By Mabel Moraña
An English-language translation of the MLA Katherine Singer Kovacs Prize and LASA Premio Iberoamericano award-winning Spanish-language ebook, Arguedas/ Vargas Llosa. Dilemas y ensamblajes, Mabel Moraña bargains the 1st comparative research of 2 of latest Latin America's principal literary figures: Mario Vargas Llosa and Jose Maria Arguedas.
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An English-language translation of the MLA Katherine Singer Kovacs Prize and LASA Premio Iberoamericano award-winning Spanish-language e-book, Arguedas/ Vargas Llosa. Dilemas y ensamblajes, Mabel Moraña bargains the 1st comparative learn of 2 of latest Latin America's crucial literary figures: Mario Vargas Llosa and Jose Maria Arguedas.
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Additional resources for Arguedas / Vargas Llosa: Dilemmas and Assemblages
And then we already know what happens, what did happen until 1945, and what can happen again. (Cortázar, “Carta abierta” 8) Vargas Llosa, who Cortázar mentions in this polemic to legitimate his own perspectives with the support of the celebrated figure of the Peruvian writer, would align himself directly with Cortázar’s position, deeming that the Argentine writer’s arguments would win the day. Vargas Llosa always perceived Arguedas as a permanent and elusive adversary who, by his mere existence, threatened not only his own work’s critical prestige but also the very ethical, aesthetic, and ideological principles that supported it.
This conflict was followed by a series of actions in which the Cuban government revised its cultural policy, summarized in the slogans, “Art is a revolutionary weapon” and “With the Revolution, everything; 34 M. ” As a result of these international efforts, Padilla left Cuba as an exile and settled in the USA, where he worked as a teacher until his death in 2000. The “Letter to Fidel Castro” is reproduced in Contra viento y marea I (166–68). See also Vargas Llosa’s own “Un francotirador tranquilo” (Contra viento y marea I 101–212), written in October 1974.
The first relevant element is the way this discourse is contextualized. The second is the position of enunciation from which the author characterizes his subject—who is simultaneously Vargas Llosa’s adversary, a character in the narrative he is constructing, and a representative figure of the positions that he is interested in addressing and refuting. In this way, the objective information that Vargas Llosa deploys is counterbalanced by the process of subjectivization the text reveals. Thus, Vargas Llosa’s critical voice and the materials he organizes all reveal more about the author of the text than about the object of his biographical study.