Vladby Carlos Fuentes, Robert Fass
'Vlad' is Vlad the Impaler, of course, whose mythic cruelty was an inspiration for Bram Stoker's Dracula. In this sly sequel, Vlad really is undead. More than a postmodern riff on 'the vampire craze,' 'Vlad' is also an anatomy of the Mexican bourgeoisie, as well as our culture's ways of dealing with death. For - as in Dracula - Vlad has need of both a lawyer and a
'Vlad' is Vlad the Impaler, of course, whose mythic cruelty was an inspiration for Bram Stoker's Dracula. In this sly sequel, Vlad really is undead. More than a postmodern riff on 'the vampire craze,' 'Vlad' is also an anatomy of the Mexican bourgeoisie, as well as our culture's ways of dealing with death. For - as in Dracula - Vlad has need of both a lawyer and a real-estate agent in order to establish his new kingdom, and Yves Navarro and his wife Asuncion fit the bill nicely. Having recently lost a son, might they not welcome the chance to see their remaining child live forever? More importantly, are the pleasures of middle-class life enough to keep one from joining the legions of the damned?
In his last published novel before he died, the iconic Fuentes dabbles in the gothic in a haunting tale of vampires whose hapless victims try to extricate themselves from a nefarious scheme.
- Dreamscape Media
- Publication date:
- Age Range:
- 18 Years
Meet the Author
Carlos Fuentes (1928-2012) was one of the most influential and celebrated voices in Latin American literature. He was the author of 24 novels, including "Aura", "The Death of Artemio Cruz", "The Old Gringo" and "Terra Nostra", and also wrote numerous plays, short stories, and essays. He received the 1987 Cervantes Prize, the Spanish-speaking world's highest literary honor.
Fuentes was born in Panama City, the son of Mexican parents, and moved to Mexico as a teenager. He served as an ambassador to England and France, and taught at universities including Harvard, Princeton, Brown and Columbia. He died in Mexico City in 2012.
The author of more than a dozen novels and story collections, Carlos Fuentes is Mexico's most celebrated novelist and critic. He has received numerous honors and awards throughout his lifetime, including the Miguel de Cervantes Prize and the Latin Literary Prize. Included among his books are "Terra Nostra, Where the Air Is Clear", and "Distant Relations".
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Vlad by Car­los Fuentes is a short novel tak­ing place in Mex­ico City, Mex­ico. The story was part of the 2004 col­lec­tion “Inqui­eta Com­pañía” and recently came out as its own book trans­lated by Ale­jan­dro Branger and Ethan Shaskan Bumas Count Drac­ula, Vlad, has decided to immi­grate toMex­ico after the may­hem inEast­ern Europe and count­less wars have short­ened his blood sup­plies. Vlad has ves­sels inMex­ico who intro­duce him Yves Navarro, a lawyer, and his wife Asun­ción, a real estate agent. Yves and Asun­ción have lost a son in sea and Vlad entices them with the promise of see­ing their daugh­ter live for­ever, and remain a child eternally. Vlad by Car­ols Fuentes takes on an inter­est­ing premise, what if Drac­ula still lived and set­tled inMex­ico City. As one might expect, there is a lot of dark humor in this book, start­ing with the strange requests the client is mak­ing of the real estate agent (“remote”, “easy to defend”) to the client’s look which con­sists of a silly wig and glued on mustache. What I found to be dif­fer­ent in this book is that the reader knows a lot more than the nar­ra­tor. This style of sto­ry­telling invig­o­rates the dark com­edy and brings a sense of omi­nous fore­bod­ing to banal and mean­ing­less lines said by the famous Count. In this ren­di­tion of the story, Fuentes mar­ries vam­pire and lawyers – both server as ves­sels for unprin­ci­pled lust with­out ethics. As many vam­pire sto­ries do, they let the fan­tasy and myth reflect on our own lives through anec­dotes and metaphors. While I’m not much for hor­ror and fear, I think this novel is a gem which clearly illus­trates the essence of great writ­ing, char­ac­ter­i­za­tion and flam­boy­ancy which are dif­fi­cult to pull off. The bal­ance between hor­ror and com­edy, debauch­ery and per­son­i­fi­ca­tion are per­fect and the campy, yet sur­real atmos­phere is almost magical.