It is no coincidence that Paz Soldán chose to marry the face many Bolivians now regret having deleted from history (Guevara) with the image most Bolivians are still too proud to flaunt (Welch). This thriller is narrated simply, but fluidly, commenting subtly on the effects upon Latin America of globalisation, technology and urbanisation – consequences that could well be applicable to Europe or anywhere else.Īnd it is refreshing to see that young Latin American writers are slowly drifting away from the temptation, or the expectation of readers abroad, to merely recreate the picturesque user-friendly stereotype left by García Márquez’s One Hundred Years of Solitude. Paz Soldán observes through his main character that reality tries so hard to outdo itself that it gets very difficult to take it seriously. He recognises that he is in this dilemma because of his own arrogance – he considers himself a “craftsman”, after all, and shows contempt for those who try to “cheat” their way into recognition – but decides to justify what he is doing with the excuse that he is providing for his beloved wife … until it is too late. ![]() The graphic artist ends up cornered, alienated from friends and loved ones alike, and any attempt to escape the system ensnares him deeper in the net of power. Sebastián invents excuses to enable him to go to his assignment in the labyrinthine corridors of a building called the Citadel, where other people work in isolation. He is proud of what he does, but nonetheless knows this is deeply wrong, and does not have the nerve to tell his wife. ![]() The designer’s prank boosts circulation and the paper’s reputation.Ĭreating chimeras becomes an obsession for Sebastián and his creativity makes his reputation as a photo wizard grow to the point that, one day, he is commissioned to erase the darkest snapshots in the life of the president. In a moment of rebelliousness, Sebastián decides to fill page 3 by merging Che Guevara with Bolivia’s most beloved legal export to the US … Raquel Welch. He has poor financial prospects, but the daily has the latest computer software and at times Bolivia feels as chic as New York. He is the design geek working for an upmarket newspaper. It is another boring day at the office for pseudo-loser Sebastián who, like many Latin American journalists, dreams of fame and fortune but can only expect a lifetime in a lowly paid job unless someone notices his talent. THE Bolivian Edmundo Paz Soldán – of the so-called McOndo generation of writers who turned away from magical realism as encapsulated in Gabriel García Márquez’s imaginary town of Macondo – displays original talent in this clever and dark tale about graphic manipulation. ![]() A world where truth and virtual reality collide is depicted in the brilliant Sueños digitales by Edmundo Paz Soldán, who will be appearing at the Vancouver International Writers Festival this month
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