A novel by Carlos Fuentes, celebrated author whose impact on Latin American literature will still be felt long after his recent death: Love, like the opera, is beautiful, strange, unbridled, explosive and painful. Two stories, two couples, two eras, and two passions. One embodied by Orchestra Director Gabriel Atlan-Ferrara and eminent opera singer ...
A novel by Carlos Fuentes, celebrated author whose impact on Latin American literature will still be felt long after his recent death: Love, like the opera, is beautiful, strange, unbridled, explosive and painful. Two stories, two couples, two eras, and two passions. One embodied by Orchestra Director Gabriel Atlan-Ferrara and eminent opera singer Inez Prada; the other alluding to the first encounter between man and woman in the history of mankind. Passions that broke barriers to unfold as a story that dates back to prehistoric times and continues in an endless spiral toward the future.
Publishers Weekly, 2001-07-30 In this slim new novel, Fuentes, Mexico's unofficial ambassador and author of the recent book Los cinco soles de M?xico: Memoria de un milenio (The Five Suns of Mexico: The Memory of a Millennium, see p.48.), takes an introspective turn away from politics to explore the philosophical mysteries of death and love. The romantic plot at the heart of the novel, which brings the arresting opera singer Inez Rosenzweig into the life of world-renowned conductor Gabriel Atlon-Ferrara, is nothing short of poetic in both language and scope. The real rewards of this work, however, come from Fuentes's labyrinthine reflections on the conductor's oblivious worldview in the face of destiny and death. He writes, "El muerto no sabe lo que es la muerte, pero los vivos tampocos" (The dead don't know what death is, but neither do the living). As Gabriel and Inez begin their romance under the falling bombs of the German Luftwaffe in wartime London, their walks on the beach and odd conversations allow Fuentes to express a haunting view of hell as both destination and an inevitable description of today's world. As he wanders through this inferno, Gabriel sees his reflection in unadorned mirrors. Fuentes's prose is more elegant than ever. With Instinto, he seems to be reverting to the mysterious thematics reminiscent of his classic novela Aura (Noonday, 1962) instead of pursuing the historic detail characteristic of recent works like Los a?os con Laura Diaz (Alfaguara, 2001; The Years with Laura Diaz, Farrar, 2000). Highly recommended for all bookstores and public libraries. David Garza, Austin, TX Copyright 2001 Cahners Business Information.
Alibris, the Alibris logo, and Alibris.com are registered trademarks of Alibris, Inc.
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.