RIO SUBTERRANEO INES ARREDONDO PDF

She passed a large part of her childhood in the sugar plantation called "Eldorado" of her maternal grandfather Francisco Arredondo. She became suicidal, at which point her doctor advised her to change her area of study. So, in she began studying Hispanic Literature. Between and she studied Drama, and in she took a Library Science course. During her studies she came to know many people who had been exiled during the Spanish Civil War. The republicans were, for her, a strong counterpoint to the strong nationalist tendencies in Mexico at the time.

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Her solution, like that of many of her contemporaries, was to unanchor literature from the gruesome reality of the novelists who preceded her. Like Gabriel Garcia Marquez, she grew up on a large but decaying family hacienda and used it in her writing.

Unlike Garcia Marquez, her Ines Arredondo belongs to the generation of Mexicans who began to write in the shadow of what might best be described as tragic realism: a recounting of the Holocaust that was the ten years of the Mexican Revolution. Unlike Garcia Marquez, her impulse to take human foibles to their imaginative extreme is not comic or particularly humane.

If anything, her narrators strike me as people who strive to keep a mask of normality in place as their world becomes abnormal. The fierce violence of the Revolution, so central to the previous generation, is mentioned almost in passing in one story. People who search for psychological development in fiction will be disappointed. The point is not how the narrators or characters react, but the extremity of the situation in which they are placed. Demented too in a powerful and true way.

A lot of mediocre and bad too though. And in her more middling stories the structure is flat, even crude at times, and not in ways that seem to augment the effect of the story. The language in a few spots crept into distasteful melodrama but not too often.

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