Mouchel and Mario Vargas Llosa: Difference between pages

Mario Vargas Llosa
Mario Vargas Llosa
	Mario Vargas Llosa in 2005
Nationality	Peruvian, Spanish
Alma mater	National University of San Marcos, ; Complutense University of Madrid
Spouse	Julia Urquidi (1955–1964); Patricia Llosa (1965–present)
Children	Álvaro Vargas Llosa; Gonzalo Vargas Llosa; Morgana Vargas Llosa
Signature
Website
	http://www.mvargasllosa.com

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Jorge Mario Pedro Vargas Llosa (born March 28, 1936) is a Peruvian writer, politician, journalist, and essayist. Vargas Llosa is one of Latin America's most significant novelists and essayists, and one of the leading authors of his generation. Some critics consider him to have had a larger international impact and world-wide audience than any other writer of the Latin American Boom.^[1]

Vargas Llosa rose to fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros, 1963/1966^[2]), The Green House (La casa verde, 1965/1968), and the monumental Conversation in the Cathedral (Conversación en la catedral, 1969/1975). He continues to write prolifically across an array of literary genres, including literary criticism and journalism. His novels include comedies, murder mysteries, historical novels, and political thrillers. Several, such as Captain Pantoja and the Special Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982), have been adapted as feature films.

Many of Vargas Llosa's works are influenced by the writer's perception of Peruvian society and his own experiences as a native Peruvian. Increasingly, however, he has expanded his range, and tackled themes that arise from other parts of the world. Another change over the course of his career has been a shift from a style and approach associated with literary modernism, to a sometimes playful postmodernism.

Like many Latin American authors, Vargas Llosa has been politically active throughout his career; over the course of his life, he has gradually moved from the political left towards the right. While he initially supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted. He ran for the Peruvian presidency in 1990 with the center-right Frente Democrático (FREDEMO) coalition, advocating neoliberal reforms. He has subsequently supported moderate conservative candidates.

Fuck me babe...............FUCK!

Later life and political involvement

File:Fredemo-vargasllosa.jpg

Vargas Llosa 1990 election poster

Like many other Latin American intellectuals, Vargas Llosa was initially a supporter of the Cuban revolutionary government of Fidel Castro.^[3] He studied Marxism in depth as a university student and was later persuaded by communist ideals after the success of the Cuban Revolution.^[4] Gradually, Vargas Llosa came to believe that Cuban socialism was incompatible with what he considered to be general liberties and freedoms.^[5] The official rupture between the writer and the policies of the Cuban government occurred with the so-called Padilla Affair, when Fidel Castro imprisoned the poet Herberto Padilla. Vargas Llosa, along with other intellectuals of the time, wrote to Castro protesting against the Cuban political system and the imprisonment of the artist.^[6] Vargas Llosa has identified himself with neoliberalism rather than extreme left-wing political ideologies ever since.^[7] Since he relinquished his earlier leftism, he has opposed both left- and right-wing authoritarian regimes.^[8]

With his appointment to the Investigatory Commission in 1983 he experienced what literary critic Jean Franco calls "the most uncomfortable event in [his] political career".^[9] Unfortunately for Vargas Llosa, his involvement with the Investigatory Commission led to immediate negative reactions and defamation from the Peruvian press; many suggested that the massacre was a conspiracy to keep the journalists from reporting the presence of government paramilitary forces in Uchuraccay.^[10] The commission concluded that it was the indigenous villagers who had been responsible for the killings; for Vargas Llosa the incident showed "how vulnerable democracy is in Latin America and how easily it dies under dictatorships of the right and left".^[11] These conclusions, and Vargas Llosa personally, came under intense criticism: anthropologist Enrique Mayer, for instance, accused him of "paternalism",^[12] while fellow anthropologist Carlos Iván Degregori criticized him for his ignorance of the Andean world.^[13] Vargas Llosa was accused of actively colluding in a government cover-up of army involvement in the massacre.^[10] Latin American literature scholar Misha Kokotovic summarizes that the novelist was charged with seeing "indigenous cultures as a 'primitive' obstacle to the full realization of his Western model of modernity".^[14] Shocked both by the atrocity itself and then by the reaction his report had provoked, Vargas Llosa responded that his critics were apparently more concerned with his report than with the hundreds of peasants who would later die at the hands of the Sendero Luminoso guerrilla organization.^[15]

Over the course of the decade, Vargas Llosa became known for his staunch neoliberal views. In 1987, he helped form and soon became a leader of the Movimiento Libertad.^[16] The following year his party entered a coalition with the parties of Peru's two principal conservative politicians at the time, ex-president Fernando Belaúnde Terry (of the Popular Action party) and Luis Bedoya Reyes (of the Partido Popular Cristiano), to form the tripartite center-right coalition known as Frente Democrático (FREDEMO).^[16] He ran for the presidency of Peru in 1990 as the candidate of the FREDEMO coalition. He proposed a drastic economic austerity program that frightened most of the country's poor; this program emphasized the need for privatization, a market economy, free trade, and most importantly, the dissemination of private property.^[17] During the campaign, his opponents read racy passages from his novels over the radio in an apparent attempt to shock voters.^{[citation needed]} Although he won the first round with 34% of the vote, Vargas Llosa was defeated by a then-unknown agricultural engineer, Alberto Fujimori, in the subsequent run-off.^[17] Vargas Llosa included an account of his run for the presidency in the memoir A Fish in the Water (El pez en el agua, 1993).^[18] Since his political defeat, he has focused mainly on his writing, with only an occasional political involvement.^[19]

Vargas Llosa has mainly lived in London since the 1990s,^[20] but spends roughly three months of the year in Peru.^[17] Vargas Llosa also acquired Spanish citizenship in 1993; he frequently visits Spain for various conferences and enjoys vacationing there.^[20] In 1994 he was elected a member of the Real Academia Española (Spanish Royal Academy)^[20] and has been involved in the country's political arena. In February 2008 he stopped supporting the Partido Popular in favor of the recently created Union, Progress and Democracy, claiming that certain conservative views held by the former party are at odds with his classical liberal beliefs. His political ideologies appear in the book Política razonable, written with Fernando Savater, Rosa Díez, Álvaro Pombo, Albert Boadella and Carlos Martínez Gorriarán.^[21] He continues to write, both journalism and fiction, and to travel extensively. He has also taught as a visiting professor at a number of prominent universities.^[22]

Style

Plot, setting, and major themes

Vargas Llosa's style encompasses historical material as well as his own personal experiences.^[23] For example, in his first novel, The Time of the Hero, his own experiences at the Leoncio Prado military school informed his depiction of the corrupt social institution which mocked the moral standards it was supposed to uphold.^[24] Furthermore, the corruption of the book's school is a reflection of the corruption of Peruvian society at the time the novel was written.^[25] Vargas Llosa frequently uses his writing to challenge the inadequacies of society, such as demoralization and oppression by those in political power towards those who challenge this power. One of the main themes he has explored in his writing is the individual's struggle for freedom within an oppressive reality.^[26] For example, his two-volume novel Conversation in the Cathedral is based on the tyrannical dictatorship of Peruvian President Manuel A. Odría.^[27] The protagonist, Santiago, rebels against the suffocating dictatorship by participating in the subversive activities of leftist political groups.^[28] In addition to themes such as corruption and oppression, Vargas Llosa's second novel, The Green House, explores "a denunciation of Peru's basic institutions", dealing with issues of abuse and exploitation of the workers in the brothel by corrupt military officers.^[29]

Many of Vargas Llosa's earlier novels were set in Peru, while in more recent work he has expanded to other regions of Latin America, such as Brazil and the Dominican Republic.^[30] His responsibilities as a writer and lecturer have allowed him to travel frequently and led to settings for his novels in regions outside of Peru.^[31] The War of the End of the World was his first major work set outside Peru.^[32] Though the plot deals with historical events of the Canudos revolt against the Brazilian government, the novel is not based directly on historical fact; rather, its main inspiration is the non-fiction account of those events published by Brazilian writer Euclides da Cunha in 1902.^[33] The Feast of the Goat, based on the dictatorship of Rafael Trujillo, takes place in the Dominican Republic;^[34] in preparation for this novel, Vargas Llosa undertook a comprehensive study of Dominican history.^[35] The novel was characteristically realist, and Vargas Llosa underscores that he "respected the basic facts, [. . .] I have not exaggerated", but at the same time he points out "It's a novel, not a history book, so I took many, many liberties."^[36]

One of Vargas Llosa's more recent novels, The Way to Paradise (El paraíso en la otra esquina), is set largely in France and Tahiti.^[37] Based on the biography of former social reformer Flora Tristan, it demonstrates how Flora and Paul Gauguin were unable to find paradise, but were still able to inspire followers to keep working towards a socialist utopia.^[38] Unfortunately, Vargas Llosa was not as successful in transforming these historical figures into fiction. Some critics, such as Barbara Mujica, argue that The Way to Paradise lacks the "audacity, energy, political vision, and narrative genius" that was present in his previous works.^[39]

Modernism and postmodernism

The works of Mario Vargas Llosa are viewed as both modernist and postmodernist novels.^[40] Though there is still much debate over the differences between modernist and postmodernist literature, literary scholar M. Keith Booker claims that the difficulty and technical complexity of Vargas Llosa's early works, such as The Green House and Conversation in the Cathedral, are clearly elements of the modern novel.^[41] Furthermore, these earlier novels all carry a certain seriousness of attitude—another important defining aspect of modernist art.^[40] By contrast, his later novels such as Captain Pantoja and the Special Service, Aunt Julia and the Scriptwriter, The Real Life of Alejandro Mayta, and The Storyteller (El hablador) appear to follow a postmodernist mode of writing.^[42] These novels have a much lighter, farcical, and comic tone, characteristics of postmodernism.^[43] Comparing two of Vargas Llosa's novels, The Green House and Captain Pantoja and the Special Service, Booker discusses the contrast between modernism and postmodernism found in the writer's works: while both novels explore the theme of prostitution as well as the workings of the Peruvian military, Booker points out that the former is gravely serious whereas the latter is ridiculously comic.^[43]

Interlacing dialogues

Literary scholar M. Keith Booker argues that Vargas Llosa perfects the technique of interlacing dialogues in his novel The Green House.^[43] By combining two conversations that occur at different times, he creates the illusion of a flashback. Vargas Llosa also sometimes uses this technique as a means of shifting location by weaving together two concurrent conversations happening in different places.^[44] This technique is a staple of his repertoire, which he began using near the end of his first novel, The Time of the Hero.^[45] However, he does not use interlacing dialogues in the same way in all of his novels. For example, in The Green House the technique is used in a serious fashion to achieve a sober tone and to focus on the interrelatedness of important events separated in time or space.^[46] In contrast, Captain Pantoja and the Special Service employs this strategy for comic effects and uses simpler spatial shifts.^[47] This device is similar to both Virginia Woolf's mixing of different characters' soliloquies and Gustave Flaubert's counterpoint technique in which he blends together conversation with other events, such as speeches.^[44]

Literary influences

Vargas Llosa's first literary influences were relatively obscure Peruvian writers such as Martín Adán, Carlos Oquendo de Amat, and César Moro.^[48] As a young writer, he looked to these revolutionary novelists in search of new narrative structures and techniques in order to delineate a more contemporary, multifaceted experience of urban Peru. He was looking for a style different from the traditional descriptions of land and rural life made famous by Peru's foremost novelist at the time, José María Arguedas.^[49] Vargas Llosa wrote of Arguedas's work that it was "an example of old-fashioned regionalism that had already exhausted its imaginary possibilities".^[48] Although he did not share Arguedas's passion for indigenous reality, Vargas Llosa admired and respected the novelist for his contributions to Peruvian literature.^[50] Indeed, he has published a book-length study on his work, La utopía arcaica (1996).

Rather than restrict himself to Peruvian literature, Vargas Llosa also looked abroad for literary inspiration. Two French figures, existentialist Jean-Paul Sartre and novelist Gustave Flaubert, influenced both his technique and style.^[51] Sartre's influence is most prevalent in Vargas Llosa's extensive use of conversation.^[52] The epigraph of The Time of the Hero, his first novel, is also taken directly from Sartre's work.^[53] Flaubert's artistic independence—his novels' disregard of reality and morals—has always been admired by Vargas Llosa,^[54] who wrote a book-length study of Flaubert's aesthetics, The Perpetual Orgy.^[55] In his analysis of Flaubert, Vargas Llosa questions the revolutionary power of literature in a political setting;^[56] this is in contrast to his earlier view that "literature is an act of rebellion", thus marking a transition in Vargas Llosa's aesthetic beliefs.^[56]

One of Vargas Llosa's favourite novelists, and arguably the most influential on his writing career, is the American William Faulkner.^[57] Vargas Llosa considers Faulkner "the writer who perfected the methods of the modern novel".^[58] Both writers' styles include intricate changes in time and narration.^[52]^[58] In The Time of the Hero, for example, aspects of Vargas Llosa's plot, his main character's development and his use of narrative time are influenced by his favourite Faulkner novel, Light in August.^[59]

In addition to the studis of Arguedas and Flaubert, Vargas Llosa has written literary criticisms of other authors that he has admired, such as Gabriel García Márquez, Albert Camus, Ernest Hemingway, and Jean Paul Sartre.^[60] The main goals of his non-fiction works are to acknowledge the influence of these authors on his writing, and to recognize a connection between himself and the other writers;^[60] critic Sara Castro-Klarén argues that he offers little systematic analysis of these authors' literary techniques.^[60] In The Perpetual Orgy, for example, he discusses the relationship between his own aesthetics and Flaubert's, rather than focusing on Flaubert's alone.^[61]

Legacy

Mario Vargas Llosa is considered a major Latin American writer,^[62] alongside other greats such as Julio Cortázar, Jorge Luis Borges, Gabriel García Márquez and Carlos Fuentes.^[62] In his book The New Novel in Latin America (La Nueva Novela), Fuentes offers an in-depth literary criticism of the positive influence Vargas Llosa's work has had on Latin American literature.^[63] Indeed, for the literary critic Gerald Martin, writing in 1987, Vargas Llosa was "perhaps the most successful [. . . and] certainly the most controversial Latin American novelist of the past twenty-five years".^[64]

Most of Vargas Llosa's narratives have been translated into multiple languages, marking his international critical success.^[62] Vargas Llosa is also noted for his substantial contribution to journalism, an accomplishment characteristic of few other Latin American writers.^[65] He is recognized among those who have most consciously promoted literature in general, and more specifically the novel itself, as avenues for meaningful commentary about life.^[66] During his prolific career, he has written more than a dozen novels and many other books and stories, and, for decades, he has been a voice for Latin American literature.^[67] He has won numerous awards for his writing, from the 1959 Premio Leopoldo Alas and the 1962 Premio Biblioteca Breve to the 1993 Premio Planeta (for Death in the Andes) and the Jerusalem Prize in 1995.^[68] The most important distinction he has received is probably the 1994 Miguel de Cervantes Prize, usually considered the most important accolade in Spanish-language literature and awarded to authors whose "work has contributed to enrich, in a notable way, the literary patrimony of the Spanish language".^[69]

A number of Vargas Llosa's works have been adapted for the screen, including The Time of the Hero and Captain Pantoja and the Special Service (both by the distinguished Peruvian director Francisco Lombardi) and The Feast of the Goat (by Vargas Llosa's cousin, Luis Llosa).^[70] Aunt Julia and the Scriptwriter was turned into the English-language film, Tune in Tomorrow. The Feast of the Goat has also been adapted as a theatrical play by Jorge Alí Triana, a Colombian playwright and director.^[71]

List of selected works

Fiction

1959 – Los jefes (The Cubs and Other Stories), 1979)
1963 – La ciudad y los perros (The Time of the Hero, 1966)
1966 – La casa verde (The Green House, 1968)
1969 – Conversación en la catedral (Conversation in the Cathedral, 1975)
1973 – Pantaleón y las visitadoras (Captain Pantoja and the Special Service, 1978)
1977 – La tía Julia y el escribidor (Aunt Julia and the Scriptwriter, 1982)
1981 – La guerra del fin del mundo (The War of the End of the World, 1984)
1984 – Historia de Mayta (The Real Life of Alejandro Mayta, 1985)
1986 – ¿Quién mató a Palomino Molero? (Who Killed Palomino Molero?, 1987)
1987 – El hablador (The Storyteller, 1989)
1988 – Elogio de la madrastra (In Praise of the Stepmother, 1990)
1993 – Lituma en los Andes (Death in the Andes, 1996)
1997 – Los cuadernos de don Rigoberto (Notebooks of Don Rigoberto, 1998)
2000 – La fiesta del chivo (The Feast of the Goat, 2002)
2003 – El paraíso en la otra esquina (The Way to Paradise, 2003)
2006 – Travesuras de la niña mala (The Bad Girl, 2007)

Non-fiction

1971 – García Márquez: historia de un deicidio (García Márquez: Story of a Deicide)
1975 – La orgía perpetua: Flaubert y "Madame Bovary" (The Perpetual Orgy)
1990 – La verdad de las mentiras: ensayos sobre la novela moderna (A Writer's Reality)
1993 – El pez en el agua. Memorias (A Fish in the Water)
1996 – La utopía arcaica: José María Arguedas y las ficciones del indigenismo
1997 – Cartas a un joven novelista (Letters to a Young Novelist)
2001 – El lenguaje de la pasión (The Language of Passion)
2004 – La tentación de lo imposible (The Temptation of the Impossible)
2007 – El Pregón de Sevilla (as Introduction for LOS TOROS)

Drama

1952 – La huida del inca
1981 – La señorita de Tacna

Vargas Llosa's essays and journalism have been collected as Contra viento y marea, issued in three volumes (1983, 1986, and 1990). A selection has been edited by John King and translated and published as Making Waves.

Notes

^ Boland & Harvey 1988, p. 7 and Cevallos 1991, p. 272
^ The first year given is the original publication date; the second is the year of English publication.
^ Kristal 1998, p. xi
^ Setti 1989, p. 140
^ Setti 1989, p. 141
^ Setti 1989, p. 142
^ Morote 1998, p. 234
^ Vincent 2007, p. 1
^ Franco 2002, p. 56
^ ^a ^b Cite error: The named reference Kristal151 was invoked but never defined (see the help page).
^ Qtd. Kirk 1997, pp. 183–184
^ Qtd. Kokotovic 2007, p. 172
^ Qtd. Kokotovic 2007, p. 177
^ Kokotovic 2007, p. 177
^ Qtd. Kristal 1999, p. 231
^ ^a ^b Boland & Harvey 1988, p. 8
^ ^a ^b ^c Parker 2007
^ Larsen 2000, p. 155
^ Williams 2001, p. 82
^ ^a ^b ^c Williams 2001, p. 83
^ "Escritor Mario Vargas Llosa retira su apoyo al PP y pide el voto para UPyD", Terra Actualidad, 2008-02-25, retrieved 2008-03-22 {{citation}}: Check date values in: |accessdate= and |date= (help) Template:Es icon
^ These include Queen Mary, University of London and King's College London, both part of the University of London, the Pullman campus of Washington State University, the University of Puerto Rico at Río Piedras, Columbia University, Harvard University, Princeton University, Georgetown University, and the City University of New York. See "Biographical Sketch". Mario Vargas Llosa Papers. Princeton University Library. Retrieved on 2008-04-14.
^ Booker 1994, p. 48
^ Cite error: The named reference Kristal32 was invoked but never defined (see the help page).
^ Cite error: The named reference Kristal33 was invoked but never defined (see the help page).
^ Morote 1998, pp. 66–67
^ Kristal 1998, p. 56
^ Kristal 1998, p. 59
^ Cite error: The named reference QC273 was invoked but never defined (see the help page).
^ Castro-Klarén 1990, p. 19
^ Cite error: The named reference Williams60 was invoked but never defined (see the help page).
^ Cite error: The named reference Cevallos273 was invoked but never defined (see the help page).
^ Cite error: The named reference Booker75 was invoked but never defined (see the help page).
^ Cite error: The named reference Williams267 was invoked but never defined (see the help page).
^ Williams 2001, p. 270
^ Qtd. in Gussow 2002
^ Vargas Llosa 2003
^ Heawood 2003
^ Mujica 2004
^ ^a ^b Booker 1994, p. 32
^ Cite error: The named reference Booker6 was invoked but never defined (see the help page).
^ Booker 1994, p. 3
^ ^a ^b ^c Cite error: The named reference Booker33 was invoked but never defined (see the help page).
^ ^a ^b Booker 1994, p. 14
^ Booker 1994, p. 13
^ Booker 1994, p. 35
^ Booker 1994, pp. 35–36
^ ^a ^b Castro-Klarén 1990, p. 3
^ Castro-Klarén 1990, p. 4
^ Kristal 1998, p. 9
^ Castro-Klarén 1990, pp. 6–7
^ ^a ^b Castro-Klarén 1990, p. 6
^ Castro-Klarén 1990, p. 34
^ Kristal 1998, p. 25
^ Castro-Klarén 1990, p. 115
^ ^a ^b Kristal 1998, p. 81
^ Kristal 1998, p. 28
^ ^a ^b Kristal 1998, p. 26
^ Kristal 1998, p. 34
^ ^a ^b ^c Castro-Klarén 1990, p. 116
^ Castro-Klarén 1990, p. 119
^ ^a ^b ^c Castro-Klarén 1990, p. 1
^ Lamb 1971, p. 102
^ Martin 1987, p. 205
^ Castro-Klarén 1990, p. 2
^ Muñoz 2000, p. 2
^ Williams 2001, p. 84
^ "Vargas Llosa Wins The Jerusalem Prize", The New York Times, 1995-01-17, retrieved 2008-03-20 {{citation}}: Check date values in: |accessdate= and |date= (help)
^ "cuya obra haya contribuido a enriquecer de forma notable el patrimonio literario en lengua española." Premio "Miguel de Cervantes", Gobierno de España - Ministerio de Cultura, retrieved 2008-04-12 {{citation}}: Check date values in: |accessdate= (help) Template:Es icon
^ Mario Vargas Llosa, The Internet Movie Database, retrieved 2008-03-20 {{citation}}: Check date values in: |accessdate= (help)
^ Navarro 2003

References

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Boland, Roy; Harvey, Sally (1988), Mario Vargas Llosa: From Pantaleón y las visitadoras to Elogio de la madrastra, Auckland: Antipodas, the Journal of Hispanic Studies of the University of Auckland / VOX/AHS, ISBN 0-9597858-1-7.
Booker, M. Keith (1994), Vargas Llosa Among the Postmodernists, Gainsville, FL: University Press of Florida, ISBN 0-8130-1248-1.
Campos, Jorge (1981), Vargas Llosa y su Guerra del fin del mundo, Madrid: Taurus Ediciones, ISBN 84-306-2131-8 {{citation}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
Castro-Klarén, Sara (1990), Understanding Mario Vargas Llosa, Columbia, SC: University of South Carolina Press, ISBN 0-87249-668-6.
Cevallos, Francisco Javier (1991), "García Márquez, Vargas Llosa, and Literary Criticism: Looking Back Prematurely", Latin American Research Review, 26 (1): pp. 266–275, retrieved 2008-04-06 {{citation}}: |pages= has extra text (help); Check date values in: |accessdate= (help). (Subscription required to access online.)
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Cohen, Noam (2007-03-29), "García Márquez's Shiner Ends Its 31 Years of Quietude", The New York Times, retrieved 2008-03-31 {{citation}}: Check date values in: |accessdate= and |date= (help)CS1 maint: date and year (link).
Crowe, Darcy (March 23, 2007), "New details emerge about famous literary shiner ahead of García Márquez tribute", Turkish Daily News, retrieved 2007-03-23 {{citation}}: Check date values in: |accessdate= (help)CS1 maint: date and year (link).
Fernández, Casto Manuel (1977), Aproximación formal a la novelística de Vargas Llosa (in Spanish), Madrid: Editora Nacional, ISBN 84-276-0383-5.
Franco, Jean (2002), The Decline and Fall of the Lettered City: Latin America in the Cold War, Cambridge, MA: Harvard University Press, ISBN 0674008421.
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Harrison, Kathryn (October 14, 2007), "Dangerous Obsession", The New York Times, retrieved 2008-04-14 {{citation}}: Check date values in: |accessdate= (help)CS1 maint: date and year (link).
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Igartua, Francisco (1998), Huellas de un destierro, Lima: Aguilar, ISBN 9972-00-266-7.
Kirk, Robin (1997), The Monkey's Paw: New Chronicles from Peru, Amherst, MA: University of Massachusetts Press, ISBN 1558491090.
Kokotovic, Micha (2007), The Colonial Divide in Peruvian Narrative: Social Conflict and Transculturation, Brighton: Sussex Academic Press, ISBN 1845191846.
Kristal, Efraín (1998), Temptation of the Word: The Novels of Mario Vargas Llosa, Nashville, TN: Vanderbilt University Press, ISBN 0-8265-1301-8.
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Lamb, Ruth S (1971), "El mundo mítico en la nueva novela latino americana" (PDF), Centro Virtual Cervantes, Claremont, CA: AIH Actas IV: pp. 101–108, retrieved 2008-04-07 {{citation}}: |pages= has extra text (help); Check date values in: |accessdate= (help).
Martin, Gerald (1987), "Mario Vargas Llosa: Errant Knight of the Liberal Imagination", in John King (ed.), Modern Latin American Fiction: A Survey, London: Faber and Faber, pp. 205–233.
Morote, Herbert (1998), Vargas Llosa, tal cual (in Spanish), Lima: Jaime Campodónico.
Mujica, Barbara (March/April, 2004), "Review of Mario Vargas Llosa, The Way to Paradise", Américas, 56 (2): 45, retrieved 2008-04-08 {{citation}}: Check date values in: |accessdate= and |date= (help)CS1 maint: date and year (link).
Muñoz, Braulio (2000), A Storyteller: Mario Vargas Llosa between Civilization and Barbarism, Lanham, ML: Rowman & Littlefield, ISBN 0-8476-9750-9.
Navarro, Mireya (February 23, 2003), "Spring Theater: Political Theater; At the Intersection Of Ruler and Ruled", The New York Times, retrieved 2008-03-19 {{citation}}: Check date values in: |accessdate= (help)CS1 maint: date and year (link).
Parker, Emily (June 23, 2007), "Storyteller: The Famous Novelist on Politics, and How Writing Can Change the Course of History", Wall Street Journal, retrieved 2008-03-06 {{citation}}: Check date values in: |accessdate= (help)CS1 maint: date and year (link).
Setti, Ricardo A. (1981), Dialogos y Conferencias de Vargas Llosa, Madrid, Spain: Editora Inter Mundo., ISBN 84-86663-01-6
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Vargas Llosa, Mario (2003), The Way to Paradise, New York: Farrar, Straus and Giroux, ISBN 0-374-22803-5. Trans. Natasha Wimmer.
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Williams, Raymond L. (2001), Vargas Llosa: otra historia de un deicidio, Mexico: Taurus, ISBN 968-19-0814-7.

External links

Template:Persondata

[1] Boland & Harvey 1988, p. 7 and Cevallos 1991, p. 272

[2] The first year given is the original publication date; the second is the year of English publication.

[Kristal_xi-3] Kristal 1998, p. xi

[4] Setti 1989, p. 140

[5] Setti 1989, p. 141

[6] Setti 1989, p. 142

[7] Morote 1998, p. 234

[8] Vincent 2007, p. 1

[franco56-9] Franco 2002, p. 56

[Kristal151-10] Cite error: The named reference Kristal151 was invoked but never defined (see the help page).

[11] Qtd. Kirk 1997, pp. 183–184

[12] Qtd. Kokotovic 2007, p. 172

[13] Qtd. Kokotovic 2007, p. 177

[14] Kokotovic 2007, p. 177

[15] Qtd. Kristal 1999, p. 231

[Bolland8-16] Boland & Harvey 1988, p. 8

[emilyparker-17] Parker 2007

[18] Larsen 2000, p. 155

[19] Williams 2001, p. 82

[Williams83-20] Williams 2001, p. 83

[21] "Escritor Mario Vargas Llosa retira su apoyo al PP y pide el voto para UPyD", Terra Actualidad, 2008-02-25, retrieved 2008-03-22 {{citation}}: Check date values in: |accessdate= and |date= (help) Template:Es icon

[22] These include Queen Mary, University of London and King's College London, both part of the University of London, the Pullman campus of Washington State University, the University of Puerto Rico at Río Piedras, Columbia University, Harvard University, Princeton University, Georgetown University, and the City University of New York. See "Biographical Sketch". Mario Vargas Llosa Papers. Princeton University Library. Retrieved on 2008-04-14.

[23] Booker 1994, p. 48

[Kristal32-24] Cite error: The named reference Kristal32 was invoked but never defined (see the help page).

[Kristal33-25] Cite error: The named reference Kristal33 was invoked but never defined (see the help page).

[26] Morote 1998, pp. 66–67

[27] Kristal 1998, p. 56

[28] Kristal 1998, p. 59

[QC273-29] Cite error: The named reference QC273 was invoked but never defined (see the help page).

[castro-klaren19-30] Castro-Klarén 1990, p. 19

[Williams60-31] Cite error: The named reference Williams60 was invoked but never defined (see the help page).

[Cevallos273-32] Cite error: The named reference Cevallos273 was invoked but never defined (see the help page).

[Booker75-33] Cite error: The named reference Booker75 was invoked but never defined (see the help page).

[Williams267-34] Cite error: The named reference Williams267 was invoked but never defined (see the help page).

[Williams270-35] Williams 2001, p. 270

[36] Qtd. in Gussow 2002

[37] Vargas Llosa 2003

[38] Heawood 2003

[39] Mujica 2004

[Booker32-40] Booker 1994, p. 32

[Booker6-41] Cite error: The named reference Booker6 was invoked but never defined (see the help page).

[42] Booker 1994, p. 3

[Booker33-43] Cite error: The named reference Booker33 was invoked but never defined (see the help page).

[Booker14-44] Booker 1994, p. 14

[45] Booker 1994, p. 13

[46] Booker 1994, p. 35

[47] Booker 1994, pp. 35–36

[Castro3-48] Castro-Klarén 1990, p. 3

[49] Castro-Klarén 1990, p. 4

[50] Kristal 1998, p. 9

[51] Castro-Klarén 1990, pp. 6–7

[Castro6-52] Castro-Klarén 1990, p. 6

[53] Castro-Klarén 1990, p. 34

[54] Kristal 1998, p. 25

[55] Castro-Klarén 1990, p. 115

[Kristal81-56] Kristal 1998, p. 81

[57] Kristal 1998, p. 28

[Kristal26-58] Kristal 1998, p. 26

[59] Kristal 1998, p. 34

[Castro116-60] Castro-Klarén 1990, p. 116

[61] Castro-Klarén 1990, p. 119

[Castro1-62] Castro-Klarén 1990, p. 1

[Lamb102-63] Lamb 1971, p. 102

[64] Martin 1987, p. 205

[65] Castro-Klarén 1990, p. 2

[66] Muñoz 2000, p. 2

[67] Williams 2001, p. 84

[68] "Vargas Llosa Wins The Jerusalem Prize", The New York Times, 1995-01-17, retrieved 2008-03-20 {{citation}}: Check date values in: |accessdate= and |date= (help)

[69] "cuya obra haya contribuido a enriquecer de forma notable el patrimonio literario en lengua española." Premio "Miguel de Cervantes", Gobierno de España - Ministerio de Cultura, retrieved 2008-04-12 {{citation}}: Check date values in: |accessdate= (help) Template:Es icon

[70] Mario Vargas Llosa, The Internet Movie Database, retrieved 2008-03-20 {{citation}}: Check date values in: |accessdate= (help)

[71] Navarro 2003

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v t e Works by Mario Vargas Llosa
Novels	The Time of the Hero (1963) The Green House (1966) Conversation in the Cathedral (1969) Captain Pantoja and the Special Service (1973) Aunt Julia and the Scriptwriter (1977) The War of the End of the World (1981) The Real Life of Alejandro Mayta (1984) Who Killed Palomino Molero? (1986) The Storyteller (1987) In Praise of the Stepmother (1988) Death in the Andes (1993) The Notebooks of Don Rigoberto (1997) The Feast of the Goat (2000) The Way to Paradise (2003) The Bad Girl (2006) The Dream of the Celt (2010) The Discreet Hero (2013) The Neighborhood (2016) Harsh Times (2019)
Short story collection	The Cubs and Other Stories (1959)
Essays	The Basis for Interpretation of Rubén Darío (1958) The Perpetual Orgy (1975) The Temptation of the Impossible (2004)
Essay collections	A Writer's Reality (1991) A Fish in the Water (1993) The Milestones and the Stories of Greatest Literary Works (1995) Making Waves (1997) Letters to a Young Novelist (1997) The Language of Passion (2001)
Adaptations	Tune in Tomorrow (film; 1990) The Feast of the Goat (film; 2005)