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From Mexico’s preeminent man of letters, “a Balzacian novel in nine masterly stories” (Vanity Fair) that explores the “uneven and painful meshing of two North american cultures” (Washington Post Book World). A New York Times Notable Book of the Year. A Los Angeles Times Best Book of the Year. Translated by Alfred Mac Adam.
- Sales Rank: #372973 in Books
- Published on: 1998-10-15
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .70" w x 5.25" l, .77 pounds
- Binding: Paperback
- 280 pages
From Library Journal
Leonardo Barroso is an unscrupulous Mexican oligarch whose fortress of a villa is only a short drive from the "crystal frontier" of the title, and each one of the nine stories comprising this work explores the life of someone touched by him. There's Juan Zamora, whose medical studies at Cornell were made possible by the stratagems of Barroso; the beautiful Michelina from Mexico City, whom Barroso marries; off to his son and then takes as his own, and the working girls of Barroso's maquiladoras, who lust after the gringo male dancers of the clubs. The outrageous racism of Fuentes's Anglo characters, such as Miss Amy Dunbar and border patrol Dan Polonsky, may seem excessive and stereotyped, but it is also hard to deny that such attitudes exist along this troubled border. Fuentes masterfully interweaves Mexican politics, economics, and history within the individual stories, giving a brilliant update on relations between an extremely poor country and the richest in the world. A recent (1995) and highly recommended work by Mexico's premiere novelist.?Jack Shreve, Allegany Community Coll., Cumberland, Md.
Copyright 1997 Reed Business Information, Inc.
From Booklist
Fuentes has no qualms about using fiction as a vehicle for social analysis. When this union between art and commentary succeeds, it generates indelible scenes of tremendous passion, of which there are many in this set of nine loosely connected stories, but when it fails, Fuentes' tales turn awkward. It may be that Fuentes' immense sense of responsibility toward Mexico and its people--a commitment that compels him to dramatize the entrenched corruption and ferocious poverty that drive so many people across the border--at times simply overwhelms the delicate emotional balance crucial to the magic of a story. That said, these are nonetheless gleaming fables about the volatile and urgent relationship between Mexico and the U.S., unnerving stories rich in metaphor, wit, and remarkable characters, from Don Leonardo Barroso, an ambiguous figure of great wealth and power, to Juan Zamora, who leaves his oppressively poor life in Mexico City to study medicine at Cornell, where he discovers both his homosexuality and his deep compassion. Then there's young, vulnerable Marina, who dreams of seeing the ocean as she works assembling televisions in a factory along the border, and the hero of the haunting title story, Lisandro Chavez, who, along with dozens of other men, is flown into Manhattan to spend a weekend cleaning the inside of a glass skyscraper, the latest high-tech form of migrant labor. Fuentes boldly shines his high beams on "the illusory crystal divider, the glass membrane between Mexico and the U.S.," thus illuminating both our vast differences and our manifold connection. Donna Seaman
From Kirkus Reviews
A sardonic ``novel in nine stories'' about relations between the US and Mexico, by the latter country's acclaimed author of such cosmopolitan fictions as Terra Nostra (1976) and The Campaign (1991), among others. Each story portrays a conflict involving a family member, intimate, or business associate of ``the powerful political Leonardo Barroso,'' a deal- and king-maker with a foot in both countries and a shadowy demeanor and personal history. For example, ``A Capital Girl'' traces the emotional vacillations endured by Michelina, an impressionable young woman who idolizes her godfather, Leonardo, as a result accepting marriage to his deeply unstable son Mariano. These and other characters reappear in several stories, a few of which are rather too nakedly discursive (e.g., the wheelchair-bound narrator's monologue in ``The Line of Oblivion,'' and a predictably manic-depressive relationship between a wealthy white matron and her abused Mexican housemaid in ``Girlfriends''). Indeed, most of the stories are too frequently interrupted by ironic commentaries on both American arrogance and myopia and Mexican illiteracy and inertia. However, ``Spoils'' presents a delicious characterization of its protagonist Dionisio, a cooking expert and gourmet explorer of several species of appetites. And in ``Malintzin Las Maquilas''--a lively, sexy story whose sociopolitical content emerges naturally from its character relationships--Fuentes vividly depicts the volatile bonding among three women factory workers. The long (and uneven) climactic story, ``Rio Grande, Rio Bravo,'' explores in too pat a fashion the human and diplomatic ramifications of ``crossing the border,'' and brings the volume to a stagy (if perfectly logical) violent end. A vast improvement over Fuentes's recent self-indulgent metafiction Diana (1995), and a pretty creditable dramatization of the mocking rhyme with which the book leaves us: ``poor Mexico,/poor United States,/so far from God,/so near to one another.'' -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
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1 of 3 people found the following review helpful.
Ambivalent novel long on poetry, short on solutions
By R. Decker
Tedious novel in the form of nine linked stories shows Mexican life from multiple angles, none too flattering. The crystal frontier of the title is, of course, the U.S.-Mexican border; what matters here is less the border as geopolitical fact and more its impact on the Mexican psyche. The author aims his barbs at both sides of the border; there's little surprising here except perhaps for the portrayal of a disdainful Mexican upper class that couldn't care less about how the other half lives or whether it lives or starves. Book clubs will find this a useful tool for stirring up discussion on the illegal drug and immigration issues whether they read through to the end or not; those who do will be rewarded with a chapter written half in normal prose and half in surreal fragmentary lines of poetry, the effect of which is not unlike sitting through a Tarkovsky double-feature.
2 of 3 people found the following review helpful.
An exercise in empathy
By Ellen Morris
An achingly beautiful, haunting series of interwoven stories...people I know, people I can imagine. Viewing events through the eyes of different people was reminiscent of Kurasawa's Rashomon. As a sucker for short stories, my favorite was the title piece.
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