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By Ilan Stavans

Ilan Stavans's sizeable and sophisticated wisdom deftly emerges during this engrossing choice of essays. interested by the belief of Western civilization as a series of innumerable misinterpretations and misrepresentations, Stavans covers in those nineteen items a vast variety of non-public and philosophical issues with the unifying subject being the crossroads the place politics and the mind's eye meet. His attractive and provocative subject matters comprise the shaping of Latin America's collective identification, Peru's glossy historical past as a bloody conflict among Enlightenment and darkness, opinions of Octavio Paz and Gabriel Garc?a M?rquez, his personal destiny as a Jew within the Southern Hemisphere, and Columbus's afterlife.

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Art and Anger: Essays on Politics and the Imagination

Ilan Stavans's monstrous and sophisticated wisdom deftly emerges during this engrossing selection of essays. occupied with the assumption of Western civilization as a chain of innumerable misinterpretations and misrepresentations, Stavans covers in those nineteen items a vast variety of non-public and philosophical issues with the unifying subject matter being the crossroads the place politics and the mind's eye meet.

Extra info for Art and Anger: Essays on Politics and the Imagination

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Since politics dominated his days, none of these projects would be accomplished. " He certainly isn't seen as a friend, but neither is he seen as "a pig, a brute and tyrannical type" personified by Fujimori.  A lesser sin, apparently.  If before the election 7 million Peruvians were under the poverty level, in 1993 the numer increased to 12 million; a cholera epidemic left thousands dead throughout the country and spread to South and Central America; the incidence of tuberculosis grew to the highest in the region.

The response she gets from the local priest is not only cold but offensive: he refuses to help her; when he finally agrees to give her the keys to the cemetery, it is only after asking her for charity.  Both the Bible and the Colombian's masterpiece intertwine the individual and the collective in a concrete, urgent fashion with images that seem tangible, real.

If before the election 7 million Peruvians were under the poverty level, in 1993 the numer increased to 12 million; a cholera epidemic left thousands dead throughout the country and spread to South and Central America; the incidence of tuberculosis grew to the highest in the region.  Although he wrote op­ed articles deploring the autogolpe for El País in Spain and the New York Times, by and large he has become a dilettante, his best and most comfortable role.  Even­numbered chapters, on the other hand, detail every aspect of the presidential campaign and end in 1990, when Vargas Llosa leaves Peru once more, to fully devote himself to writing.

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