It was a weekend to dedicate to the storyteller, novelist, screenwriter, playwright and chronicler Carlos Fuentes, one of the total myths of the 20th century, emblem of the intellectual, thinker of identity, artist without barriers, political animal, man of the world and good host, on the occasion of his mournful tenth anniversary, which happened precisely this Sunday.
The National Autonomous University of Mexico (UNAM) did the same at the start of the weekend with the tribute “10 years without Carlos Fuentes”, organized by the Carlos Fuentes Extraordinary Chair of Hispanic American Literature, with the presence of his widow, Silvia Lemus, who took up the intellectual’s words: “I remember that Carlos said: ‘when I am no longer among you, you will find me in my books’. I want to imagine that today Carlos would be happy, just like me, to know that we will not only find him in his books”.
Mexico in front of the mirror
This Sunday it was the turn of the National Institute of Fine Arts and Literature, in the Manuel M. Ponce Room of the Palace of Fine Arts, with the presence of the writers Hernán Lara Zavala, Alberto Vital and Florence Olivier, as well as the historian Javier Graciadiego Dantán , moderated by Lucina Jiménez, director of INBAL, also with the presence of Silvia Lemus.
There Lucina Jiménez described the work of the author of Aura and The most transparent region as “current and absolutely contemporary.” She referred to Fuentes as “an owner of the word”, a faithful observer of the dilemmas that accompanied the life of Mexico in the 20th century. She added that he was one of those essential minds capable of placing us in front of the mirror of our diversity. “In his Buried Mirror he placed us in front of that game of imprints that are the result of a long history of exchanges where the fertility of Mexican culture is found.”
Alberto Vital, for his part, joined Jiménez’s dissertation on the nickname “owner of the word”, since Fuentes, he explained, was the trigger for a vast tonal repertoire. “In his texts there is, evidently, an enrichment of the Spanish language through sounds of indigenous languages.”
Florence Olivier quoted Jorge Volpi to agree that the deceased 10 years ago was “an author of a thousand faces.” “He moved with prodigious ease between his various figures and images, that of the novelist, the short story writer, the essayist, the playwright, the opera author, the film scriptwriter, the political chronicler,” he said, adding that “a A single figure could perhaps reconcile so many of these identities: that of the artist, that of the political animal perhaps, but that of the artist above all, an identity inseparable from Mexico.”
Finally, Javier Garciadiego presented a study on the transcendental relationship and tutelage of the author of Chac Mool and Terra Nostra with his teacher Alfonso Reyes, together with whom he knew how to grow “his precocious literary culture.” Fuentes, assured Garciadiego, “not only wrote about Reyes but also drew him many times. He was a great cartoonist, another thing that is not known about him”.
fountains, the alchemist
The evocations for the also screenwriter or co-writer of films such as Los caifanes and El gallo de oro continued with the Mexican Academy of Language (AML), in the voice of academics such as Margo Glantz, Liliana Weinberg, Vicente Quirarte and Rosa Beltrán.
“To put it with a Mexicanism, Carlos Fuentes is a turning point in the history of Mexican literature,” said Gonzalo Celorio, director of the AML in his introduction. “He freed language from its puritanical ties and from the false prestige of linguistic correctness always in favor of genuine expression.” If Borges was considered by Fuentes as the creator of Buenos Aires because of his texts dedicated to the city of Buenos Aires, he added, “we can say that Carlos Fuentes is the creator of Mexico City. He is the first to give our city a leading role”.
For Margo Glantz, “it would not be an exaggeration to affirm that wave literature would not be possible if ‘The most transparent region’ had not been published beforehand (…) like the great writers of the 19th century, whom Fuentes once criticized as primitive, His essential concern was to explain and understand what Mexico has been and perhaps could be strategically placed at the crossroads of several worlds: the Mexico-Tenochtitlan, that of discovery and conquest, the uncomfortable frontier Mexico of the most uncomfortable of neighbors, and finally the Mexico located in the process of globalization”.
For the writer and coordinator of Cultura UNAM, Rosa Beltrán, one of Fuentes’s central contributions was to endorse ancient myths and, at the same time, invent the appropriate scenario to question any idea of perception and natural order (…) Carlos Fuentes is the responsible for an alchemical process, gave rise to the middle class. To achieve this, he had turned the city into a verbal mess, into high baroque. With the idea that in Mexico time is space, he invented a new urban myth”.
See also the tribute paid by the National College.
ricardo.quiroga@eleconomista.mx
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