwoven. Readers of his earlier work, especially of his acclaimed ribald epic, Christopher Unborn, will recognize with pleasure Fuentes's undiminished mastery of recurrent images and themes, and all readers will delight in the witty and evocative changes he rings on them. For those few readers who do not yet know the work of Mexico's foremost man of letters, these stories offer them the full gift of his imaginative resourcefulness.
Beseeched by his dying mother to locate his father, Pedro Paramo, whom they fled from years ago, Juan Preciado sets out for Comala. Comala is a town alive with whispers and shadows--a place seemingly populated only by memory and hallucinations. 49 photos.
On December 7, 2010, Mario Vargas Llosa was awarded the Nobel Prize in Literature. His Nobel lLecture is a resounding tribute to fiction's power to inspire readers to greater ambition, to dissent, and to political action. "We would be worse than we are without the good books we have read, more conformist, not as restless, more submissive, and the critical spirit, the engine of progress, would not even exist," Vargas Llosa writes. "Like writing, reading is a protest against the insufficiencies of life. When we look in fiction for what is missing in life, we are saying, with no need to say it or even to know it, that life as it is does not satisfy our thirst for the absolute—the foundation of the human condition—and should be better." Vargas Llosa's lecture is a powerful argument for the necessity of literature in our lives today. For, as he eloquently writes, "literature not only submerges us in the dream of beauty and happiness but alerts us to every kind of oppression."
**Long-Listed for the 2010 Independent Foreign Fiction Prize** From hostage-video makers in Baghdad, to human trafficking in the forests of Serbia, institutionalised paranoia in the Saddam years, to the nightmares of an exile trying to embrace a new life in Amsterdam... Blasim’s stories present an uncompromising view of the West's relationship with Iraq, spanning over twenty years and taking in everything from the Iran-Iraq War through to the Occupation, as well as offering a haunting critique of the post-war refugee experience. Blending allegory with historical realism, and subverting readers’ expectations in an unflinching comedy of the macabre, these stories manage to be both phantasmagoric and shockingly real, light in touch yet steeped in personal nightmare. For all their despair and darkness, though, what lingers more than the haunting images of war, or the insanity of those who would benefit from it, is the spirit of defiance, the indefatigable courage of those few characters keeping faith with what remains of human intelligence. Together these stories represent the first major literary work about the war from an Iraqi perspective. 'Perhaps the best writer of Arabic fiction alive...' – The Guardian, 12 Jun 10.
From the New York Times bestselling author Simone Elkeles comes an epic love story like no other . . . First in the gripping PERFECT CHEMISTRY series, this is the next addictive read for fans of Anna Todd's AFTER series, and Caroline Kepnes's YOU. When Brittany Ellis walks into chemistry class on the first day of senior year, she has no clue that her carefully created 'perfect' life is about to unravel before her eyes. Forced to be lab partners with Alex Fuentes, a gang member from the other side of town, Brittany finds herself having to protect everything she's worked so hard for – her flawless reputation, her relationship with her boyfriend and, most importantly, the secret that her home life is anything but perfect. Alex is a bad boy and he knows it. So when he makes a bet with his friends to lure Brittany into his life, he thinks nothing of it. But the closer Alex and Brittany get to each other the more they realise that sometimes appearances can be deceptive and that you have to look beneath the surface to discover the truth. 'Compelling and addictive… I've still got that "wow" feeling you get after reading a great book' Wondrousreads.com 'Perfect Chemistry is a novel to obsess about. It is a book that you should drop everything for...the most romantic love story that I have ever read.' Thebookette.com 'Captures that rush of feelings associated with first love' Thebookbag.com 'Elkeles pens plenty of tasteful, hot scenes…that keep the pages turning. The author definitely knows how to write romance.' Kirkus Review
Terra Nostra is one of the great masterpieces of modern Latin American fiction. Concerned with nothing less than the history of Spain and of South America, with the Indian Gods and with Christianity, with the birth, the passion, and the death of civilizations, Fuentes's great novel is, indeed, that rare creation--the total work of art. Magnificently translated by Margaret Sayers Peden, Terra Nostra is, as Milan Kundera says in his afterword, "the spreading out of the novel, the exploration of its possibilities, the voyage to the edge of what only a novelist can see and say."
