Mario Vargas Llosa, página 6 de 29

The dramatic lives of two bold, independent adventurers--Paul Gaugin and his grandmother Flora Tristan, a trail-blazing women's suffragist--as imagined by "one of the master storytellers of our time" (Chicago Tribune Book World) In 1844, Flora Tristán embarked on a tour of France to campaign for workers' and women's rights. In 1891, her grandson Paul Gauguin set sail for Tahiti, determined to escape civilization and paint primitive masterpieces. Flora died before her grandson was born, but their travels and obsessions unfold side by side in this deft, utterly absorbing novel. Flora, the illegitimate child of a wealthy Peruvian father and French mother, grows up in poverty, and after fleeing a brutal husband, journeys to Peru to demand her inheritance. On her return, she makes her name as a popular writer and a champion of the downtrodden, setting herself the arduous task of touring the French countryside to recruit members for her Workers' Union. Paul, struggling painter and stubborn visionary, abandons his wife and five children for life in the South Seas, where his dreams of paradise are poisoned by syphilis, the stifling forces of French colonialism, and a chronic lack of funds, though he has his pick of teenage Tahitian lovers and paints some of his greatest works. Affectionate, astute, and quietly caustic, this double portrait is a rare study in passion and ambition, as well as the obstinate pursuit of greatness in the face of illness and death, from Mario Vargas Llosa, whose previous novels, The Feast of the Goat, "pushed the boundaries of the traditional historic novel [in] a book of harrowing power and lasting resonance" (The New York Times).

The dramatic lives of two bold, independent adventurers: Paul Gaugin, one of the great French painters, and his grandmother Flora Tristan, a trail-blazing womens suffragist. Flora died before her grandson was born, but their travels and obsessions unfold side by side in this novel.

Onde se encontra o Paraíso? Na construção de uma sociedade igualitária ou no retorno ao mundo primitivo? Neste seu novo romance, Mario Vargas Llosa põe em relevo o mundo de utopias que foi o século XIX, através das vidas de Paul Gauguin e da sua avó materna Flora Tristán. Um vínculo entre duas personagens que optam por modelos de vida opostos mas que revelam um desejo comum: alcançar um Paraíso onde seja possível a felicidade para os seres humanos.

Ne "I cuccioli" tutto ruota attorno a un episodio drammatico letto su ungiornale, protagonisti un bambino e un cane. Le conseguenze saranno terribili,e il bambino porterà il loro pesante fardello anche nella vita adulta. Ai"Cuccioli" segue "I capi", una raccolta di racconti del 1959 che si pone comepunto di partenza di una ricerca che si concretizzerà più avanti ne "La cittàe i cani" e "Conversazioni nella Catedral". Racconti in cui sono presentimolti dei "luoghi" dell'autore: gli studenti, la politica, gli spazi urbanidelle città, tra poveri sibborghi e quartieri della borghesia, l'interno delPaese, la miseria.

Vi si narra la vicenda o meglio la carriera, di Pedro Camacho, fecondissimoproduttore boliviano d'intrecci (lo chiamano anche Balzac creolo) che, chiusoin una mefitica stanzetta, sforna trame melodrammatiche e truculente per unprogramma di feuilleton di Radio Lima. Tutti attendono con impazienza lepuntate della sua fantasia, ma improvvisamente le differenti trame di appendice prendono a confondersi tra loro. Camacho è impazzito e sarà degradato agaloppino d'una rivista di sicuro fallimento. D'altro lato, ecco invece lastoria di Mario, giovane aspirante scrittore attratto da questa curiosa macchina dell'immaginario che ci racconta una sua complicata storia: s'innamora di una zia vedova e più matura che finirà per sposare.

Felicito Yanaque has raised himself from poverty to ownership of a trucking business. His two sons work for him. He receives a threatening letter demanding protection money. The police don't take him seriously, Felicito refuses to pay up and gets sucked into a nightmare. He becomes a reluctant public hero. Then his mistress is kidnapped, and matters become seriously complicated. And he finds that his troubles have begun very close to home. His fate is interwoven with the story of Rigoberto, a wealthy Lima insurance executive. His boss and old friend, Ismael, suddenly announces that he is marrying his housekeeper, a chola from Piura, to the consternation of his twin sons, a pair of brutal wasters. Ismael escapes to Europe with his new bride, leaving Rigoberto to face the twins' threats, and their claims that he connived with a scheming woman to rob an old man of his fortune. Rigoberto is hounded by the press and TV. Meanwhile, his only son is having visions of a mysterious stranger who may or may not be the devil...

Marito is a young Peruvian who toils away at his local radio station, dreaming of becoming a writer, before his life is torn apart by two arrivals. The first is his recently divorced Aunt Julia, with whom he begins an affair which he must hide from his family. The second is Pedro Camacho, an eccentric scriptwriter whose radio dramas are keeping the whole city enthralled. This hilarious and mischievous novel interweaves the story of Marito's life with Pedro Camacho's increasingly insane tales to masterfully depict both Peru and the act of growing up in the 1950s. Mario Vargas Llosa won the Nobel Prize in Literature in 2010, and Aunt Julia and the Scriptwriter is a perfect introduction to one of South America's most popular and lauded writers.

Felicito Yanaque has raised himself from poverty to ownership of a trucking business. His two sons work for him. He receives a threatening letter demanding protection money. The police don't take him seriously, Felicito refuses to pay up and gets sucked into a nightmare. He becomes a reluctant public hero. Then his mistress is kidnapped, and matters become seriously complicated. And he finds that his troubles have begun very close to home. His fate is interwoven with the story of Rigoberto, a wealthy Lima insurance executive. His boss and old friend, Ismael, suddenly announces that he is marrying his housekeeper, a chola from Piura, to the consternation of his twin sons, a pair of brutal wasters. Ismael escapes to Europe with his new bride, leaving Rigoberto to face the twins' threats, and their claims that he connived with a scheming woman to rob an old man of his fortune. Rigoberto is hounded by the press and TV. Meanwhile, his only son is having visions of a mysterious stranger who may or may not be the devil...

Ian Gibson profundiza en las raíces de la obra cinemato gráfica de Luis Buñuel, transida de resonancias personales, cada vez más valorada internacionalmente.Luis Buñuel (Calanda, 1900-México, 1983) es el aragones mas celebre del mundo despues de Goya y esta considerado como uno de los grandes creadores del siglo XX.Con una revision minuciosa de la ingente bibliografia acumulada en torno a la figura de Buñuel en distintos idiomas, y una rigurosa investigacion durante siete años llevada a cabo en Calanda, Zaragoza, Madrid y Paris, el reconocido hispanista ha salido airoso del reto.La infancia del cineasta, la intensa relacion con la madre, su larga temporada con los jesuitas, los años universitarios en Madrid al lado de Lorca y de Dali, el traslado a Paris en 1925 #donde encuentra pronto su vocacion y participa en la apasionante aventura del surrealismo#, Un Chien andalou y el escandalo de L'Age d'or, la vuelta a España bajo la Republica, su trabajo con la productora Filmofono, el compromiso antifascista y, empezada la contienda, su actuacion semisecreta a ordenes de la embajada española en Paris... He aqui un relato magistral que se lee como una novela.Tras Garcia Lorca, Dali y Machado, Ian Gibson desentraña la vida de uno de los creadores españoles mas vanguardistas: Luis Buñuel.

«C'est à Paris que j’ai écrit mes premiers romans, découvert l’Amérique latine et commencé à me sentir latino-américain ; j’y ai vu la publication de mes premiers livres ; j’y ai appris, grâce à

«C'est à Paris que j’ai écrit mes premiers romans, découvert l’Amérique latine et commencé à me sentir latino-américain ; j’y ai vu la publication de mes premiers livres ; j’y ai appris, grâce à

Es sind die späten fünfziger Jahre in Lima, Miguel liebt Flora, aber er fürchtet, dass sein Kumpel Rubén sie ihm ausspannen wird. Als die Clique, »die Raubvögel«, beisammensitzt, fordert Miguel den R

Eine ungezügelte Liebes- und Lebensgeschichte. Fünfhundert Dollar – monatlich! Der Transportunternehmer Felícito denkt überhaupt nicht daran, auf die Schutzgeldforderung der peruanischen Mafia ein

Un chien après lequel on court, tel est le début de ce livre. Dès les premières pages, nous voyons le narrateur se précipiter à la fourrière, dans les faubourgs de Lima, pour récupérer son caniche

Quando riceve una lettera di minaccia con un ragnetto al posto della firma, Felícito Yanaqué non perde tempo e va alla polizia di Piura a sporgere denuncia. Ha faticato troppo per lasciare che qua

«C'est à Paris que j’ai écrit mes premiers romans, découvert l’Amérique latine et commencé à me sentir latino-américain ; j’y ai vu la publication de mes premiers livres ; j’y ai appris, grâce à

The new essay collection by the Nobel Prize-winning Peruvian novelist and social critic.In the past, culture was a kind of vital consciousness that constantly rejuvenated and revivified everyday reality. Now it is largely a mechanism of distraction and entertainment. Notes on the Death of Culture is an examination and indictment of this transformation - penned by none other than the Nobel winner Mario Vargas Llosa, who is not only one of our finest novelists but one of the keenest social critics at work today.Taking his cues from T. S. Eliot - whose treatise Notes Towards the Definition of Culture is a touchstone precisely because the culture Eliot aimed to describe has since vanished - Vargas Llosa traces a decline whose ill effects have only just begun to be felt. He mourns, in particular, the figure of the intellectual: for most of the twentieth century, men and women of letters drove political, aesthetic, and moral conversations; today they have all but disappeared from public debate.But Vargas Llosa stubbornly refuses to fade into the background. He is not content to merely sign a petition; he will not bite his tongue. A necessary provocateur, here vividly translated by John King, provides an impassioned and essential critique of our time and culture.