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This library is the largest in the western region of Mexico with a collection of , volumes and a capacity for simultaneous users. From Wikipedia, the free encyclopedia. This article may be expanded with text translated from the corresponding article in Spanish. August Click [show] for important translation instructions.

Machine translation like Deepl or Google Translate is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality.

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For more guidance, see Wikipedia:Translation. These mannerisms, without ever losing their appeal, often become problematic: Borges translation of Faulkner ends up turning the text into another on of his own creations. FdP: Yes, no doubt. It comes as a natural result, needless to say, of decades in Europe.

After all, literature is nothing but invention—sheer artifice.

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These comments are fascinating, if only because Garcia Marquez has little to do with English, but Borges, on the other had, knew it far too well. Have you ever translated other people into Spanish? FdP: Never. Or rather, never a literary text, only press releases and similar stuff. What I would love to translate is poetry, but unfortunately my knowledge of foreign languages is limited.

By the way, I began my career writing sonnets, but later switched to fictional prose. FdP: Yes. Juan Jose Arreola brought it out in his series El Unicornio. The sonnet works best for me. It took eight years—from to , but I should add to that several more months in which I had to rectify spelling and information.


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FdP: It depends on the chapter. For some I made many version—twenty to thirty—and others just came out finished. I felt it was very theatrical and thus decided to turn it into a dramatic piece. The chapter grew as versions accumulated, until it was clear to me that there was no resemblance between the first description and the final text.

Then, when the novel was finished, I burnt the manuscript. I wanted to be the sole proprietor of a secret, which I knew I would sooner or later forget. FdP: No.

I have two boxes with the manuscript and notes of the first, and scattered segments of the third. I had been working as a copywriter for a publicity agency in Mexico and abandoned all that. Thanks to the money I got from the foundation the book began to take shape. FdP: I originally wanted to become a doctor and began medical school, but for personal reasons had to abandon it.

As the book acquired its present form—and it took a long time to do so—I realized my interest in medicine was based on my passion for its romantic aspects.

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I began to understand that it is nothing but a science of failure. Our body is a microcosm and is the only thing we truly own in life: with the body we love and hate, with the body we enjoy and suffer. IS: Is there any doctor that, as a writer, marked your passion for medicine?


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My attempt to establish a bridge between these two fields, literature and medical science, is self-made. In its attempt to encompass the world, the encyclopedic novel, which you champion, cannot but fall short of its totalizing dream. It happened as the manuscript developed in the most spontaneous of ways. The all encompassing protagonist could at times become Cousin Walter, who ends up being another aspect of Fernando del Paso—not of what del Paso once was but of what he could have been.

Having said that, I should say that the secondary characters—Grandfather Francisco, Mama Clementina, Papa Eduardo, Aunt Luisa, the French botanist—are all more clearly defined and cannot be perceived as variations of the same individual. When you talk about baroque prose, I cannot help but think of the differences between Mexican and Cuban literary cultures. It is self referential, carnivalesques, parodic, and satirical, and, at the same time, it offers a variety of levels of meaning and interpretation. Of course all this has come to be known as the trade mark of Cuban writers. Mexican writers, on the other hand, are much more accessible—with the exception, obviously, of Carlos Fuentes, with whom you share more than a hyperactive style.

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Both countries, Cuba and Mexico, inherited from the Iberian peninsula a highly convoluted, hybrid worldview, part Christian, part Muslim, part Jewish, and they added even more ingredients to the soup—in the case of Cuba a mulatto and Creole dimension, and in the case of Mexico a mestizo one. And these ingredients were in turn superseded by Oriental and Hindu influences. Our architecture is equally baroque: rococo, churrigueresque, plateresque, and other hybrid textures compete against each other for space and recognition in the very same cathedral and monastery.

The simplest definition of baroque is a style that tries to saturate space by abusing curves to the point of hyperbole, and you will agree with me that Coatlicue, the Aztec goddess, is indeed baroque. IS: But again, Mexican writers are somehow allergic to excess. He was born in and you in Fuentes has been a magnetic figure, the center of the a solar system around which other writers gravitate.

He has overshadowed others. It was a novel that revolutionized Mexican fiction in that it stationed itself in a decisively urban atmosphere—its protagonist, as you know, is Mexico City.

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It influenced me in its attitude and openness to other styles. We were at the time reading the same set of authors: Flaubert, whose approach to the novel we admired, as well as Joyce; and in more technical terms, John Dos Passos, Hemingway, Virginia Woolf, and Faulkner. IS: More than Fuentes influencing you, I would say the two of you maintain a trans-textual, trans-temporal dialogue.

He of course has been a consummate adapter, rewriting or shall I say stealing? After all, once one writer discovers a fascinating character like Bierce, who crossed the border at age seventy-something, traveled through Mexico, and was never heard of again, the topic becomes a magnet to others. FdP: I was tempted, but I chose to keep these worlds separate. My view of literature is still based on its oral tradition. A good page is one that can be read and enjoyed aloud. One of its leitmotifs is the student massacre, in October , at Tlatelolco Square.

Just as the Olympic games were about to begin, the Mexican government, as you well know, was facing heavy pressure from social forces asking for democratic change. But refusing to open up, the ruling party under the leadership of President Gustavo Diaz Ordaz ordered the army to confront the student uprising with tanks and bullets.


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  • Many thousand died, and many more were injured. And yet, by you were thirty-three, too old to be an undergraduate at the Universidad Nacional Autonoma de Mexico or the Instituto Politecnico Nacional, the two academic institutions where the uprising began. By , still in Mexico, I had already begun writing the novel under another title. I was married and had a petite bourgeois life.

    I witnessed the student uprising, but was never a participant.