Overview
«Don Quijote, el loco, está loco no sólo porque ha creído lo que ha leído. También está loco porque cree, como caballero andante, que la justicia es su deber y que la justicia es posible.»
Desde Zona sagrada hasta Terra Nostra, la narrativa de Carlos Fuentes oscilaba entre la sobriedad en el relato y la obra como una broma que asaltaba la realidad para trastocarla. En su discurso de ingreso en El Colegio Nacional hizo ver la similitud de obras totalizantes, como Don Quijote de la Mancha de Miguel de Cervantes y Finnegans Wake de James Joyce. Discurso que se extiende, retrocede y avanza en estos ensayos que incitan a revisar y releer éstas y otras obras que rompen la realidad e inventan una nueva, alterna y paralela, pero llena de rebelión, que resaltan sus características y nos hacen ver el mundo con otros ojos; por ejemplo, el Quijote desde antes de ser escrito, revisado en su época y a lo largo de su existencia, en su España árabe y judía y ya contaminada del Nuevo Mundo, con sus personajes reales y ficticios que salen de otros libros y asaltan otras literaturas. Una incitación a la lectura rebelde, y a rebelarse, con una fantasía que es mejor y más vital que cualquier realidad posible.
ENGLISH DESCRIPTION
Don Quixote, the madman, is mad not only because he believes what he reads. He is also mad because, as a knight errant, he believes that justice is his duty, and that justice is possible.”
From Zona Sagrada to Terra Nostra, Carlos Fuentes’s works range from sober narration to playful and disruptive assaults on reality. In his speech upon acceptance into Mexico’s National Academy, he pointed to the similarities between all-encompassing works such as Miguel de Cervantes’s Don Quijote de la Mancha and James Joyce’s Finnegans Wake. Here, Fuentes expands, retreats, and delves further into these themes, encouraging us to re-read these and other works that break with reality and create new, alternate and parallel universes. These creations are a form of rebellion that urge us to see the world through other eyes, he argues. Don Quixote is one such work; revised in its time and over the centuries, it is set in an Arab and Jewish Spain already tainted by the New World, with real and fictitious characters that emerge from other books and wage war on other literatures. Fuentes invites to join him in his rebellious reading of these texts, which offer fantasies that are better and more vital than any possible reality.
Desde Zona sagrada hasta Terra Nostra, la narrativa de Carlos Fuentes oscilaba entre la sobriedad en el relato y la obra como una broma que asaltaba la realidad para trastocarla. En su discurso de ingreso en El Colegio Nacional hizo ver la similitud de obras totalizantes, como Don Quijote de la Mancha de Miguel de Cervantes y Finnegans Wake de James Joyce. Discurso que se extiende, retrocede y avanza en estos ensayos que incitan a revisar y releer éstas y otras obras que rompen la realidad e inventan una nueva, alterna y paralela, pero llena de rebelión, que resaltan sus características y nos hacen ver el mundo con otros ojos; por ejemplo, el Quijote desde antes de ser escrito, revisado en su época y a lo largo de su existencia, en su España árabe y judía y ya contaminada del Nuevo Mundo, con sus personajes reales y ficticios que salen de otros libros y asaltan otras literaturas. Una incitación a la lectura rebelde, y a rebelarse, con una fantasía que es mejor y más vital que cualquier realidad posible.
ENGLISH DESCRIPTION
Don Quixote, the madman, is mad not only because he believes what he reads. He is also mad because, as a knight errant, he believes that justice is his duty, and that justice is possible.”
From Zona Sagrada to Terra Nostra, Carlos Fuentes’s works range from sober narration to playful and disruptive assaults on reality. In his speech upon acceptance into Mexico’s National Academy, he pointed to the similarities between all-encompassing works such as Miguel de Cervantes’s Don Quijote de la Mancha and James Joyce’s Finnegans Wake. Here, Fuentes expands, retreats, and delves further into these themes, encouraging us to re-read these and other works that break with reality and create new, alternate and parallel universes. These creations are a form of rebellion that urge us to see the world through other eyes, he argues. Don Quixote is one such work; revised in its time and over the centuries, it is set in an Arab and Jewish Spain already tainted by the New World, with real and fictitious characters that emerge from other books and wage war on other literatures. Fuentes invites to join him in his rebellious reading of these texts, which offer fantasies that are better and more vital than any possible reality.
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