Conversación en La Catedral review Ì 3

review Conversación en La Catedral

Conversación en La Catedral review Ì 3 é ➳ [Reading] ➶ Conversación en La Catedral By Mario Vargas Llosa ➩ – A conversation is held in the Cathedral during the Manuel A Odrma dictatorship in Peru; over beers and a sea of freely spoken words the conversation describes the degradation and the Onversation describes the degradation and the frustration of a town Through a complicated web of private lives the author analyzes the mental and moral mecha. Conversation in the Cathedral is a story of decline and fall – deterioration of family ultimate ruination of hopes and pursuits“The voice the body are his but he looks thirty years older The same thin lips the same flat nose the same kinky hair But now in addition there are purple bags on his eyelids wrinkles on his neck a greenish yellow crust on his horse teeth He thinks they used to be so white What a change what a ruin of a man He’s thinner dirtier so much older but that’s his big slow walk those are his spider legs His big hands have a knotty bark on them now and there’s a rim of saliva around his mouth”The novel reminded me of Absalom Absalom by William FaulknerThose who persevere in staying on the dark side of history are doomed

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A conversation is held in the Cathedral during the Manuel A Odrma dictatorship in Peru over beers and a sea of freely spoken words the Conversación en Epubc. Conversación en La Catedral Conversation in the Cathedral Mario Vargas LlosaConversation in the Cathedral is a 1969 novel by Peruvian writer and essayist Mario Vargas Llosa translated by Gregory Rabassa One of Vargas Llosa's major works it is a portrayal of Peru under the dictatorship of Manuel A Odría in the 1950's and deals with the lives of characters from different social strata The ambitious narrative is built around the stories of Santiago Zavala and Ambrosio respectively; one the son of a minister the other his chauffeur A random meeting at a dog pound leads to a riveting conversation between the two at a nearby bar known as the Cathedral hence the title During the encounter Zavala tries to find the truth about his father's role in the murder of a notorious Peruvian underworld figure shedding light on the workings of a dictatorship along the wayتاریخ نخستین خوانش ماه آگوست سال 2005 میلادیعنوان گفتگو در کاتدرال؛ نویسنده ماریو وارگاس بارگاس یوسا؛ مترجم عبدالله کوثری؛ مشخصات نشر مشهد، نشر نما، چاپ نخست 1370، در دو جلد، چاپ دوم، تهران، لوح فکر، 1384 در 704ص، فروست شاهکارهای ادبیات جهان، شابک 9648578052؛ موضوع داستانهای نویسندگان پرویی سده 20مداستان با دیدار دو تن از شخصیتهای اصلی کتاب به نامهای «سانتیاگو زاوالا» و «آمبرسیو پرادو» در کافه ای به نام «کاتدرال» آغاز میشود، و به نوعی تا پایان کتاب ادامه دارد؛ داستانها و گفتگوهایی در داستان، به ویژه در فصل نخست، از نظر مکالمه شگفت انگیز هستند؛ رمانی سیاسی ست و «بارگاس یوسا» نویسنده ی این اثر، برنده جایزه نوبل ادبیات سال 2010میلادی شده‌ است؛ زبان اصلی نگارش این کتاب «اسپانیایی» است و کشور منتشر کننده آن جمهوری «پرو» است؛ گفتگو در «کاتدرال» سومین رمان نویسنده، که در محیط شهر «لیما» شکل می‌گیرد؛تاریخ بهنگام رسانی 17051399هجری خورشیدی؛ ا شربیانی

Mario Vargas Llosa ↠ 3 read & download

Conversación en La CatedralNisms that govern power and the people behind it Conversacisn en la Catedral is than a point of reference it is a landmark in the history of present Literatu. I must admit that I got off to a rocky start with Mario Vargas Llosa's Conversation in the Cathedral after a dachshund is brutally clubbed to death in Chapter One and a woman gets drugged and sexually assaulted in Chapter Two by over sympathetic characters who don't ever seem uite to grasp the offensiveness of their actions I was feeling a mite unfriendly toward the novel By Chapter Three though I was reluctantly softening my stance and by Chapter Four I was fully immersed in Vargas Llosa's unusual but compelling narrative voice What won me over It certainly wasn't a cessation of the brutality in this tale of disillusionment and corruption in 1950s Peru although the sexual politics did redeem themselves somewhat What really tipped the scales and had me devouring Vargas Llosa's novel in 100 page chunks was its uniue combination of compelling storyline and experimental narration style Vargas Llosa does something with his storytelling here that I've never exactly encountered before and it's a techniue I found both exciting and effectiveLike many novels in which the main characters are looking back and attempting to untangle events of the past Conversation in the Cathedral is multi layered in its presentation Within the first chapter we get a sketch of everything that happens in the book's present day early 1960s disillusioned newspaper columnist Santiago Zavala goes to fetch his dog at the pound encounters an older man named Ambrosio who once worked for Santiago's father and the two go for an extended talking and drinking session in a nearby dive bar At the end of Chapter One Santiago now falling down drunk initiates an angry confrontation with Ambrosio about some event in their mutual past but Ambrosio denies responsibility Santiago then stumbles home with his dog and promises his wife that he won't stay out drinking without calling her againThat's the extent of the present day action which is over in the first 20 pages Throughout the rest of the 600 page novel we get multi layered multi voiced flashbacks reaching back to the years before dictator Manuel Odria's 1948 rise to power when Santiago was an idealistic upper middle class high school student preparing to enter San Marcos University Gradually of course the reader begins to piece together the relationships surrounding Santiago and Ambrosio and just what happened to cause the dynamics seen in the opening chapter What sets Conversation in the Cathedral apart from most other flashback to the past multiple voiced novels I've read is that any given passage from one sentence to the next can see saw among three or four different scenes taking place not just between different sets of people but at radically different times The result is a sometimes challenging but always compelling juxtaposition In extreme cases Vargas Llosa's techniue can look like the following passage which features four different scenes layered on top of each other Santiago and Ambrosio's rehashing of the past in the present day Cathedral bar; an early 1950 political rally in support of the Odríist candidate Emilio Arévalo staffed by strong man Trifulcio; a mid 1950 conversation among the now Senator Arévalo Senator Landa and Santiago's father Don Fermín about the rigging of the recent elections and the increasing political power of Presidential favorite Cayo Bermúdez; and a police interrogation carried out by two of Ambrosio's sometime colleagues hired thugs Hipólito and Ludovico sometime in the early 1950s       I'm not being nosy but why did you run away from home that time son Ambrosio asks Weren't you well off at home with your folks      Don Emilio Arévalo was sweating; he was shaking the hands that converged on him from all sides he wiped his forehead smiled waved embraced the people on the platform and the wooden frame swayed as Don Emilio approached the steps Now it was your turn Trifulcio      Too well off that's why I left Santiago says I was so pure and thick headed that it bothered me having such an easy life and being a nice young boy      The funny thing is that the idea of putting him in jail didn't come from the Uplander Don Fermín said Or from Arbeláez or Ferro The one who convinced them the one who insisted was Bermúdez      So pure and thick headed that I thought that by fucking myself up a little I would make myself a real little man Ambrosio Santiago says      That all of it was the work of an insignificant Director of Public Order an underling I can't swallow either Senator Landa said Uplander Espina invented it so he could toss the ball to someone else if things turned out badly      Trifulcio was there at the foot of the stairs defending his place with his elbows spitting on his hands his gaze fanatically fastened on Don Emilio's feet which were approaching mixed in with others his body tense his feet firmly planted on the ground his turn it was his turn      You have to believe it because it's the truth Don Fermín said And don't tar him so much Whether you like it or not that underling is becoming the man the General trusts the most      There he is Hipólito I'm making a present of him to you Ludovico said Get those ideas of being headman out of his brain once and for all      Then it wasn't because you had different political ideas from your papa Ambrosio asks      He believes him implicitly he thinks he's infallible Don Fermín said When Bermúdez has an opinion Ferro Arbeláez Espina and even I can go to the devil we don't exist That was evident in the Montagne affair      My poor old man didn't have any political ideas Santiago says Only political interests AmbrosioI know this is a very extended uote but it takes some time to get into the swing of what Vargas Llosa can do with this kind of staggered syncopated dialogue Like a choreographer working with four groups of dancers on stage simultaneously he subtly shifts the focus from one to another of the four scenes while still keeping all of them in motion at once Even in the relatively short segment above one can see the focus shifting slightly from SantiagoAmbrosio to the conversation among the senators and back again like the intermittent interference that happens when a listener drives along the boundary between two radio stations broadcasting on the same freuency Together these four threads become than the sum of their parts not only is there an aesthetically affecting rhythm to their interplay but the immediate juxtaposition of different characters and times is an interesting way to bring out the novel's themes Here for example we have two competing analyses of the political events on one station there is Santiago's disgust with his father's opportunism and with his own youthful self righteousness; while on the other we get Don Fermín's self interested but pragmatic play by play assessment of the unfolding political scene At the same time like palimpsests over which these conversations are layered are the two scenes of action of real life cause and effect which I visualize as sandwiching the senators' conversation the lead up to the elections they're discussing and the stark reality of police brutality and oppression under the Odría regime So too we get the juxtaposition of two fatherson pairs Trifulcio the thug is Ambrosio's father so a second filial dynamic is present echoing the dominant theme established by Santiago and Don Fermín Conversation in the Cathedral has much interesting commentary to offer on the class dynamics of Peruvian society and we can see some of that coming out here Santiago with the bourgeois background he spends the entire novel trying to escape has nonetheless the privileged person's sense of entitlement he feels betrayed by the person he has discovered his father to be and he holds that against the man's memory because he feels he somehow deserves a father different from the one he got Ambrosio on the other hand is remarkably free from bitterness despite Trifulcio being a much negligent and immoral father to him than Don Fermín was to Santiago Santiago's statement that his father didn't have any political ideas only political interests is ironic given how much truer it is when applied to Ambrosio's father rather than his own Moreover throughout their entire conversation Ambrosio reinforces rather than uestions the emphasis on the SantiagoDon Fermín relationship while the two bar patrons discuss both their lives Ambrosio seems to have had of a relationship with Santiago's father than he had with Trifulcio and is invested in defending his former employer to the man's son This continues to be true despite a number of narrative reveals later in the book the circumstances of Trifulcio's eventual death; details about the dynamic between Don Fermín and Ambrosio which might lead a reader to assume Ambrosio would have his own axe to grind with Don Fermín Ambrosio though has been trained not to uestion his own status as a secondary player on the stage of life; he doesn't believe he deserves any particular treatment or uality of life These issues of class hierarchy and feelings of entitlement are in turn reflected in the senators' discussion of the commoner Cayo Bermúdez whose social standing earns their contempt but whose influential role in the President's inner circle co