By Alberto Manguel
In this gorgeously imagined novel, a journalist interviews those that knew—or concept they knew—Alejandro Bevilacqua, a super, infuriatingly elusive South American author and writer of the masterpiece, In compliment of Lying. however the bills of these in his circle of neighbors, enthusiasts, and enemies develop into more and more contradictory, murky, and suspect. Is everybody mendacity, or simply telling their very own subjective model of the reality? because the literary research unfolds and a refrain of Bevilacqua’s friends piece jointly the fractured fact of his lifestyles, thirty years after his dying, purely the reader holds the ability of ultimate judgment.
In All males Are Liars, Alberto Manguel can pay homage to literature’s innovations and explores even if we will ever really comprehend somebody, and the query of the way, via whom, and for what, we ourselves should be remembered.
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16 If language was the major instrument of Empire, it is the very flexible and varying ranges of language, the subtle and exquisite manipulations of native rhythms of speech which have won our writers a very special attention. If the metropole directed what is standard and required by the cultural establishment, it is at the periphery of colony or neo-colony that the imagination resists, destablizes and transforms the status of the word in action. This is a mark of cultural sovereignty, the free definition and articulation of the collective self, whatever the rigour of external constraints.
This space represents the sexualized landscape of national identity and the gendered discourses that instituted Caribbean literary traditions. Once more, traversing geographies to gain the advantage of critical distance is one of the privileges of Caribbean (male) intellectuals, one that has borne itself out in the language used to describe Caribbean historical and cultural landscapes. There can be no separation of these two constructions, sexuality and national identity, because female sexuality has long been the context out of which the “nation” emerges in all its contradictions.
11 In twentieth-century writing from the Caribbean we see a similar formulation of bind, this time articulated through Caribbean nationalism and nationalist politics. The nationalist landscapes mapped out in early constructions of West Indianness, brilliantly expressed through the barrackyard fiction of the 1930s, follow a trajectory of representations in which women’s bodies are tropes for embattled conceptualizations of Caribbean national identity. Apart from demonstrating the integral connectedness of race and gender, the allegorical nature of the barrack yard and storefront narratives gave a face and a voice to the exploitation of the working poor.
All Men Are Liars by Alberto Manguel