A review by blueyorkie
Conversa na Catedral, by Mario Vargas Llosa
5.0
This masterpiece by Vargas Llosa, with its rhythmic and polyphonic writing, weaves a silk fabric with tangled literary threads: the scripts like the characters multiply, the linearity of the story dislocated, everything duplicates, is rejected and intersects in a cathedral which is not one, but a lounge where Zavalita, the hero, talks with the former driver of his father, met by chance, sweeping ten years of their life as of the social and political history of Peru in the era of dictatorship.
Vargas Llosa piled up temporal breaks and perspectives by disrupting dialogues, thoughts and identities: these discursive changes paint a puzzle of characters whose approaches multiply, like the Cubists. This brilliantly carried out process makes it possible to unmask souls, situations, and relationships. Innocence, complicity, repression, mediocrity, corruption, manipulation, and good conscience collide, and deceptive appearances withdraw in a constant quest for oneself and the world, with a masterful description of Peru by the inexcusable General Manuel Odría.
Vargas Llosa piled up temporal breaks and perspectives by disrupting dialogues, thoughts and identities: these discursive changes paint a puzzle of characters whose approaches multiply, like the Cubists. This brilliantly carried out process makes it possible to unmask souls, situations, and relationships. Innocence, complicity, repression, mediocrity, corruption, manipulation, and good conscience collide, and deceptive appearances withdraw in a constant quest for oneself and the world, with a masterful description of Peru by the inexcusable General Manuel Odría.