By Alberto Manguel
In this gorgeously imagined novel, a journalist interviews those that knew—or proposal they knew—Alejandro Bevilacqua, an excellent, infuriatingly elusive South American author and writer of the masterpiece, In compliment of Lying. however the money owed of these in his circle of pals, fanatics, and enemies develop into more and more contradictory, murky, and suspect. Is every person 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, merely the reader holds the facility of ultimate judgment.
In All males Are Liars, Alberto Manguel will pay homage to literature’s innovations and explores even if we will ever actually understand anyone, and the query of ways, through whom, and for what, we ourselves may be remembered.
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Additional info for All Men Are Liars
Human beings have long gathered to trade, buy and sell, to worship and to share each other’s company. In the great expositions of the nineteenth century, people came to admire new inventions and displays from distant cultures. At Coney Island something entirely new was taking place. Hordes of people went there for the sole purpose of enjoying a day’s amusement. As John Kasson explains in Amusing the Million, at the end of the nineteenth century the United States began a transition from an economy organized around production to one organized around consumption (101).
Like Henry George, author of Progress and Poverty (1879), and other reformers he admired, Martí believed that the rise of an economic aristocracy would endanger the rights to which all are entitled in a democratic nation. ” “Many Latin Americans,” he wrote for La Nación, December 7, 1886, “defend him [Henry George] with their words and their influence” (11:96). In Martí’s writings about Coney Island, the boisterous, outrageous behavior of the crowd frames the lonely figure of a man in black. His intense gaze registers it all, yet he remains invisible.
In his writings on the United States, there are echoes of Emerson and foreshadowings of the dissonant strains of twentieth-century writers. There is also in Martí a prelude to “The poet’s eye obscenely seeing” of Ferlinghetti’s Coney Island (13) and to Andrew Delbanco’s contemporary jeremiad, The Real American Dream. There is in Martí a novel view of the fragmented nature of modern culture, of its power to hide misery under deceiving masks, as in Ferlinghetti’s “all the other fatal shorn-up fragments/ of the immigrant’s dream come too true/ and mislaid/ among the sunbathers” (13).
All Men Are Liars by Alberto Manguel