Sabers And Utopias

A landmark collection of essays on the Nobel laureate’s conception of Latin America, past, present, and future Throughout his career, the Nobel Prize winner Mario Vargas Llosa has grappled with the concept of Latin America on a global stage. Examining liberal claims and searching for cohesion, he continuously weighs the reality of the continent against the image it projects, and considers the political dangers and possibilities that face this diverse set of countries. Now this illuminating and versatile collection assembles these never-before-translated criticisms and meditations. Reflecting the intellectual development of the writer himself, these essays distill the great events of Latin America’s recent history, analyze political groups like FARC and Sendero Luminoso, and evaluate the legacies of infamous leaders such as Papa Doc Duvalier and Fidel Castro. Arranged by theme, they trace Vargas Llosa’s unwavering demand for freedom, his embrace of and disenchantment with revolutions, and his critique of nationalism, populism, indigenism, and corruption. From the discovery of liberal ideas to a defense of democracy, buoyed by a passionate invocation of Latin American literature and art, Sabers and Utopias is a monumental collection from one of our most important writers. Uncompromising and adamantly optimistic, these social and political essays are a paean to thoughtful engagement and a brave indictment of the discrimination and fear that can divide a society.

A definitive reframing of the economic, institutional, and intellectual history of the managerial era The twentieth century was the managerial century in the United States. An organizational transformation, from entrepreneurial to managerial capitalism, brought forth what became a dominant narrative: that administrative coordination by trained professional managers is essential to the efficient running of organizations both public and private. And yet if managerialism was the apotheosis of administrative efficiency, why did both its practice and the accompanying narrative lie in ruins by the end of the century? In The Corporation and the Twentieth Century, Richard Langlois offers an alternative version: a comprehensive and nuanced reframing and reassessment of the economic, institutional, and intellectual history of the managerial era. Langlois argues that managerialism rose to prominence not because of its inherent superiority but because of its contingent value in a young and rapidly developing American economy. The structures of managerialism solidified their dominance only because the century’s great catastrophes of war, depression, and war again superseded markets, scrambled relative prices, and weakened market-supporting institutions. By the end of the twentieth century, Langlois writes, these market-supporting institutions had reemerged to shift advantage toward entrepreneurial and market-driven modes of organization. This magisterial new account of the rise and fall of managerialism holds significant implications for contemporary debates about industrial and antitrust policies and the role of the corporation in the twenty-first century.

This encyclopaedia will be an indispensable resource and recourse for all who are thinking about cities and the urban, and the relation of cities to literature, and to ways of writing about cities. Covering a vast terrain, this work will include entries on theorists, individual writers, individual cities, countries, cities in relation to the arts, film and music, urban space, pre/early and modern cities, concepts and movements and definitions amongst others. Written by an international team of contributors, this will be the first resource of its kind to pull together such a comprehensive overview of the field.

WINNER OF THE NOBEL PRIZE IN LITERATURE A thrilling tale of desire and Peruvian corruption swirls around a scandalous exposé that leads to murder From the Nobel Laureate comes a politically charged detective novel weaving through the underbelly of Peruvian privilege. In the 1990s, during the turbulent and deeply corrupt years of Alberto Fujimori’s presidency, two wealthy couples of Lima’s high society become embroiled in a disturbing vortex of erotic adventures and politically driven blackmail. One day Enrique, a high-profile businessman, receives a visit from Rolando Garro, the editor of a notorious magazine that specializes in salacious exposés. Garro presents Enrique with lewd pictures from an old business trip and demands that he invest in the magazine. Enrique refuses, and the next day the pictures are on the front page. Meanwhile, Enrique’s wife is in the midst of a passionate and secret affair with the wife of Enrique’s lawyer and best friend. When Garro shows up murdered, the two couples are thrown into a whirlwind of navigating Peru’s unspoken laws and customs, while the staff of the magazine embark on their greatest exposé yet. Ironic and sensual, provocative and redemptive, the novel swirls into the kind of restless realism that has become Mario Vargas Llosa’s signature style. A twisting, unpredictable tale, The Neighborhood is at once a scathing indictment of Fujimori’s regime and a crime thriller that evokes the vulgarity of freedom in a corrupt system.

The intellectual autobiography of Mario Vargas Llosa, winner of the Nobel Prize in Literature. From its origins, the liberal doctrine has represented the most advanced forms of democratic culture, and it is what has most defended us from the inextinguishable “call of the tribe.” This book hopes to make a modest contribution to that indispensable project. In The Call of the Tribe, Mario Vargas Llosa surveys the readings that have shaped the way he thinks and has viewed the world over the past fifty years. The Nobel laureate, “tireless in his quest to probe the nature of the human animal” (Marie Arana, The Washington Post), maps out the liberal thinkers who helped him develop a new body of ideas after the great ideological traumas of his disenchantment with the Cuban Revolution and his alienation from the ideas of Jean-Paul Sartre, the author who most inspired Vargas Llosa in his youth. The works of Adam Smith, José Ortega y Gasset, Friedrich A. Hayek, Karl Popper, Raymond Aron, Isaiah Berlin, and Jean-François Revel helped the author enormously during those uneasy years. They showed him another school of thought, one that placed the individual before the tribe, nation, class, or party and defended freedom of expression as a fundamental value for the exercise of democracy. The Call of the Tribe documents Vargas Llosa’s engagement with their work and charts the evolution of his personal ideology.

A series of conversations held at Princeton University between the Nobel laureate Mario Vargas Llosa and Rubén Gallo. Princeton University, 2015. For one semester, Mario Vargas Llosa taught a course on literature and politics with Rubén Gallo. Over several classes, the two writers spoke to students about the theory of the novel and the relationship between journalism, politics, and literature through five beloved books by the Nobel laureate: Conversation in The Cathedral, The Real Life of Alejandro Mayta, Who Killed Palomino Molero?, A Fish in the Water, and The Feast of the Goat. Conversation at Princeton records these exhilarating discussions and captures the three complementary perspectives that converged in the classroom: that of Vargas Llosa, who reveals the creative process behind his novels; that of Rubén Gallo, who analyzes the different meanings the works took on after their publication; and that of the students, whose reflections and questions give voice to the responses of millions of Vargas Llosa’s readers. During these talks, Vargas Llosa not only speaks with intelligence and lucidity about the craft of writing, but also offers an absorbing, inquisitive analysis of today’s political and cultural landscape. Conversation at Princeton is a singular opportunity to attend a unique master class on literature and society taught by one of our greatest writers and thinkers.

The true story of Guatemala’s political turmoil of the 1950s as only a master of fiction can tell it Guatemala, 1954. The military coup perpetrated by Carlos Castillo Armas and supported by the CIA topples the government of Jacobo Árbenz. Behind this violent act is a lie passed off as truth, which forever changes the development of Latin America: the accusation by the Eisenhower administration that Árbenz encouraged the spread of Soviet Communism in the Americas. Harsh Times is a story of international conspiracies and conflicting interests in the time of the Cold War, the echoes of which are still felt today. In this thrilling novel, Mario Vargas Llosa fuses reality with two fictions: that of the narrator, who freely re-creates characters and situations, and the one designed by those who would control the politics and the economy of a continent by manipulating its history. Harsh Times is a gripping, revealing novel that directly confronts recent history. No one is better suited to tell this riveting story than Vargas Llosa, and there is no form better for it than his deeply textured fiction. Not since The Feast of the Goat, his classic novel of the downfall of Trujillo’s regime in the Dominican Republic, has Vargas Llosa combined politics, characters, and suspense so unforgettably.

Haunting and transcendently twisted, this English-language debut from a Cuban literary star is a tale of race, magic, belief, and fate The Stuart family moves to a marginal neighborhood of Cienfuegos, a city on the southern coast of Cuba. Arturo Stuart, a charismatic, visionary preacher, discovers soon after arriving that God has given him a mission: to build a temple that surpasses any before seen in Cuba, and to make of Cienfuegos a new Jerusalem. In a neighborhood that roils with passions and conflicts, at the foot of a cathedral that rises higher day by day, there grows a generation marked by violence, cruelty, and extreme selfishness. This generation will carry these traits beyond the borders of the neighborhood, the city, and the country, unable to escape the shadow of the unfinished cathedral. Told by a chorus of narrators—including gossips, gangsters, a ghost, and a serial killer—who flirt, lie, argue, and finish one another’s stories, Marcial Gala's The Black Cathedral is a darkly comic indictment of modern Cuba, gritty and realistic but laced with magic. It is a portrait of what remains when dreams of utopia have withered away.