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Conversation in the Cathedral Mario Vargas Llosa Gregory Rabassa Books

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Conversation in the Cathedral Mario Vargas Llosa Gregory Rabassa Books

I can see how this book could be off-putting to many a reader, as it was off-putting to me through a great deal of the reading of it. To begin with, there is Llosa's style: Flashbacks, interior monologues, time-frame loops (often all in a single page!) - the whole Joycean, Faulknerian kitbag - so much so that, regarding the first half of the novel, I might suggest that it wouldn't be such a bad idea for the intrepid reader to use a pen - or perhaps pens of different colours - to mark off the different time-frames and narratives.

And then there's the setting and characters: Peru - 95% set in the capital, Lima - in the 1950s, a city of dreadful night indeed, a world of whores - lots of these - cutthroats, assassins, and, above all, slews of very poor people living in squalid conditions in shantytowns---oh, and a few rich families. In short, the way most of humanity lives, are living, as I write this, on less than a dollar a day.

Fortunately, for the persevering reader, one gradually becomes accustomed to Llosa's technique and the stylistic pyrotechnics slowly ebb away to an almost straight linear narrative at the end. Also, one realises how many layers the novel touches on: political, psychological, spiritual. I should say that - more than anything - it is a Bildungsroman of Santiago (read Llosa) and his disillusionment with Marxism, Capitalism - really any "-ism" and determination to shun the venality that makes the world around him a cesspool on so many levels. At the end, the reader feels that it is the most lovely life in the world to have a small apartment with books, a spouse and let's not forget the dog with which the novel begins and ends.

Of course, it's not so simple; otherwise, this book would never have been penned. Santiago has tried to disencumber himself of the horrors of this world, even disowning his family, yet he lays bare the psychological scars of country and family for all to see here as if he is laying down a crown of thorns he has been wearing for his entire life.

The Balzac quote at the beginning is quite apt and bears repeating. It's left in the French in my copy, so the reader of this review will have to do with my perhaps somewhat clunky, though accurate translation:

"One must have searched through all social life to be a true novelist, seen that the novel is the private history of nations."

The book accomplishes this feat astoundingly well. Indeed, the history revealed is so private that, fifty years on from the events in this book, I doubt you will be ingratiating yourself to the populace if seen on the streets of Lima with this book.

It's really a very lonely, frequently depressing book, filled with what Wordsworth called "the still, sad music of humanity." Read it anyway.


Tags : Amazon.com: Conversation in the Cathedral (9780060732806): Mario Vargas Llosa, Gregory Rabassa: Books,Mario Vargas Llosa, Gregory Rabassa,Conversation in the Cathedral,Harper Perennial,0060732806,Alternative History,Peru,Peru - Politics and government - 1919-1968,Political corruption,Political fiction,Psychological fiction,FICTION General,Fiction,Fiction - General,Fiction Alternative History,General,Vargas Llosa, Mario - Prose & Criticism

Conversation in the Cathedral Mario Vargas Llosa Gregory Rabassa Books Reviews

It's not written in chronological order, so it's difficult to figure out when/what's going on. I gave up after a few chapters.
Really poor translation
Vargas Llosa is a very productive writer with more than 30 publications. But if you're only going to read one, this is it. For me, along with The War of the End of the World, this novel consecrates Vargas Llosa as the foremost Latin American writer alive.
Another example of screwed up Latin American politics and corruption with a required lack of understanding for the first hundred pages or so.

If you aren't used to non-linear story telling linear - this happened, then this happened, then.....;
non-linear - this happened (sometime); this happened (some other time - maybe earlier, maybe later); this happened (could be later, could be sooner than anything else, could be any time in between, maybe). Simple - after 600 pages if you haven't figured it out it doesn't really matter - you've had a hell of a trip anyway.

Sound like I'm being negative? I'm not - it was a blast. There are some real stinkers in here - and I liked some of them, disliked some and pretty much didn't care about the others.

This book is pretty heavy and bleak. You can read the description. If you are already in a bad mood, save this one for later. Imitation of the characters is not a healthy form of flattery or living.
Murder in MoabThis book shows Llosa early in his career when Peru's politics, like other South American countries, were being torn between indigenous parties, Communists, and the American-supported Generals. Like the politics, Llosa's writing style was purposely fragmented to reflect the country's state and the mental state of its people, top to bottom. As I described his style elsewhere, Mario Vargas Llosa writes like some auteurs make black and white films. Linear time is not important and the jump cut is used profusely, one brief scene from the past or future inserted in the middle of a contemporaneous scene. At first it is very confusing but after a while one must simply go with the flow and let the novel's projector run until the characters are sorted out and the stories of the country and its people are told.
This was probably not the best choice for my first try at Latin American literature. Not to be critical of MVL, but I struggled with this book. The most difficult part was how the dialogue skips without notice between scenes back and forth in time, and between different characters. I caught on about 200 hundred pages in, but it was still a struggle. Having said that, it is an interesting and engaging novel of Peru and Latin American recent history in general. This author is fairly objective in presenting the history versus some authors who lean drastically to the right or left. I'm looking forward to reading more MVL. Unless you are experienced with this type of writing be prepared for a difficult but worthwhile read.
This is a most unique book. In the beginning, I found it hard to follow as the plot jumped around from one time period to another and then back again. But once I became accustomed to this literary contrivance, I found the book fascinating. The book condemns the political landscape in Peru which appears unredeemable. Llosa, who himself was an unsuccessful candidate for President of Peru, well understands the political machinations of his country. I would recommend this book - it was a literary masterpiece.
I can see how this book could be off-putting to many a reader, as it was off-putting to me through a great deal of the reading of it. To begin with, there is Llosa's style Flashbacks, interior monologues, time-frame loops (often all in a single page!) - the whole Joycean, Faulknerian kitbag - so much so that, regarding the first half of the novel, I might suggest that it wouldn't be such a bad idea for the intrepid reader to use a pen - or perhaps pens of different colours - to mark off the different time-frames and narratives.

And then there's the setting and characters Peru - 95% set in the capital, Lima - in the 1950s, a city of dreadful night indeed, a world of whores - lots of these - cutthroats, assassins, and, above all, slews of very poor people living in squalid conditions in shantytowns---oh, and a few rich families. In short, the way most of humanity lives, are living, as I write this, on less than a dollar a day.

Fortunately, for the persevering reader, one gradually becomes accustomed to Llosa's technique and the stylistic pyrotechnics slowly ebb away to an almost straight linear narrative at the end. Also, one realises how many layers the novel touches on political, psychological, spiritual. I should say that - more than anything - it is a Bildungsroman of Santiago (read Llosa) and his disillusionment with Marxism, Capitalism - really any "-ism" and determination to shun the venality that makes the world around him a cesspool on so many levels. At the end, the reader feels that it is the most lovely life in the world to have a small apartment with books, a spouse and let's not forget the dog with which the novel begins and ends.

Of course, it's not so simple; otherwise, this book would never have been penned. Santiago has tried to disencumber himself of the horrors of this world, even disowning his family, yet he lays bare the psychological scars of country and family for all to see here as if he is laying down a crown of thorns he has been wearing for his entire life.

The Balzac quote at the beginning is quite apt and bears repeating. It's left in the French in my copy, so the reader of this review will have to do with my perhaps somewhat clunky, though accurate translation

"One must have searched through all social life to be a true novelist, seen that the novel is the private history of nations."

The book accomplishes this feat astoundingly well. Indeed, the history revealed is so private that, fifty years on from the events in this book, I doubt you will be ingratiating yourself to the populace if seen on the streets of Lima with this book.

It's really a very lonely, frequently depressing book, filled with what Wordsworth called "the still, sad music of humanity." Read it anyway.