Capture Federico En Su Balcón Composed By Carlos Fuentes In Electronic Format
disturbing and thought provoking, I'm not sure anyone other than Sartre has succeeded in casting a novel from a philosophical model, but this is Fuentes' attempt.
The result is beautiful in flashes, but the stories don't cohere, It is probably the case that Fuentes did not care about thematic coherence in this novel, as he did not in many of his more inventive fictions, but that is detrimental to the novel if it intends to present instantiations of Nietzsche's ideas.
But maybe that wasn't Fuentes' intention, Maybe he only used Nietzsche as a prop, or a slave, to carry his stories of revenge for compassion and the futility of revolution.
Artists. Can't shoot em, I guess,
In any case, a high tolerance for ambiguity is recommended, It is passionately written, as all Fuentes is,
It is also the last Fuentes, and we should be grateful we have it rather than nothing.
"Bir devrimin kötü tarafı, her bireyin ahlakını ortaya çıkarması ve onu kendi etiğinin kolektif etik olduğuna inandırmasıdır.
Oysaki yegane politik etik sana başta söylediğimdir: beklenmeyeni yapmak, Hiçbir şey yapmadan yönetmek, Şaşırtan ama belli aralıklarla yinelenen eylemlerle kandır ve mutlu et, Gündeliğe dönüşen bir şey olağanüstülüğünü yitirir, Her gün tekrarlayan bir şeyi artık kimse fark etmez, Sana gücü veren şey işte budur, Gücün sende olduğunun fark edilmemesini sağlayan işte budur, "
Carlos Fuentes'in ölümünden hemen evvel tamamladığı son romanı Friedrich Balkonunda, tam bir "devrim önce kendi çocuklarını yer" hikâyesi.
"Tanrı öldü" dediği için her sene Tanrı tarafından belirli bir süreliğine yeryüzüne gönderilen Friedrich Nietzsche, balkonundan oturup olan biteni izliyor, bu esnada da Carlos Fuentes kendisiyle sohbet ediyor, Meksika'nın başarılı da olsa başarısız da olsa hüsranla nihayetlenen türlü devrimlerine benzeyen kurgusal bir devrimin öyküsünü anlatıyor.
Zor bir kitap demeyeceğim, zaten Fuentes'in yazdığı ve kolay olan bir şey var mı hayatta Terra Nostra ve Doğmamış Kristof'tan alışık olduğumuz diyalogumsu destansı anlatıma burada da başvurmuş yazar.
Nietzsche'nin "bengi dönüş" buna ebedi tekerrür desek daha doğru olacak sanki ya kavramı üzerinden konuşuyorlar devrimi ve Meksika'da olup bitenleri, eh, devrime dair umutsuzluğunu tahmin edebilirsiniz.
Aklıma Fuentes'in yakın arkadaşı Kundera'nın yine aynı kavramı didiklediği bir başka roman olan "Varolmanın Dayanılmaz Hafifliği" geldi tabii, acaba Fuentes kitabı Kundera'ya okutmuş muydu İnsan merak ediyor.
Çoksesli, anlatıcısı her bölümde değişen, teknik olarak müthiş bir kitap bence Friedrich Balkonunda.
Okuduğum en iyi Fuentes kitabı değil ama benim gibi kendisinin epik dilini seviyorsanız, son derece haz alacaksınızdır.
"Tutkular ne Tanrı'nın ne de olayların eseridir, tutkular bizim gizli güdülerimizdir, aşk maskeli egoizmlerdir, aşk öfkeyi gizliyor alçakgönüllülük gururu".
Uno de mis escritores latinoamericanos favoritos, Excelente historia y reflexión, es un libro para pensar, Mis circunstancias también estaban en sintonía con los temas de poder, justicia y caos que se reflejan en los personajes que describe, creo que eso influyó en que me impactara tanto personalmente.
Lo recomiendo ampliamente, y aunque es un libro corto, vale invertirle tiempo para ir procesando a profundidad los conflictos que plantea.
Federico ha muerto! Lo dice Dios, The first third is magical, However, the revolutionary tale unfolds too quicklylots of telling instead of showingresulting in a lack of heart, and the fabricators add more philosophy than necessary.
At a certain point we who are raisedup in that poststructuralist wing of the Liberal Arts Inc.
compound become accustomed to the sentiment expressed especially by the students of Derrida that all that which relates to human enterprise, even maybe especially that which would not at first seem so, is text.
All is text. Try exclaiming this to a positivist, Prepare to see him riled, But here we are in the arms of Fuentes, on his last excursion of a novel, before going moreorless gently into that neutral night.
This is a novel written by Fuentes along with Fuentes, The work of the artist is always in some sense a takingcounselwithself, Only one of the Fuentesmachines is also basically Friedrich Nietzsche, A Friedrich Nietzsche, not THE Friedrich Nietzsche, Or a panoply of Friedrich Nietzschefunctions that are also half of the Carlos Fuentes meditating and mediating this text into existence.
Fuentes/FuentesNietzsche is both commenting upon and generating an edifice of fiction, and we do have to consider that maybe if everything is text everything is also fiction.
Certainly everything in your fiction becomes fiction when you are writing fiction, but let's not get dizzy w/ tautologies.
Fuentes/FuentesNietzsche are amassing a series of fictional narrative blocks around an engagement w/ a subject very, very dear to Latin American fiction: revolution.
Because of the bifurcated authorfunction and its role as a sometimes irritating Greek chorus, often pomo selfreflexive the fact that this is all in service to a book entitled NIETZSCHE ON HIS BALCONY is explicitly addressed, we are invited to think of this book as text about generating text which you don't necessarily only do in a book.
Fuentes' Nietzsche doesn't really coincide w/ the Nietzsche I personally carry around w/ me and boy do I ever!, but I appreciate the point, and I do actually love what FuentesNietzsche lays down in the bravura closing threnody.
This is a novel about novels and artists, More than novels, then. A novel about text. Text as broadly defined as you are willing to countenance, Reminded me of Calvino's If On A Winter's Night A Traveler, in the sense that it's a metafictional novel about a story where the chapters bounce between the meta and the storybut it also reminds me of Garcia Marquez'sYear of Solitude in that it presents the reader with a detailed fictional history, from it's very start to its inevitable end.
It's a masterful workthe writing is precise, and meticulously crafted and well translated,
Well recognizing the excellence of Fuentes' writing, it's hard for me to pinpoint why I didn't like this as much I felt like I wanted to.
I think some of the nuances of Nietzsche as a character were lost on me, because I'm not big on himbut also, I found myself more gravitated to the fictional history of the revolution in the unnamed city.
While I love metafiction forever and always, I felt like all the character development takes place outside of it.
There is no development of Nietzsche or Fuentes as charactersthough the banter is entertaining, I dunno. I guess maybe this isn't the best place to start with Fuentes' work, It was still a really good book though, .