By Sara Castro-Klaren
"The paintings encompasses a wealth of data that needs to absolutely give you the simple fabric for a couple of learn modules. it's going to discover a position at the library cabinets of all associations the place Latin American experiences shape a part of the curriculum." (Reference evaluate, November 2009)
"In brief, this can be a attention-grabbing panoply that is going from a reevaluation of pre-Columbian the United States to an fascinating attention of modern advancements within the debate at the modem and postmodern. Summing Up: Recommended." (CHOICE, February 2009)
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Additional resources for A Companion to Latin American Literature and Culture
The story takes place in the almost ‘realistic’ archaic setting where the narrator lives, and his self-introduction emphasizes the contrast between himself and the king Isern who possesses, or believes he possesses, the magic disk, an impossible object. The references to the narrator’s ascetic house breathe with antiquity, a remoteness in time and space, and introduce the ideas of uniformity and circularity which the man’s life and the shape of the world have in common: “La choza en que nací y en la que pronto habré de morir queda al borde del bosque.
By means of his own creation the magician reveals himself to be “[un] mero simulacro” (Obras 1:454) [“a mere image” (50)] that challenges the Christian idea that “el Hijo es la reconciliación de Dios con el mundo” (Obras 1:210) [“the Son is God’s reconciliation with the world” (85)]. His attempts to reconcile the existence of his son with the ‘real’ world result in the magician’s recognition of his own distance from it due to his own dream-like ontology. The magician’s revelation undermines the uniqueness of his project.
Qxd 29/8/07 6:16 PM Page 29 place in borges’s stories & the irony of revelation 29 in Scandinavian medieval literature, Borges points out: “La repetición de situaciones y de palabras textuales es intencional de parte de los autores y su propósito, sin duda, ha sido señalar al lector la correspondencia entre lo aparentemente nuevo y lo antiguo” (LGM 135) [“The repetition of situations and specific words is intended by the authors as an illustration, no doubt, of correspondencies between the old and the new”].