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The Empty Book
"It's a lot easier just not to write." So argues Josefina Vicens' alter ego, Jose Garcfa, in The Empty Book. Yet his need to write exists independently of his perception that an "ordinary" person has "nothing to say." In the very act of writing about "nothing," Garcia paradoxically tells a story that does have meaning and significance--the story of his own attempt to transcend the limits of mundane existence through creative work.Winner of the prestigious Xavier Villaurrutia prize, The Empty Book was first published in Mexico as El libro vacfo in 1958. A novel about the writing process, it stands as a forerunner of the metafiction boom of the 1960s that included the works of such writers as ...
The False Years
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Josefina Vicens
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El libro vacío / Los años falsos
Este volumen que constituye un rescate invaluable reúne las dos únicas novelas de Vicens, El libro vacío (1958) y Los años falsos (1982), obras que bastaron para colocar la obra de la autora como una de las joyas secretas de la narrativa mexicana.
Reencuentros
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El libro vacío
"Publicada por primera vez en 1958, El libro vacío es la gran novela de Josefina Vicens. La obra, narrada por el protagonista José García, tiene un estilo directo, sencillo e intenso. García tiene una vida aburrida en la que lucha contra sí mismo. Siente una gran necesidad por escribir pero se avergüenza al hacerlo, renuncia y regresa a este acto constantemente. En las noches escribe en sus cuadernos sobre su vida y sus recuerdos, su primer amor, una aventura amorosa y su familia. No sólo es una narración sobre la metafísica de la escritura, sino también sobre los deseos y las limitaciones de un hombre cualquiera."--
The Fragmented Novel in Mexico
From Mariano Azuela's 1915 novel Los de abajo to Rosamaría Roffiel's Amora of 1989, fragmented narrative has been one of the defining features of innovative Mexican fiction in the twentieth century. In this innovative study, Carol Clark D'Lugo examines fragmentation as a literary strategy that reflects the social and political fissures within modern Mexican society and introduces readers to a more participatory reading of texts. D'Lugo traces defining moments in the development of Mexican fiction and the role fragmentation plays in each. Some of the topics she covers are nationalist literature of the 1930s and 1940s, self-referential novels of the 1950s that focus on the process of reading and writing, the works of Carlos Fuentes, novels of La Onda that came out of rebellious 1960s Mexican youth culture, gay and lesbian fiction, and recent women's writings. With its sophisticated theoretical methodology that encompasses literature and society, this book serves as an admirable survey of the twentieth-century Mexican novel. It will be important reading for students of Latin American culture and history as well as literature.
Contemporary Mexican Women Writers
Mexican women writers moved to the forefront of their country's literature in the twentieth century. Among those who began publishing in the 1970s and 1980s are Maria Luisa Puga, Silvia Molina, Brianda Domecq, Carmen Boullosa, and Angeles Mastretta. Sharing a range of affinities while maintaining distinctive voices and outlooks, these are the women whom Gabriella de Beer has chosen to profile in Contemporary Mexican Women Writers. De Beer takes a three-part approach to each writer. She opens with an essay that explores the writer's apprenticeship and discusses her major works. Next, she interviews each writer to learn about her background, writing, and view of herself and others. Finally, de...
Josefina Vicens
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Las crónicas de Pepe Faroles y otras escrituras
Conocida principalmente por sus dos novelas, El libro vacío (1958) y Los años falsos (1982), Las crónicas de Pepe Faroles y otras escrituras permite mostrar la pluralidad genérica de Josefina Vicens pues abarca desde artículos periodísticos hasta guiones de cine. Éste es un acercamiento a las diversas facetas cultivadas por Vicens, desde el conjunto de crónicas taurinas que la autora publicó en el semanario Torerías y que firmó con uno de sus tres pseudónimos “masculinos”: Pepe Faroles, hasta una selección de sus poemas, el cuento “Petrita”, la pieza teatral “Un gran amor”, y dos guiones cinematográficos: Aviso de ocasión y Los perros de Dios.
