Carlos Fuentes
Carlos Fuentes
Carlos Fuentes Macías audio was a Mexican novelist and essayist. Among his works are The Death of Artemio Cruz, Aura, Terra Nostra, The Old Gringoand Christopher Unborn. In his obituary, the New York Times described him as "one of the most admired writers in the Spanish-speaking world" and an important influence on the Latin American Boom, the "explosion of Latin American literature in the 1960s and '70s", while The Guardian called him "Mexico's most celebrated novelist". His many literary honors include...
NationalityMexican
ProfessionNovelist
Date of Birth11 November 1928
CityPanama City, Panama
CountryMexico
[The Mexican revolution] was a break with the past to recover the past. We were trying to deny we had an Indian and a black and a Spanish past. The Mexican Revolution accepted all heritages. It allowed Mexico to be mestizo.
Some writers achieve great popularity and then disappear forever. The bestseller lists of the past fifty years are, with a few lively exceptions, a sombre graveyard of dead books.
There is no creation without tradition; the 'new' is an inflection on a preceding form; novelty is always a variation on the past.
You, yesterday, did the usual things, just as any day, You don't know if it's worth remembering. You would prefer to remember, there lying in the half-darkness of the bedroom, not what has happened already but what is going to happen. In your half-darkness your eyes would prefer to look ahead, not behind, and they do not know how to foresee the past.
U.S. foreign policy is Manichaean. It's like a Hollywood movie. You have to know who has the white hat and who has the black hat and then go against the black hat.
She was a little tender. She's always had problems with her last pass. We changed her first pass around because she had too much power.
She's just a dynamic performer. She was unsure if she could still do gymnastics like she used to. This year, I think she's started believing that she can.
She did everything she could to be at state.
What I want is to respond to the challenge posed by the mass media - to permit the novel to say what can only be said by narrative - to allow it to be itself.
I am a morning writer; I am writing at eight-thirty in longhand and I keep at it until twelve-thirty, when I go for a swim. Then I come back, have lunch, and read in the afternoon until I take my walk for the next day's writing.
The historical problem of the United States is to admit that it is a multiracial and multi-ethnic nation.
There are now 30-year-old Mexican writers who do great novels in which Mexico isn't even mentioned.
You have an absolute freedom in Mexican writing today in which you don't necessarily have to deal with the Mexican identity. You know why? Because we have an identity... We know who we are. We know what it means to be a Mexican.
Writing requires the concentration of the writer, demands that nothing else be done except that.