By Carlos Fuentes
Un poderoso empresario make a decision llevar adelante su propia lucha contra el tráfico de droga y los narcos, y ganarles los angeles partida con su mismo juego, siendo más legal que ellos. En esta novela de Carlos Fuentes, como a veces en los angeles realidad, todo se derrumba.
Ciudades perdidas, callampas, villas miseria, favelas, todas son lo mismo. Eso lo sabe Adán Gorozpe, cínico arribista que pasó de pobretón estudiante a poderoso mandamás gracias a un afortunado "braguetazo", y también Adán Góngora, ministro a shipment de los angeles seguridad nacional que ha puesto en marcha una estrategia espeluznante que incluye alianzas con criminales, encarcelamiento de inocentes y uno que otro asesinato.
Un día, Góngora le propone a Gorozpe asociarse para elevar su juegp al más alto nivel: "¿Qué tal si usted y yo, tocayo, apoyamos a un candidato imposible para los angeles primera magistratura del país?". Ese candidato, claro, sería Gorozpe. Sólo que para ese momento, él lo sabe, deberá deshacerse de Góngora, o al menos neutralizarlo. ¿Cómo proceder contra tan ambitious adversario? ¿Cómo detener el remolino que arrastra al país hacia l. a. cloaca?
La única vía abierta siempre es los angeles del espíritu. Ciega e irracional, pero también poderosa, avasalladora, l. a. fe sigue ahí. Un Niño Dios alado empieza a predicar en medio del tráfico de los angeles mayor avenida de los angeles ciudad y su madre, l. a. Virgen, lo acompaña. Las sadly del niño son postizas y su madre es quien se las coloca, pero eso no importa. l. a. gente cree, quiere creer, necesita creer, y eso basta.
La crítica ha opinado:
"En Adán en Edén brotan algunas páginas del excelente y lúcido escritor que sigue siendo Fuentes, una de las voces imprescindibles de l. a. narrativa latinoamericana y universal" -Joaquín Marco, El Cultural -
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Extra info for Adán en Edén
47 Before Wallenstein Goethe did not show an ambition to develop a distinctive style or to improve the repertoire, though from the start of his directorship he was concerned to improve the standard of acting and of speaking, which remained a preoccupation of his, as we can see from the Regeln für Schauspieler. One wonders what direction the theatre would have taken if Iffland had not accepted Berlin’s offer but had replaced Goethe as “Intendant” at Weimar. That Goethe tried to attract an actor and director of Iffland’s calibre and experience was a highly practical move but also indicates an absence at that time of any ambition to create a distinctive neo-classical stage.
2 For the last of those years, from September 1783 to August 1784, he was employed as “Theaterdichter”. 4 The Mannheim National Theatre was founded in 1778,5 the name clearly evoking the spirit of the Hamburg National Theatre project of the previous decade. 6 From the start it had strong links with the Kurpfälzische Deutsche Gesellschaft, founded in 1775. In 1778 the Elector Karl Theodor of the Palatinate transferred his court to Munich on his accession to the throne of Bavaria and took with him the company, Theobald Marchand’s, that had been playing at the theatre.
Vol. 2. 16 On Dalberg’s requirements for the stage adaptation see Otto Schmidt: Die Uraufführung der Räuber – ein theatergeschichtliches Ereignis. In: Schillers Räuber: Urtext des Mannheimer Soufflierbuches. Ed. by Herbert Stubenrauch and Günter Schulz. Mannheim 1959. Pp. 151–180. 40 such as Friedrich Wilhelm Gotter, an admirer of the French tradition, and professional theatre people such as Schröder believed the Sturm und Drang threatened all the progress that had been made towards raising the standard of theatre and of acting in particular.