This is an excellent novel written by Carlos Fuentes that describes a struggle between self-integrity and self-interest.

Marie-Pierre Colle has taken the work of Alexander Liberman (The Artist in His Studio) and advanced the shutter to give us another view into artists' studios. Many of her photos, done by professionals, approach fine art themselves. While I wasn't particularly a fan of Latin artists before I read her work, I now have a much greater appreciation, and knowledge, of them than ever before. My copy sits on top of Alexander Liberman's "The Artist in His Studio" on my coffee table. Many other books come and go, but these two stay. I have yet to spill coffee on either of them because I become so absorbed in them that the coffee gets cold waiting for me to return to it. One thing I love about her work is that it doesn't sound like self-absorbed, psuedo-intellectual, egotistically-analytical "art critiques". If you want to be bored, look elsewhere. If you want to "hear" the artist talk, "experience" their studios, and "travel" the world--then get this book. Don't get it to impress your friends, get it to impress your life with the working spaces of great artists that originated in Latin America. If you have ever wanted to visit a famous artists's studio then this is the book for you. Perhaps I can sum up my opinion of this book by repeating what I tell my best friends, "Sorry, get your own!"

Con su obra inaugural Fuentes logra actualizar la tradición de lo fantástico literario presentándonos una colectánea en la que el eclecticismo temático nos revela influencias diversas. A medias entre lo burlesco y lo metafísico, lo absurdo y el nonsense, el tono de estos seis relatos remite a autores como Arreola (Confabulario) y Cortázar (Historia de cronopios y de famas). Ejemplos destacados son los cuentos "En defensa de la Trigolibia" ("Cuando los Nusitanios se trigolibiaron de los Territorios, lo primero que hicieron fue proclamar un Acta de Trigolibia y una Declaración de los Trigolibios del hombre") y "Letanía de la orquídea", un delirio tropical y semántico donde cuerpo y territorio se confunden simbólicamente, haciendo que la historia de Muriel asome, mezclándose a la tragicidad y la ironia grotesca, como crítica social y política extensiva a todo el entorno latinoamericano.

Pero la mayoría de los relatos busca revivir la tensión entre el pasado indígena y algunos fantasmas de la historia nacional (la Emperatriz Carlota, entre ellos), idea cifrada en el título general de la obra, referencia a los cinco días suplementarios del calendario azteca, los nemontemi. Este vocablo, que en su acepción original significaba "insuficiente para completar el año solar", pasó a designar "inútil", "vano", "desafortunado" (René Simeón, Diccionario de la Lengua Nahuatl o Mexicana). Según Octavio Paz, la expresión es un interrogante de escarnio: ¿qué hay por detrás de las máscaras? En Los Días Enmascarados todos los personajes se enfrentan con alucinaciones palpables, fantasmas de la imaginación que materializan para cobrarles tributo con el sacrificio. El carácter cíclico y renovable del pasado indígena resiste en la modernidad enajenante, mientras que, en lo cotidiano, los actos mínimos se vuelven rituales híbridos y rutinarios, como en el cuento "Chac Mool". Aquí, toda tentativa de interpetación racional de los hechos tropieza con el horror existencial del encuentro con los orígenes dentro del inhumano universo urbano. La inexplicable historia del funcionario público Filiberto, completamente dominado, al fin y al cabo, por su réplica viviente del Chac Mool (la estatua-altar del dios maya de la lluvia y las aguas fecundantes) manifiesta la decadencia del afán de inmortalidad, privilegio de los dioses, en un tiempo progresista, vertiginoso e irreversible. Padeciendo idéntica crisis de identidad, Filiberto y su Chac Mool, como dobles, están condenados a la transfiguración grotesca.

Lectura obligatoria para quienes deseen comprender la producción ficcional de Carlos Fuentes en su totalidad.

The author added such an interesting twist on the writings of two of my favorite Latin American authors

Cansa, tiene partes incomprensibles, dearia no haberlo leido.

Es claro que desde un principio, Carlos Fuentes no tuvo el propósito de escribir una novela agradable o entretenida. No creó a ningún personaje admirable, cada uno tiene un conflicto que es representativo de los muchos conflictos de México como el país joven que es, cada uno es la voz de un grupo y sus contradicciones, cada uno representa una, de las muchas caras de México. Si bien existen terribles prejuicios culturales que agovian a todas las naciones, en el caso de un país tan diverso como es México, el prejuicio ni siquiera abarca a un todo, sino que es el prejucio de un grupo que se aplica a la generalidad. Digo esto, porque sería muy fácil encasillar a la clase popular urbana y pensar que todo México es así, siendo que existen notables diferencias entre ésta y la clase campesina del norte, y entre la última y la clase campesina del sur, por mencionar sólo algunos grupos. Sin embargo, sin las clases campesinas de provincia, sería imposble explicar a las clases populares del Distrito Federal. En ese sentido Carlos Fuentes, logra recrear todo el mosaíco con suficiente precisión y a la vez con matices y detalles que permiten hacer distinciones. El autor utiliza una narrativa que no es sencilla, a la diversidad de los conflictuados personajes se suman las diálogos internos, el juego del presente con el pasado, la enigmática presencia Ixca Cienfuegos y Teódula Moctezuma que son una especie ángeles y guardianes, que nunca explican clarmente su origen o su función y que son interlocutores de muchos de los personajes. Formalmente, podríamos decir que "la región más transparente" es una novela expermiental, que transcurre de una forma que no es lineal. He de confesar que es difícil seguir el hilo de la historia, que es más bien un conjunto de cuentos con un tramado que se va cerrando para darle unidad al libro, pero que es constantemente interrumpido por descripciones muy extensas de las condiciones sicológicas de los protagonistas. Estos elementos hacen de la obra más reconocida de Fuentes, una lectura que requiere de mucha atención, que invita a la reflexión pero que tambén dice mucho. "La región más transparente" como todo escrito, requiere que el lector la recree, pero también exige ser escuchada. Una advertencia, a los lectores de otros países tal vez les sea más difícil penetrar en la obra que es de un espacio y un tiempo muy específicos.

Esta novela nos brinda un excelente viaje a traves de nuestra historia

Un escritor de mi país se refería a las mujeres de cierto lugar como damas que se salían por la piel, queriendo decir con esto lo bellas que eran y de que manera su forma seducía la vista del hombre. Esto mismo pienso del modo de escribir de Carlos Fuentes, verbo que hace de un puñado de palabras un escrito elegante, donde sin uno pensarlo ni saber como, rastrilla la historia sobre el pensamiento sin generar ningún tipo de calor, ni sentir lo rugoso de una realidad áspera, porque el pavimento se ha convertido en una espuma blanda y continua bajo las letras de este escritor mexicano. Su estilo en Diana o la Cazadora Solitaria pienso que continua igual, pero la historia es vacía. Posiblemente pienso esto porque leí el libro muy velozmente, y al leerlo, el móvil de mi lectura no alcanzo a apreciar verdaderamente el meollo en que se centraba una vieja norteamericana enredada al escritor. En el camino veloz de mi lectura, alcance a ver un 69 entre la gringa y éste, un abrir un libro nuevo y descubrir en él un olor a púber recién despierta, y otras tantas cosas mas que por la velocidad ni lo recuerdo. Todavía tengo el recuerdo de haber leído el libro... pero ... ¿por qué me pregunto de que trató ?... Semejante capacidad para escribir no se derrama escribiendo un libro tan... pero ¡Caramba! ¡Es Carlos Fuentes!...!El libro tiene que ser interesante¡ lo volveré a leer para ver que fue lo que paso...

Si amigos, definitivamente el tema del libro me parece tonto. Lo leí a 0 mph.

Carlos Fuentes, es, sin lugar a dudas, uno de los grandes de la literature hispana. Su manejo del idioma es cómodo, preciso, muy mexicano y muy elegante, el manejo del maestro que conoce, domina, y manda con temple, igualito que Manolo Martínez cuando le salía la corrida. Su personalidad es tan fuerte, que quema el papel y escurre en la tinta. Es por eso que este libro me decepcionó tanto. Tanta personalidad, tanta fuerza, y tanta maestría para contar una historia tan pequeña, tan roñoza y tan pentonta. Qué el gran genio literario se enamore de una mujer, (MUJER) qué deje todo por seguirla, qué pierda su gran amor, puede ser el gran tema. Pero el "gran intelectual" en la historia que nos da Fuentes es un hombre a medias, que no resuelve nada. Su Diana no es nadie, no es nada, es Coca Cola diluída, una "starlet" ("wannabe" como dicen los americanos) hueca y sin perfil, cuyo únicos méritos parecen ser el de usar pomadas de sabores en lugares no mencionables en sociedad de damas potosinas y el de ser víctima ingenua de jugadas de la CIA más viejas y gastadas que mi Volvo. Por favor, o cómo diría Diana, pleeease..... es mucho pujar para salir con un chicharito.... Qué desperdicio de talento, señores. Y sin embargo puedo decir que prefiero leer un mal libro en buen español a un buen libro mal escrito.

I have to start by saying that Fuentes is one of my favourite authors, and I usually enjoy his books, because they immerse me in a parallel world, where nothing is what it seems and yet I recognise everything.
Having said that, I also have to say that Instinto de Inez is not one of his greatest works. It is confusing, the characters are very shallow and unbelievable, and the stories seem to have no beginning and no end... which is sometimes good, but it doesn't work in this case.

I also have to say that Fuentes still writes beautifully, he is a virtous writer and his choice of words is exceptional, but all in all, I wouldn't reccommend this book unless you are a true fan; but if you are just getting to know him, please read Aura, magical realism at its best!(...)

This is a book about remembering. The protagonist is always looking back to the moments in life that changed his perspective. Here is stated the eternal conflict of the innocence of women, which bring us to the anthropological view of the first couple in history. Is it a revenge what women do doing with men? Why are they so difficult to understand? A crystal seal is the connector and symbol of two distant worlds and a third one, the memory of the protagonist. Undoubtly we find a pretty interesting but difficult novel as the new proposal that Carlos Fuentes give us in Instinto de Inez.

Not one of the "cameos" in this book is more that a page or two or (rarely) three. Many are less than one page. After a while, this book becomes simply frustrating; lacking depth, completeness and continuity. I found it monotonous and superficial.

Five stars-- this book entertains as well as educates even if the education is mostly on a superflous level.

While on bed rest with one of my pregnancies, one of my girlfriends loaned me this. Like Kirkus Reviews indicates, it is full of triavialities and stupid tidbits. But what fun they are to read! No, I couldn't call up my girlfriends and gossip about these things-- not many 25 year olds know a lot about Gloria Swanson or have heard about the movers and shakers of two generations ago. It was fascinating to read of someone's life while in the midst of the people who were defining her era (including Fleur Cowles, herself.) Her contemporaries were true stars, people whose influence is still looked to by the flash-in-a-pan celebrities of today. She dined with Royalty when they were still powerful and knew people who had affairs that would make Bubba blush, but had enough class to be discreet about them.

From someone who lives on "the other side" I cannot help but wish I had some of this woman's problems and scrapes, not to mention her panache at dealing with my own! Martha Stewart, on gracious living, doesn't hold a candle up to Fleur Cowles and for that matter-- I don't think that anyone does or ever will!

It's like Fuentes wrote "The Old Gringo" in his sleep. Or maybe something was lost in the translation. But I couldn't think of a worse way to commemorate the memory of Ambrose Bierce than this book.

Bierce was the proud and cantankerous alcoholic Civil War writer, famous to his contemporaries as the author of the "Devil's Dictionary." More famous to us as the author of "Incident at Owl Creek Bridge." By any standards, Bierce is a cynic and hard-nosed realist. Here, for example, is the "Devil's Dictionary" entry for "Laughter":

"An interior convulsion, producing a distortion of the features and accompanied by inarticulate noises. It is infectious and, though intermittent, incurable."

In "The Old Gringo," Fuentes imagines what happened to Bierce when he disappeared in Mexico during the revolution around the turn of the 20th century. In the book, Bierce is an old tough guy who can shoot pesos in midair, and who seeks his death at the hands of Pancho Villa, the infamous Mexican bandit. In addition, there's a young American schoolteacher to woo, an angry young rebel general, and lots of booze and spicy food. And lots of Freudian sex (as the schoolteacher pretends her lover is her father). And the whole thing is written in poor stream-of-consciousness style.

Bierce must be writhing in his grave.

Read "The Death of Artemio Cruz" for Fuentes' work of genius. "The Old Gringo" misses its mark.

I've always wondered what happened to Ambrose Bierce. He's one of my favorite short story writers -- his war stories are pretty hard to beat and his satires are the epitome of sarcasm. Given my love of Bierce's work, I had to read Carlos Fuentes's novel which weaves a story around Bierce's trip to Mexico to fight alongside Pancho Villa.

The story centers around the Old Man or Old Gringo (who is not openly identified as Ambrose Bierce until the end) and his relationship with a young single American woman, Harriet, and General Tomas Arroyo. Harriet is a frustrated, emotionally lost woman who has accepted a job tutoring children at a hacienda. When she arrives at the estate, it has been abandoned. Almost immediately, the estate is commandeered by Tomas Arroyo and his band of rebels. Old Gringo (who has absolutely no fear of death and, as a result, performs impressive acts of bravery) has asked to join Arroyo's band. The Old Man has conflicted, confused feelings for both Harriet and Arroyo. To him, they are his daughter and son. At the same time, he desires Harriet and desires death even more. (...).

All is told in stream of consciousness narration. Fuentes has a way with words and is terrific with character development. The story is very, very slow-paced and the end is abrupt and disappointing, but reading it is still fun because the words are so poetic. Harriet's stream of consciousness is unsettling to say the least. I wish Fuentes had put a little more Bierce into the character of the Old Gringo...but, hey, Old Gringo went to Mexico to lose himself, so the vague characterization serves a purpose. Over all, the story is a nice fantasy.

Goodbye, if you hear of my being stood up against a Mexican stone wall and shot to rags, please know that I think it a pretty good way to depart this life. It beats old age, disease, or falling down the cellar stairs. To be a Gringo in Mexico--ah, that is euthanasia! -Ambrose Bierce in a letter to a friend

In 1914, the great American journalist and short story writer Ambrose Bierce, age 71, traveled to a Mexico that was in the midst of Revolution and promptly disappeared. He thereby fulfilled the dark prediction above and provided one of the great literary mysteries of the 20th Century.

In The Old Gringo, Carlos Fuentes offers his take on Bierce's fate. An "Old Gringo", carrying just a couple of his own books, a copy of Don Quixote, a clean shirt and a Colt .44, joins a group of Mexican rebels under General Tomas Arroyo. In turn, they meet up with a young American school teacher named Harriet Winslow, who was supposed to tutor the children of the wealthy landowner who illegally holds Arroyo's family property. The three become enmeshed in an unlikely romantic triangle, which necessarily ends in tragedy.

Fuentes uses the story to explore a plethora of themes, some of which I followed and some of which I could not. Perhaps the most interesting aspect of the book is the degree to which it reflects Latin American obsession with the United States, an obsession which it must be admitted is met by only a fleeting interest on our part. Fuentes and the tragic chorus of Mexican characters elevate the tale of the Old Gringo to the status of myth; ironic, since Bierce is barely remembered here, but then one of his themes is that we are a people without memory, while the very soil of Mexico carries memories.

It all adds up to a diverting speculation about an interesting historical puzzle, but I'm not sure that the story will bear all of the psychological and political weight that Fuentes loads upon it.

GRADE: C+

as usual, Fuentes plays the "every-man" of Mexican letters. He writes a fast book with anecdote with the intent of selling issues fast. A quick buck is not always a good one: same for a good BOOK.

Carlos Fuentes, along with Octavio Paz is considered to be one of the literary giants of contemporary Mexico. Old enough to have lived through the PRI's (Mexico's governing party)stronghold on Mexican politics, Fuentes shares his insights and expounds on such diverse topics as the mythology of Pre-Columbian Gods to modern Christianity, all the while tying everything into an historical description of Mexico and it's ruling party. He touches upon La Malinche and Cortes as the parents of modern Mexico. He discusses NAFTA and the future of Mexico including President Zedillo's influence on Mexico and it's international impact. The reading, at times can become a bit dense and esoteric but for anyone interested in the politics of Mexico, with an historical perspective, will find this essential reading. In order to understand the present and future, a solid understanding of the past is needed, according to Fuentes, as he covers all the major time periods of Mexico's past. This book is especially crucial to understanding the impending changes that may be brought about with the election of the countries first non-PRI president in the countries existence. Fuentes contends that the authoritarian government of modern Mexico is linked to the Aztec administrative structures established centuries ago. His writing style is spellbinding and you feel as though a professor is imparting some of his knowledge. According to Fuentes, we must heed Gellner's warning from his book Reason and Culture. "We cannot escape a contingent , history-bound culture, and we caannot vindicate it either". Fuentes has hopes for democracy in Mexico and just maybe with the demise of the PRI, his dreams, and the Mexican peoples may be realized.

This is a wonderful introduction to Mexican history, from the Conquest to the Zapatistas, from a writer almost more comfortable with poetry than prose. Fuentes is the rare intellectual who also speaks out for justice; he recently called upon the Mexican government to stop the militarization of Chiapas and to hold open peace talks. Every American should know at least as much about Mexico as is in this slim and easy to read volume. Salud!