A great little book that captures the simplicity of a culture caught up in the upheavals of modern civilization and it's encroaching values. Although the Indios described are from Mexico the theme of indigenous people and the clash between civilzations is universal and continues to this day. The suggested time frame is pre-conquest to the present(1937) and the language is one that reflects a simpler place in time. Not one character is named in this outstanding novel but the identification still exists with all those unnamed individuals. Along with Mariano Azuela's "Los de Abajo" ("The Underdogs"), this short novel is considered one of the best in Mexican literature. Without lavish and extravagant language the images are portrayed magnificently, quite possibly the simplicity of language is used to drive home the point. One of the most interesting aspects of this book is the inclusion of Nahuatl to describe certain cultural activities or aspects of the civilization. This works quite well with the inclusion of footnotes and adds a dimension of realism and authenticity to the novel that would probably be lost if they were not included. In this regard the book both educates and entertains. Of particular interest is the introduction of the closest thing to a character when the author describes The Nahual, or the supernatural being who can transform himself to any animal at will. Anyone interested in Mexican history, indigenous culture or the perspective of the Indio lifestyle and the inherent conflict created by European values would enjoy this book. As mentioned by another reviewer, an addional bonus are the numerous Diego Rivera illustrations throughout the book. The drawings have a cartoon coloring book style from early on in the master Mexican muralists career. I would also recommend this book for educators from the middle school level on especially if they are teaching something relating to Mexican life. This is a very entertaining book that can be read quite quickly.

This novel is a fictional account of true events. Every crime mentioned really happened. Lopez y Fuentes writes this book as a "composite novel" -- the time and location of the events, as well as names of individuals, are not named. Accompanied by illustrations by Diego Rivera, one of Mexico's most prestigious artists, this novel presents several years in the life of the descendents of the Aztecs.

Gregorio Lopez y Fuentes' 1937 novel 'El Indio' is not another politically correct version of what Western Europeans 'did to' the indigenous population of this hemisphere. Instead, it puts the reader in the middle of a clash of cultures, one that is repeated daily around the world to this day. Lopez y Fuentes moves readers to scream, 'How can they DO that?' or 'Why don't they just TALK to each other?' As we know, however, resolving cultural misunderstandings is never that easy despite the tragedies that fall out of faulty assumptions about what constitutes 'civilization' and 'progress,' as well as what happens when -- consciously or not -- people simply choose not to communicate. The deep backdrop is the time circa the Mexican Revolution, but Lopez y Fuentes suggests that the more things change for indigenous peoples in the modern world, the more they stay the same. Some specific historical background may be helpful, but it is not necessary. Since Lopez y Fuentes uses no character names or place names, one could read 'El Indio' as a generic story of a people and what happens to that people as a result of centuries of subjugation, racism, ethnocentrism, basic cultural assumptions, and a general disagreement about the 'nature' part of 'human nature.' Thoughful readers will use Lopez y Fuentes' account as a departure point to look at their own culture and cultural assumptions about 'backward' peoples around the world. A bonus: Full-page and cover illustrations by famous Mexican artist Diego Rivera.