699:), is the third novel of the trilogy written by Augusto Roa Bastos. These three works contemplate what the author has termed “the monotheism of power.” The Prosecutor explores the atrocities of the Alfredo Stroessner dictatorship in Paraguay, which lasted from 1954 to 1989. The novel links the protagonist to Paraguay's past as he struggles to give meaning to his life by assassinating the dictator and freeing the Paraguayan people. Combining autobiography, detective fiction, historical novel and philosophy, the novel examines the question of whether one man has the right to judge another. Helene Carol Weldt-Basson's translation was published in 2018 (Fairleigh Dickinson University Press; Annotated edition (20 February 2018)); she is professor of Spanish and Latin American literature at University of North Dakota.
598:, in order to examine the pain of being Paraguayan. This novel contrasts two figures: Miguel Vera and Cristóbal Jara. Vera narrates the odd chapters, although he might also be the narrator of all nine chapters (this is unclear). He is a well-to-do and educated romantic supporter of revolution, who is unable to take real action to support his ideals and in the end betrays them (not unlike Judas). Jara, on the other hand, is an uneducated "son of man" who becomes a Christ-like leader for Paraguayan people through action and strength of character. Although it was a massive critical success, Roa Bastos remained dissatisfied with the work for a number reasons. It was fourteen years before he published another novel.
870:. The adaptation of this novel, for which he wrote the screenplay, won best film in the Spanish language and first prize of the Argentine Instituto de Cinematografia the following year. His most prestigious awards include two John Guggenheim Foundation Fellowships, awarded in 1970 and 1979, and the Cervantes Prize, an award given by the Spanish government for lifetime achievement, and Spanish language literature's most prestigious prize, which he received in 1989. Roa Bastos donated most of his prize money to provide easier access to books in Paraguay. In 1995, he received Paraguay's
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641:, who was also known as "Dr. Francia". The book's title derives from the fact that Francia referred to himself as "El Supremo" or "The Supreme." The first in a long line of dictators, The Supreme was a severe, calculating despot. He ruled absolutely from 1814 until his death in 1840, and is a unique figure in Latin American history. The goal of his rule mirrored that of the Jesuits who had ruled Paraguay for much of its history before him: to keep the Paraguayan people and their customs pure by protecting them from the corrupting influence of European and other outside forces. In
711:, is considered one of the most important antecedents to Roa Bastos's writings. Guzmán, a Paraguayan explorer of Guaraní and Spanish heritage, wrote extensively about the geography of Paraguay using mythical descriptions of the landscape and the Guaraní language. The most important precursor to Roa Bastos, however, is Rafael Barrett (1876–1910), whose writings incorporated many of the important themes and writings styles that Roa Bastos would later master including: Spanish-Guaraní bilingualism, magic realism, the revision of Paraguayan history, social literature, exploration of
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home and on the "street", Spanish is the language of official business and of power. The preservation and widespread use of an indigenous language after centuries of
European immigration is unique in Latin America, and Guarani remains a symbol of Paraguayan nationalism and an "important vehicle for interpreting the country's reality". This is the legacy of the Jesuits who ruled Paraguay in the 18th century and used Guarani (instead of Spanish or Latin) to spread Christianity throughout Paraguay.
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aspects of classic literature would have a profound Roa Bastos's later writings. His experience of Guaraní social customs and language combined with the traditional
Spanish education that he received in Asunción, created a cultural and linguistic duality that would manifest itself in much of Roa Bastos's writing. His rural upbringing also exposed Roa Bastos to the exploitation and oppression of the indigenous and peasant peoples of Paraguay, which would become a prominent theme in his writing.
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837:. It offered an unflattering, fictionalized account of the final thoughts and ramblings of Paraguay's first dictator, at a time when Paraguay was under the stranglehold of a regime that adopted many of the same policies of oppression and isolationism. Roa Bastos was not alone in using literature to engage in contemporary events during the Latin American Boom period. In the 1960s and 1970s, Gabriel Garcia Marquez and others adopted the same approach. Together, these writers created the
472:. Although he had been allowed to visit Paraguay to work with a new generation of Paraguayan writers, starting in 1970, he was again barred from entry in 1982, for purportedly engaging in subversive activities. There is however, little evidence that he participated in sectarian politics of any kind. In France, Roa Bastos faced the second forced relocation of his life, but he also won a new readership for his work during this time. Helen Lane's English translation of
810:”literary activity has come to signify the necessity for facing up to a destiny, the will to enlist in the vital reality of a collectivity, in its true moral context and social structure, in the complex relationships of a contemporary reality – that is to say, by projecting themselves toward a universal world of man.” Thus, one of the major themes in the writing of Roa Bastos is a deep and universal humanism, with a particular focus on suffering
768:. However, it is as a prose-fiction writer Roa Bastos has built his considerable reputation, through his novels and numerous short stories. Roa Bastos's novels blend the present and past by creating scenes with myths from pre-colonial times and Christian legends, developing a special kind of Magic Realism, although there are significant stylistic variations between his major novels.
380:. About 500,000 of his fellow Paraguayans left for Argentina at the same time. Roa Bastos remained in Argentina until just before the establishment of the military dictatorship there in 1976, and he did not return permanently to Paraguay until 1989. He found exile difficult, but his time in Buenos Aires was a prolific period. Roa Bastos said this in reference to his exile:
480:), published in 1986, was greeted with widespread acclaim in the English-speaking world. However, in France, Roa Bastos's writing focus was primarily academic, and his literary output did not match that of his time in Argentina. In 1985 Roa Bastos retired from the University of Toulouse. Following the downfall of the oppressive
782:"capture the tragic essence, the 'inner weakness' as well as the inner strength of his country's people." His work reveals an intense preoccupation not only with contemporary Paraguay but with its history, looking back to the beginning of the 19th century and the rule of Dr. Gaspar de Francia (whose life is the focus of
801:(1993), a third novel about the abuses of political power—this time focusing on Stroessner's régime—Roa Bastos again offers an alternative to the accepted versions of events in Paraguay and challenges "the intelligibility of history". To this end he weaves elements of fantasy and metafiction into his narratives.
919:. The most important author to come out of Paraguay, he also remains highly influential for a new generation of Paraguayan authors. Roa Bastos's relationship with his country, unbroken by over 40 years of exile, was considered so important that in 1989 he was invited back by Paraguay's new president,
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Roa Bastos believed that it was the role of the writer to directly engage in the interpretation of both contemporary and historical events. Rather than be the objective "chronicler", he thought the writer should engage morally with the social problems depicted in the writing. According to Roa Bastos,
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The majority of Roa Bastos's work was written in exile owing to the oppressive political condition of his country, at a time when
Paraguay was one of the least culturally, economically, and politically developed countries in Latin America. Thus, much of Roa Bastos's important writing is an attempt to
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As is customary for most
Paraguayans of peasant or working class origins, Roa Bastos learned to speak Spanish and Guaraní from birth. Both Spanish and Guaraní are the official languages of Paraguay (the latter is primarily an oral language). Although Guaraní remains the "popular" language spoken at
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While Roa Bastos wrote primarily in
Spanish, the interplay between these two languages is an essential part of his style. His bilingualism gives Roa Bastos a much greater range of language to work with, but also creates tension between an internationally recognized language and one that is obscure
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I can't complain...Exile brought out in me, in addition to a revulsion against violence and against depreciation of the human condition, a feeling for the universality of man. Exile lent me perspectives from which to know my own country from other people's point of view, and from which to live for
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and continued until 1935. At some point, perhaps as late as 1934, Roa Bastos joined the
Paraguayan army as a medical auxiliary. The war would have a profound effect on the future writer who said: "when I left for that war I dreamed of purification in the fire of battles." Instead of glory he found
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His uncle's extensive personal library provided the young Roa Bastos with his first exposure to the classical
Spanish literature of the Baroque and Renaissance traditions that he would imitate in his early poetry throughout the 1930s and 1940s. In addition, his uncle's emphasis on the mystical
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in partnership with the
Spanish government, in recognition of his outstanding contributions to Spanish-language literature. It was at this time that Roa Bastos began to travel frequently between Paraguay and France. In 1991, representing Paraguay, Roa Bastos signed
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for France in similar political circumstances. Most of Roa Bastos's work was written in exile, but this did not deter him from fiercely tackling
Paraguayan social and historical issues in his work. Writing in a Spanish that was at times heavily augmented by
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being a notable example of the form). The
Neobaroque style was used by many Paraguayan writers in exile after 1947 and until the 1980s. At the core of much of the work from this group are ideas of political freedom and the emancipation of their homeland.
278:, a provincial town in the Guaira region where his father was an administrator on a sugar plantation. It was here, some 200 kilometres (120 mi) to the south of the Paraguayan capital of Asunción, that Roa Bastos learned to speak both Spanish and
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and fiercely Paraguayan. Roa Bastos has described the relationship between the two languages as "an almost schizophrenic split not only on communicational levels of the spoken language, but also and quite particularly in the literary language."
360:), a work he later renounced. He also had plays successfully performed during the 1940s, though they were never published. Of his prolific poetry of the late 1940s only "El naranjal ardiente" (1960; "The Burning Orange Grove") was published.
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is also associated with this school of writing. The style uses a complex system of metaphors that are often very closely tied to the land, flora and culture of the particular writer, especially in the case of Roa Bastos.
409:) that Roa Bastos won major critical and popular success. The novel draws on the oppressive history of Paraguay from the rule of Dr. Jose Gaspar de Francia in the early 19th century until the Chaco War in the 1930s. Its
817:. Later he saw the devastation of WWII at first hand in Europe, the violent strife of 1947 in Paraguay, and the rise of the Argentinian military dictatorship in 1976. His collection of short stories published in 1953,
866:. This first award was followed by a British Council fellowship for journalism that enabled him to travel to Europe during World War II. In 1959 Roa Bastos won the Losada prize for his first published novel
645:, Roa Bastos is also fundamentally concerned with the power (and the weakness) of writing itself: its plot revolves around the dictator's efforts to uncover who has been forging his signature on a series of
314:, although the book was never published. In the early 1940s he spent significant time on the yerba mate plantations in northern Paraguay, an experience he would later draw upon in his first published novel,
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The writing of Roa Bastos spans four countries, six decades, and countless genres. In his lifetime he made important contributions to Latin American Boom writing, to the related Dictator Novel, and to the
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Undoubtedly, Roa Bastos's own experiences played a significant role in his emphasis on human suffering. As a young man he fought in the Chaco war between Bolivia and Paraguay, an event he portrayed in
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tea plantations. Roa Bastos spent part of the early 1940s documenting this same issue and there is much speculation about the role of "Lo que son los yerbales" in the creation of his first major novel
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one of the milestones in Latin American literature. While his reputation rests on his novels, Roa Bastos's achievements in film, creative writing, and journalism add further substance to his legacy.
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is also an important milestone in the evolution of the historical novel genre. "Yo, el supremo weaves a plethora of formats into a single work: history, novel, sociological essay, moral philosophy,
786:). While key historical figures and events interest Roa Bastos, it is the impact of these "socio-historical roots" on "the nature of the masses" that forms the central theme of his literary work.
682:, revolutionary pamphlet, testimonial documentary, poetic prose, autobiographic confession, ideological debate over literary limits, and linguistic treatise on the limits of verbal expression."
307:"maimed bodies" and "destruction" which left him to question "why two brother countries like Bolivia and Paraguay were massacring each other", and as a consequence Roa Bastos became a pacifist.
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572:), Roa Bastos's first published and award-winning novel, represents his definitive break with poetry. It is seen as a refined "outgrowth" of his earlier works of short fiction such as
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Directly after the war he worked as a bank clerk and later as a journalist. During this time he began writing plays and poetry. In 1941 Roa Bastos won the Ateneo Paraguayo prize for
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Roa Bastos was an exponent of the Neobaroque style that brought Latin American literature to the fore internationally in the mid-20th century. Among others, the Chilean poet
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938:"anticipates many of the post-boom writing techniques" such as "the carnivalization of historical discourse, transtextualization, and parody". Mexican literary great,
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Over the course of his career, Roa Bastos received a diversity of honors and distinctions. In 1941 he won the Ateneo Paraguayo Prize for his (unpublished) novel
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after the latter's return to Paris in 1945. Roa Bastos also broadcast Latin American programs at the invitation of the BBC and France's Ministry of Information.
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Roa Bastos's life and writing were marked by experience with dictatorial military regimes. In 1947 he was forced into exile in Argentina, and in 1976 he fled
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discovered around the capital, and his relationship with his secretary, Patiño, to whom he dictates his thoughts and orders, but whom he never fully trusts.
509:"demanding the reversal of the ecological destruction of the planet." It was at this time that Roa Bastos again became an active novelist and screenwriter.
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Roa Bastos started out writing poetry in the Spanish Renaissance and Baroque traditions. Later he took on "a new sensibility" in response to the poetry of
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The novel itself is "an exceptional cultural phenomenon." It has been suggested that it " more immediately and unanimously acclaimed than any novel since
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from a heart attack. He was survived by his three children, his third wife, Iris Giménez, and a reputation as one of Latin American's finest writers.
576:(1953), which also dealt with themes of political oppression and social struggle in Paraguay. This novel portrays the conflict between the governing
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793:, for example, constructs an "alternative history of popular movements" out of the people's recollections and symbols. The intertextual novel
456:'s military dictatorship came to power in 1976, however, the book was banned in Argentina, and Roa Bastos was exiled once again, this time to
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words (the major Paraguayan indigenous language), Roa Bastos incorporated Paraguayan myths and symbols into a Baroque style known as
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Mendez-Faith, Theresa (1997), "Paraguay: 19th- and 20th-Century Prose, Poetry, And Literature in Guaraní", in Smith, Verity (ed.),
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and the oppressed masses in Paraguay from 1912 until just after the end of the Chaco War with Bolivia in 1936. Like his later
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Throughout this eventful period in his life Roa Bastos continued to write and he was considered a poet of the Paraguayan
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Lewis, Tracy K. (1997b), "Augusto Roa Bastos 1917–: Paraguayan prose writer, poet, dramatist", in Smith, Verity (ed.),
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His writing deploys symbols and multiple narratives that build on the collective memory of the Paraguayan people.
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draws upon a series of Paraguayan legends and stories dating back to start of Dr. Francia's dictatorship in 1814.
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and the universe of poetic symbols. Barrett's essay "Lo que son los yerbales" is a severe critique of the
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and based on the memoirs of a country school teacher. In 1961 he once again collaborated with Murúa for
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895:(1961). Roa Bastos's influence can be found in the works of many foreign post-boom writers, including
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Lewis, Tracy K. (1997a), "Lo que son los yerbales: Essay by Rafael Barrett", in Smith, Verity (ed.),
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is a Neobaroque concept that applies such systems of metaphor to otherwise realistic settings (
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has contributed widely to a number of different genres and styles. It belongs to the genre of
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with its dark portrayal of devastating political struggle and oppression. Two decades later,
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is particularly representative of this technique, both in its construction and narrative. In
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perspectives and historical and political themes anticipate his most famous work,
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regime in 1989, Roa Bastos returned to Paraguay at the request of its new leader
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De Costa, Elena (1997), "Caudillismo and Dictatorship", in Smith, Verity (ed.),
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Roa Bastos further established himself as a screenwriter with the screenplay of
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Journeys through the Labyrinth: Latin American Fiction in the Twentieth Century
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The Ends of Literature: The Latin American Boom in the Neoliberal Marketplace
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Tobia, Luis Martel (1997), "The Historical Novel", in Smith, Verity (ed.),
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was published, providing a prime example of Roa Bastos's idea of the
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is considered an important work. Roa Bastos died on 26 April 2005 in
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Anales del descubrimiento, población y conquista del Río de la Plata
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Following the toppling of the Stroessner regime, Roa Bastos won the
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In Toulouse Roa Bastos taught Guaraní and Spanish literature at the
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Hispanic Writers: A Selection of Sketches from Contemporary Authors
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movement. In 1974 Roa Bastos published his influential masterpiece
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Roa Bastos portrayed the nineteenth-century Paraguayan dictator
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into an award-winning film in the same year as its publication.
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war correspondent, notably conducting an interview with General
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awarded Roa Bastos a nine-month fellowship for journalism in
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Rafael Barrett y la realidad paraguaya a comienzos del siglo
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Imagen y perspectivas de la narrativa latinoamericana actual
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Recipients of the Order of the Liberator General San Martin
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literary movement. Roa Bastos's canon includes the novels
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King, John (August 1983), "Profile: Augusto Roa Bastos",
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The Myth of Paraguay in the Fiction of Augusto Roa Bastos
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South American Cinema: A Critical Filmography, 1915–1994
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in 1989, Spanish literature's most prestigious prize.
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2213:Spanish American Authors: The Twentieth Century
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2572:A Companion to Modern Spanish American Fiction
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2272:An Introduction to Spanish American Literature
2192:, London: Fitzroy Dearborn, pp. 185–186,
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2318:The Rise and Fall of the Paraguayan Republic
2149:Barnard, Timothy; Rist, Peter, eds. (1996),
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2611:The Oxford Companion to Spanish Literature
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2591:Encyclopedia of Latin American Literature
2499:Encyclopedia of Latin American Literature
2406:Encyclopedia of Latin American Literature
2387:Encyclopedia of Latin American Literature
2274:, Cambridge: Cambridge University Press,
2190:Encyclopedia of Latin American Literature
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2549:The New Guide to Modern World Literature
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2126:"Augusto Roa Bastos: Outwitting Reality"
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2452:Handbook of Latin American Literature
2320:, Austin: University of Texas Press,
1765:
1296:The Dawn Nightingale, and other poems
463:
2628:
2607:
2566:
2515:
2334:
2123:
2095:
2059:
2001:
1962:
1938:
1678:
1634:
1551:
1431:
2637:, Oxford: Oxford University Press,
2524:, Detroit: Gale Research, pp.
372:, Roa Bastos was forced to flee to
13:
2659:1995 National Prize for Literature
2654:Premio Nacional de Literatura 1995
2450:, in Foster, David William (ed.),
949:
731:is another important predecessor.
500:(Cervantes Prize), awarded by the
14:
3284:
2670:
1305:
1117:Contar un cuento, y otros relatos
552:
3263:20th-century short story writers
3228:Paraguayan educational theorists
2852:
1410:(2018) Helene Carol Weldt-Basson
1262:The town already has a commissar
1121:To Tell a Tale and Other Stories
1016:
639:José Gaspar Rodríguez de Francia
620:José Gaspar Rodríguez de Francia
601:
385:the enormity of its misfortune.
217:José Gaspar Rodríguez de Francia
3273:20th-century Paraguayan writers
2663:Cultural Center of the Republic
2168:Caistor, Nick (28 April 2005),
2039:
1377:
1073:Cuerpo presente y otros cuentos
844:
805:Humanism and the engaged writer
3213:Paraguayan short story writers
2251:Foster, David William (1978),
2234:Foster, David William (1969),
2170:"Obituary: Augusto Roa Bastos"
1149:
1077:Present Body and other stories
547:
364:Exile in Argentina (1947–1976)
1:
1415:
872:National Prize for Literature
655:One Hundred Years of Solitude
528:) was published in 1992, and
167:National Prize for Literature
16:Paraguayan writer (1917–2005)
3095:José Manuel Caballero Bonald
2446:Marcos, Juan Manuel (1992),
2316:Hoyt Williams, John (1979),
1361:Compilations and anthologies
1103:(Struggle until Dawn) (1979)
685:
260:
25:, the first or paternal
7:
2552:, New York: Peter Bedrick,
2207:Flores, Angel, ed. (1992),
777:Paraguay: collective memory
512:In 1991 Roa Bastos adapted
290:War and writing (1932–1947)
10:
3289:
2900:Gonzalo Torrente Ballester
2117:
607:
558:
208:Premio Miguel de Cervantes
20:
3268:20th-century male writers
3145:
3074:
3003:
2983:Guillermo Cabrera Infante
2932:
2861:
2850:
2813:
2807:Miguel de Cervantes Prize
2724:
2516:Ryan, Bryan, ed. (1991),
2351:10.1080/03064228308533562
1342:Carta abierta a mi pueblo
1285:
1246:Punishment to the traitor
1023:El trueno entre las hojas
955:
881:
819:El Trueno entre las Hojas
771:
703:Precursors and influences
574:El trueno entre las hojas
392:El trueno entre las hojas
161:Miguel de Cervantes Prize
153:
130:
120:
110:
92:
78:
58:
49:
42:
3243:Premio Cervantes winners
3223:Male short story writers
2366:Levinson, Brett (2002),
1157:Thunder Among the Leaves
1097:(The Sleepwalker) (1976)
1027:Thunder Among the Leaves
734:
397:Thunder Among the Leaves
354:El Ruiseñor De La Aurora
294:In 1932 the territorial
3253:People of the Chaco War
3218:Paraguayan male writers
3036:Rafael Sánchez Ferlosio
1582:Barnard & Rist 1996
1091:(The Congresses) (1974)
1085:(The Fire Chick) (1974)
858:Honors and distinctions
727:. The Uruguayan writer
717:exploitation of workers
507:The Morelia Declaration
270:Roa Bastos was born in
3258:20th-century novelists
2429:Latin American Writers
1233:("The Wedding") (1964)
1222:The demon in the blood
1173:The blood and the seed
1053:Los pies sobre el agua
627:
470:University of Toulouse
387:
266:Early life (1917–1932)
205:) and for winning the
3238:Writers from Asunción
2906:Antonio Buero Vallejo
2746:Vigilia del admirante
2614:, Oxford: Clarendon,
2608:Ward, Philip (1978),
2544:Seymour-Smith, Martin
2270:Franco, Jean (1994),
2153:, New York: Garland,
1852:, pp. 1211–1212.
1135:(Metaphorisms) (1996)
1057:The Feet on the Water
986:Vigilia del Almirante
707:Ruy Díaz de Guzmán's
664:novelas de dictadores
617:
522:Vigilia del almirante
502:Spanish Royal Academy
382:
191:between Paraguay and
3203:Paraguayan novelists
2661:] (in Spanish),
2412:, pp. 716–717,
2209:"Augusto Roa Bastos"
2047:"Augusto Roa Bastos"
1390:(1965) Rachel Caffyn
990:Vigil of the Admiral
821:, set the stage for
526:Vigil of the Admiral
432:(1960), directed by
370:Paraguayan Civil War
358:The Dawn Nightingale
3160:Cristina Peri Rossi
3066:José Emilio Pacheco
3024:José Jiménez Lozano
2941:Adolfo Bioy Casares
2568:Shaw, Donald Leslie
2338:Index on Censorship
1324:Lucha hasta el alba
1129:(Madame Sui) (1996)
1101:Lucha hasta el alba
1083:El pollito de fuego
672:Latin American Boom
454:Jorge Rafael Videla
237:Latin American Boom
125:Latin American Boom
2965:Mario Vargas Llosa
2953:Dulce María Loynaz
2924:Augusto Roa Bastos
2870:Juan Carlos Onetti
2718:Augusto Roa Bastos
2677:Augusto Roa Bastos
2255:, Boston: Twayne,
2253:Augusto Roa Bastos
2108:Seymour-Smith 1985
2004:, pp. 137–38.
1941:, pp. 137–39.
1718:Hoyt Williams 1979
1371:Personal Anthology
1367:Antología personal
1298:) *Written in 1936
762:Juan Ramón Jiménez
680:biographical novel
670:, and also to the
628:
482:Alfredo Stroessner
464:France (1976–1989)
411:multiple narrative
185:Augusto Roa Bastos
88:Asunción, Paraguay
44:Augusto Roa Bastos
3233:Paraguayan exiles
3180:
3179:
3113:Fernando del Paso
3101:Elena Poniatowska
2977:José García Nieto
2840:Jorge Luis Borges
2805:Laureates of the
2772:
2771:
2644:978-0-19-283318-1
2621:978-0-19-866114-6
2600:978-1-884964-18-3
2581:978-1-85566-078-6
2559:978-0-87226-000-9
2535:978-0-8103-7688-5
2508:978-1-884964-18-3
2489:978-0-86091-952-0
2482:, London: Verso,
2465:978-0-8153-0343-5
2438:978-0-684-18463-0
2419:978-1-884964-18-3
2396:978-1-884964-18-3
2377:978-0-8047-4346-4
2327:978-0-292-77017-1
2281:978-0-521-44923-6
2226:978-0-8242-0806-6
2199:978-1-884964-18-3
2160:978-0-8240-4574-6
2034:Mendez-Faith 1997
1584:, pp. 32–33.
1400:(1986) Helen Lane
1143:Land Without Evil
1139:La tierra sin mal
897:Mempo Giardinelli
864:Fulgencio Miranda
713:collective memory
343:Charles de Gaulle
312:Fulgencia Miranda
182:
181:
121:Literary movement
3280:
3154:Francisco Brines
3083:Ana María Matute
3048:Antonio Gamoneda
3012:Francisco Umbral
2971:Camilo José Cela
2856:
2828:Alejo Carpentier
2799:
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2441:
2422:
2410:Fitzroy Dearborn
2399:
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2361:
2330:
2311:
2310:
2308:
2292:(6 April 1986),
2284:
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1471:
1465:
1454:
1448:
1435:
1429:
921:Andrés Rodríguez
917:Luisa Valenzuela
909:Antonio Skármeta
876:Legion d'Honneur
498:Premio Cervantes
486:Andrés Rodríguez
378:Higinio Moríñigo
368:During the 1947
320:1960; Son of Man
173:Legion d'Honneur
85:
68:
66:
54:
40:
39:
3288:
3287:
3283:
3282:
3281:
3279:
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3183:
3182:
3181:
3176:
3172:Luis Mateo Díez
3141:
3119:Eduardo Mendoza
3070:
2999:
2947:Francisco Ayala
2928:
2857:
2848:
2809:
2803:
2773:
2768:
2720:
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2536:
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2328:
2306:
2304:
2290:Fuentes, Carlos
2282:
2263:
2227:
2200:
2178:
2176:
2161:
2139:
2137:
2120:
2115:
2114:
2106:
2102:
2094:
2090:
2086:, pp. 3–4.
2082:
2078:
2070:
2066:
2058:
2054:
2045:
2044:
2040:
2032:
2025:
2017:
2008:
2000:
1996:
1988:
1981:
1973:
1969:
1961:
1957:
1949:
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1937:
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1824:
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1812:
1808:
1804:, p. 1210.
1800:
1796:
1792:, p. 1209.
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1599:, p. 1212.
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1380:
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1308:
1288:
1189:Alias Gardelito
1152:
1019:
958:
952:
950:Published works
893:Alias Gardelito
884:
860:
847:
807:
779:
774:
737:
729:Horacio Quiroga
705:
690:
668:dictator novels
612:
606:
563:
557:
550:
494:
466:
439:Alias Gardelito
366:
331:British Council
292:
268:
263:
233:magical realism
178:
87:
83:
70:
64:
62:
45:
38:
17:
12:
11:
5:
3286:
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3265:
3260:
3255:
3250:
3245:
3240:
3235:
3230:
3225:
3220:
3215:
3210:
3208:Male novelists
3205:
3200:
3195:
3178:
3177:
3175:
3174:
3168:
3166:Rafael Cadenas
3162:
3156:
3149:
3147:
3143:
3142:
3140:
3139:
3133:
3127:
3125:Sergio Ramírez
3121:
3115:
3109:
3107:Juan Goytisolo
3103:
3097:
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3085:
3078:
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2967:
2961:
2959:Miguel Delibes
2955:
2949:
2943:
2936:
2934:
2930:
2929:
2927:
2926:
2920:
2918:María Zambrano
2914:
2912:Carlos Fuentes
2908:
2902:
2896:
2894:Ernesto Sabato
2890:
2888:Rafael Alberti
2884:
2878:
2872:
2865:
2863:
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2766:
2758:
2750:
2742:
2738:Yo, el Supremo
2734:
2730:Hijo de hombre
2725:
2722:
2721:
2713:
2712:
2705:
2698:
2690:
2684:
2683:
2672:
2671:External links
2669:
2668:
2667:
2649:
2643:
2631:Sturrock, John
2626:
2620:
2605:
2599:
2586:
2580:
2564:
2558:
2540:
2534:
2513:
2507:
2494:
2488:
2474:Martin, Gerald
2470:
2464:
2443:
2437:
2424:
2418:
2401:
2395:
2382:
2376:
2363:
2332:
2326:
2313:
2302:New York Times
2296:I, the Supreme
2286:
2280:
2267:
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2248:
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2198:
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2119:
2116:
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2112:
2110:, p. 943.
2100:
2098:, p. 395.
2088:
2076:
2064:
2052:
2038:
2036:, p. 619.
2023:
2006:
1994:
1979:
1967:
1965:, p. 139.
1955:
1953:, p. 331.
1943:
1926:
1914:
1902:
1890:
1888:, p. 717.
1878:
1866:
1864:, p. 486.
1854:
1842:
1840:, p. 485.
1830:
1818:
1816:, p. 102.
1806:
1794:
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1780:, p. 186.
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1758:
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1734:
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1683:
1681:, p. 404.
1666:
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1622:
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1601:
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1554:, p. 500.
1544:
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1508:
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1408:The Prosecutor
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1384:Hijo de hombre
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1359:
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1306:Other writings
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1278:La Madre María
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1206:The last floor
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963:Hijo de hombre
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948:
944:Yo, el Supremo
940:Carlos Fuentes
936:Yo, el Supremo
932:Hijo de hombre
928:Yo, el Supremo
913:Saul Ibargoyen
905:Eraclio Zepeda
901:Isabel Allende
883:
880:
868:Hijo de hombre
859:
856:
846:
843:
839:Dictator novel
835:engaged writer
831:Yo, el Supremo
827:Yo, el Supremo
823:Hijo de hombre
815:Hijo de hombre
806:
803:
795:Yo, el Supremo
791:Hijo de hombre
784:Yo, el Supremo
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750:Yo, el Supremo
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725:Hijo de hombre
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697:The Prosecutor
689:
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676:Yo, el supremo
660:Yo, el supremo
643:Yo, el supremo
624:Yo, el Supremo
608:Main article:
605:
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592:Hijo de hombre
586:Hijo de hombre
582:Yo, el Supremo
566:Hijo de hombre
561:Hijo de hombre
559:Main article:
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551:
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534:The Prosecutor
518:Yo, el Supremo
514:Yo, el Supremo
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449:Yo, el Supremo
421:Hijo de hombre
416:Yo, el Supremo
402:Hijo de hombre
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298:began between
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242:Hijo de hombre
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2844:Gerardo Diego
2841:
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2834:Dámaso Alonso
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2273:
2268:
2264:
2262:0-8057-6348-1
2258:
2254:
2249:
2245:
2241:
2237:
2232:
2228:
2222:
2218:
2214:
2210:
2205:
2201:
2195:
2191:
2186:
2175:
2171:
2166:
2162:
2156:
2152:
2147:
2135:
2131:
2127:
2122:
2121:
2109:
2104:
2097:
2092:
2085:
2084:Levinson 2002
2080:
2073:
2072:Cultural 1995
2068:
2061:
2056:
2048:
2042:
2035:
2030:
2028:
2021:, p. 16.
2020:
2015:
2013:
2011:
2003:
1998:
1992:, p. 21.
1991:
1986:
1984:
1977:, p. 14.
1976:
1971:
1964:
1959:
1952:
1947:
1940:
1935:
1933:
1931:
1924:, p. 25.
1923:
1918:
1912:, p. 24.
1911:
1906:
1900:, p. 19.
1899:
1894:
1887:
1882:
1876:, p. 11.
1875:
1870:
1863:
1858:
1851:
1846:
1839:
1834:
1828:, p. 18.
1827:
1822:
1815:
1810:
1803:
1798:
1791:
1786:
1779:
1778:De Costa 1997
1774:
1767:
1762:
1755:
1750:
1743:
1738:
1731:
1726:
1720:, p. 99.
1719:
1714:
1708:, p. 39.
1707:
1702:
1696:, p. 40.
1695:
1690:
1688:
1680:
1675:
1673:
1671:
1664:, p. 38.
1663:
1658:
1656:
1648:
1643:
1636:
1631:
1629:
1627:
1619:
1614:
1612:
1610:
1608:
1606:
1598:
1593:
1591:
1583:
1578:
1576:
1569:, p. 19.
1568:
1563:
1561:
1553:
1548:
1542:, p. 18.
1541:
1536:
1534:
1526:
1521:
1519:
1517:
1515:
1513:
1506:, p. 11.
1505:
1500:
1498:
1490:
1485:
1483:
1481:
1479:
1477:
1470:, p. 17.
1469:
1464:
1462:
1460:
1452:
1447:
1445:
1443:
1441:
1434:, p. 16.
1433:
1428:
1426:
1421:
1409:
1405:
1402:
1399:
1398:I the Supreme
1395:
1394:Yo el Supremo
1392:
1389:
1385:
1382:
1381:
1372:
1368:
1365:
1364:
1355:
1352:
1349:
1346:
1343:
1340:
1337:
1334:
1331:
1328:
1325:
1322:
1319:
1316:
1313:
1312:Cándido Lopez
1310:
1309:
1300:
1297:
1293:
1290:
1289:
1280:
1279:
1275:
1272:
1271:
1267:
1264:
1263:
1259:
1256:
1255:
1254:The President
1251:
1248:
1247:
1243:
1240:
1239:
1235:
1232:
1231:
1227:
1224:
1223:
1219:
1216:
1215:
1214:The terrorist
1211:
1208:
1207:
1203:
1200:
1198:
1194:
1191:
1190:
1186:
1183:
1182:
1178:
1175:
1174:
1170:
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1162:
1159:
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1154:
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1137:
1134:
1131:
1128:
1125:
1122:
1118:
1115:
1112:
1108:
1105:
1102:
1099:
1096:
1093:
1090:
1089:Los Congresos
1087:
1084:
1081:
1078:
1074:
1071:
1068:
1064:
1061:
1058:
1054:
1051:
1048:
1044:
1041:
1038:
1037:Vacant Ground
1034:
1031:
1028:
1024:
1021:
1020:
1017:Short fiction
1011:
1007:
1004:
1001:
997:
994:
991:
987:
984:
981:
980:I the Supreme
977:
976:
975:Yo el Supremo
972:
969:
965:
964:
960:
959:
947:
945:
941:
937:
933:
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840:
836:
832:
828:
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811:
802:
800:
796:
792:
787:
785:
769:
767:
763:
759:
754:
751:
747:
746:Magic realism
742:
732:
730:
726:
722:
718:
714:
710:
700:
698:
694:
688:
683:
681:
677:
673:
669:
665:
661:
657:
656:
650:
648:
644:
640:
636:
635:I the Supreme
632:
631:Yo el Supremo
625:
622:in his novel
621:
616:
611:
610:Yo el Supremo
604:
603:Yo el Supremo
599:
597:
596:Magic Realism
593:
589:
587:
583:
579:
575:
571:
567:
562:
555:
545:
543:
539:
535:
531:
527:
523:
519:
515:
510:
508:
503:
499:
489:
487:
483:
479:
478:I the Supreme
475:
474:Yo el Supremo
471:
461:
459:
455:
451:
450:
445:
441:
440:
435:
434:Lautaro Murúa
431:
430:
424:
422:
418:
417:
412:
408:
404:
403:
398:
394:
393:
386:
381:
379:
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371:
361:
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346:
344:
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332:
327:
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321:
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308:
305:
301:
297:
287:
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277:
273:
258:
256:
252:
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244:
243:
238:
234:
230:
225:
220:
218:
214:
213:Yo el Supremo
210:
209:
204:
203:
202:I the Supreme
198:
197:Yo el Supremo
194:
190:
186:
174:
171:
168:
165:
162:
159:
158:
156:
152:
147:
146:
145:Yo el Supremo
142:
140:
139:
135:
134:
133:
131:Notable works
129:
126:
123:
119:
116:
113:
109:
103:
100:
97:
96:
95:
91:
82:26 April 2005
81:
77:
73:
61:
57:
53:
48:
41:
36:
32:
28:
24:
19:
3042:Sergio Pitol
3018:Álvaro Mutis
2923:
2882:Luis Rosales
2760:
2752:
2744:
2736:
2728:
2717:
2658:
2653:
2634:
2610:
2590:
2571:
2548:
2521:
2498:
2478:
2451:
2428:
2405:
2386:
2367:
2345:(4): 15–17,
2342:
2336:
2317:
2305:, retrieved
2301:
2295:
2271:
2252:
2235:
2212:
2189:
2177:, retrieved
2174:The Guardian
2173:
2150:
2138:, retrieved
2133:
2129:
2103:
2091:
2079:
2067:
2055:
2041:
1997:
1970:
1958:
1946:
1917:
1905:
1893:
1881:
1869:
1857:
1845:
1833:
1821:
1809:
1797:
1785:
1773:
1761:
1754:Fuentes 1986
1749:
1737:
1732:, p. 2.
1725:
1713:
1701:
1642:
1547:
1489:Caistor 2005
1407:
1403:
1397:
1393:
1387:
1383:
1378:Translations
1370:
1366:
1353:
1347:
1341:
1335:
1329:
1323:
1317:
1311:
1295:
1291:
1276:
1268:
1260:
1252:
1244:
1236:
1228:
1220:
1212:
1204:
1199:/ Son of man
1195:
1187:
1179:
1171:
1163:
1155:
1142:
1138:
1133:Metaforismos
1132:
1126:
1120:
1116:
1110:
1106:
1100:
1095:El sonámbulo
1094:
1088:
1082:
1076:
1072:
1066:
1062:
1056:
1052:
1046:
1042:
1036:
1032:
1026:
1022:
1009:
1005:
999:
995:
989:
985:
979:
973:
967:
961:
943:
935:
931:
927:
926:Even before
925:
892:
888:
885:
867:
863:
861:
852:
848:
845:Bilingualism
834:
830:
826:
822:
818:
814:
812:
808:
798:
794:
790:
788:
783:
780:
766:García Lorca
758:Valle-Inclán
755:
749:
741:Pablo Neruda
738:
724:
720:
708:
706:
696:
692:
691:
686:
675:
663:
659:
653:
651:
642:
634:
630:
629:
623:
602:
591:
590:
585:
581:
573:
569:
565:
564:
553:
537:
533:
529:
525:
521:
517:
513:
511:
506:
495:
477:
473:
467:
447:
443:
437:
427:
425:
420:
414:
406:
400:
396:
390:
388:
383:
374:Buenos Aires
367:
357:
353:
349:
347:
338:
329:In 1944 the
328:
323:
319:
315:
311:
309:
293:
284:
269:
254:
250:
246:
240:
224:Buenos Aires
221:
212:
206:
200:
196:
184:
183:
143:
136:
84:(2005-04-26)
69:13 June 1917
34:
30:
23:Spanish name
18:
3198:2005 deaths
3193:1917 births
3054:Juan Gelman
2989:José Hierro
2876:Octavio Paz
2019:Foster 1978
1990:Foster 1978
1975:Foster 1969
1951:Franco 1994
1922:Foster 1978
1910:Foster 1978
1898:Foster 1969
1886:Lewis 1997b
1874:Foster 1969
1862:Marcos 1992
1850:Marcos 1989
1838:Marcos 1992
1826:Foster 1969
1814:Lewis 1997a
1802:Marcos 1989
1790:Marcos 1989
1742:Martin 1989
1730:Foster 1978
1706:Foster 1978
1694:Foster 1978
1662:Foster 1978
1647:Flores 1992
1618:Marcos 1992
1597:Marcos 1989
1567:Foster 1978
1540:Foster 1978
1525:Flores 1992
1504:Foster 1978
1468:Foster 1978
1451:Flores 1992
1238:The harvest
1150:Screenplays
1010:Counterlife
942:has called
647:pasquinades
548:Major works
350:avant garde
3187:Categories
3131:Ida Vitale
3060:Juan Marsé
2762:Contravida
2716:Novels by
2448:"Paraguay"
2408:, London:
1766:Tobia 1997
1416:References
1388:Son of Man
1127:Madama Sui
1107:Los Juegos
1047:Burnt Wood
1006:Contravida
968:Son of Man
889:Nuevo Cine
721:yerba mate
570:Son of Man
460:, France.
444:nuevo cine
407:Son of Man
247:Son of Man
101:journalist
93:Occupation
74:, Paraguay
65:1917-06-13
2754:El fiscal
2359:148379346
2096:Wood 1996
2060:Bach 1996
2002:Shaw 2002
1963:Shaw 2002
1939:Shaw 2002
1679:Ryan 1991
1635:Ryan 1991
1552:Ward 1978
1432:King 1983
1404:El Fiscal
1165:Sabaleros
1111:The Games
1067:Slaughter
1063:Moriencia
1033:El baldío
996:El fiscal
799:El Fiscal
693:El Fiscal
687:El Fiscal
538:El fiscal
530:El fiscal
296:Chaco War
261:Biography
251:El fiscal
189:Chaco War
104:professor
2570:(2002),
2546:(1985),
2476:(1989),
2307:27 March
2179:10 April
2140:27 March
2130:Americas
542:Asunción
458:Toulouse
300:Paraguay
272:Asunción
72:Asunción
21:In this
2633:(ed.),
2526:403–405
2456:469–491
2217:736–740
2118:Sources
1369:(1980;
1294:(1942;
1230:La Boda
1141:(1998;
1119:(1984;
1109:(1979;
1075:(1971;
1065:(1969;
1055:(1967;
1045:(1967;
1035:(1966;
1025:(1953;
1008:(1994;
998:(1993;
988:(1992;
978:(1974;
966:(1960;
841:genre.
695:(1993;
568:(1960;
532:(1993;
524:(1992;
395:(1953;
339:El País
324:El País
304:Bolivia
280:Guaraní
253:(1993;
245:(1960;
229:Guaraní
193:Bolivia
27:surname
3170:2023:
3164:2022:
3158:2021:
3152:2020:
3135:2019:
3129:2018:
3123:2017:
3117:2016:
3111:2015:
3105:2014:
3099:2013:
3093:2012:
3087:2011:
3081:2010:
3064:2009:
3058:2008:
3052:2007:
3046:2006:
3040:2005:
3034:2004:
3028:2003:
3022:2002:
3016:2001:
3010:2000:
2993:1999:
2987:1998:
2981:1997:
2975:1996:
2969:1995:
2963:1994:
2957:1993:
2951:1992:
2945:1991:
2939:1990:
2922:1989:
2916:1988:
2910:1987:
2904:1986:
2898:1985:
2892:1984:
2886:1983:
2880:1982:
2874:1981:
2868:1980:
2838:1979:
2832:1978:
2826:1977:
2820:1976:
2765:(1994)
2757:(1993)
2749:(1992)
2741:(1974)
2733:(1960)
2641:
2618:
2597:
2578:
2556:
2532:
2505:
2486:
2462:
2435:
2416:
2393:
2374:
2357:
2324:
2278:
2259:
2242:
2223:
2196:
2157:
1356:(1993)
1350:(1990)
1344:(1986)
1338:(1986)
1332:(1981)
1326:(1979)
1320:(1979)
1314:(1976)
1286:Poetry
1281:(1974)
1273:(1967)
1270:Soluna
1265:(1967)
1257:(1966)
1249:(1965)
1241:(1965)
1225:(1963)
1217:(1962)
1209:(1962)
1201:(1961)
1197:Thirst
1192:(1961)
1184:(1960)
1181:Shunko
1176:(1959)
1168:(1959)
1160:(1958)
956:Novels
915:, and
882:Legacy
772:Themes
764:, and
429:Shunko
335:London
276:Iturbe
249:) and
175:(1997)
169:(1995)
163:(1989)
98:Writer
35:Bastos
3146:2020s
3075:2010s
3004:2000s
2933:1990s
2862:1980s
2814:1970s
2657:[
2355:S2CID
2244:35264
735:Style
578:élite
111:Genre
2842:and
2681:IMDb
2639:ISBN
2616:ISBN
2595:ISBN
2576:ISBN
2554:ISBN
2530:ISBN
2503:ISBN
2484:ISBN
2460:ISBN
2433:ISBN
2414:ISBN
2391:ISBN
2372:ISBN
2322:ISBN
2309:2008
2276:ISBN
2257:ISBN
2240:OCLC
2221:ISBN
2194:ISBN
2181:2008
2155:ISBN
2142:2008
825:and
302:and
79:Died
59:Born
2679:at
2347:doi
2136:(6)
1406:as
1396:as
1386:as
719:on
666:or
31:Roa
29:is
3189::
2528:,
2520:,
2458:,
2353:,
2343:12
2341:,
2300:,
2219:,
2211:,
2172:,
2134:48
2132:,
2128:,
2026:^
2009:^
1982:^
1929:^
1686:^
1669:^
1654:^
1625:^
1604:^
1589:^
1574:^
1559:^
1532:^
1511:^
1496:^
1475:^
1458:^
1439:^
1424:^
911:,
907:,
903:,
899:,
878:.
760:,
584:,
520:,
488:.
326:.
2798:e
2791:t
2784:v
2709:e
2702:t
2695:v
2666:.
2648:.
2625:.
2604:.
2585:.
2563:.
2539:.
2512:.
2493:.
2469:.
2442:.
2423:.
2400:.
2381:.
2362:.
2349::
2331:.
2312:.
2298:"
2285:.
2266:.
2247:.
2230:.
2203:.
2184:.
2164:.
2145:.
2074:.
2062:.
2049:.
1756:.
1491:.
1373:)
1145:)
1123:)
1113:)
1079:)
1069:)
1059:)
1049:)
1039:)
1029:)
1012:)
1002:)
992:)
982:)
970:)
633:(
626:.
476:(
405:(
356:(
318:(
199:(
67:)
63:(
37:.
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