Author: Carlos Fuentes

Cites

• Montaigne (1)
  • IN: The Death of Artemio Cruz (1962) Fiction, NULL
    EPIGRAPH: La premeditation de la mort est premeditation de la liberte.
    FROM: Essays, (1580), Essay, France
• Calderon (1)
  • IN: The Death of Artemio Cruz (1962) Fiction, NULL
    EPIGRAPH: Oh, men who come forth into the earth through a cradle of ice and who enter through a grave, behold how you act...
    FROM: The Grand Theater of the World, (1655), Play, Spain
• Stendhal (1)
  • IN: The Death of Artemio Cruz (1962) Fiction, NULL
    EPIGRAPH: Moi seul, je sais ce que j'aurais pu faire... Pour les autres, je ne susi tout au plus qu'un peut-etre.
    FROM: The Red and the Black, (1830), Novel, France
• Gorostiza (1)
  • IN: The Death of Artemio Cruz (1962) Fiction, NULL
    EPIGRAPH: ...of me and of Him and of the three of us Always three!
    FROM: Death Everlasting, (None), Poem, Mexico
• NULL (3)
  • IN: The Death of Artemio Cruz (1962) Fiction, NULL
    EPIGRAPH: Life is worth nothing. Nothin: that's what life is worth.
    FROM: Mexican popular song, (None), Song, Mexico
  • IN: Vlad (2010) Fiction, NULL
    EPIGRAPH: Go to sleep, my girl, here comes the coyote; coming to get you with a great garrote
    FROM: Mexican lullaby, (None), Lullaby, Mexico
• Milton (1)
  • IN: Adam in Eden (2009) Fiction, NULL
    EPIGRAPH: Did I request thee, Maker, from my clay To mould me Man? did I solicit thee From darkness to promote me, or here place In this delicious garden?
    FROM: Paradise Lost, (1667), Book, UK
• MANUEL ESPERÓN AND ERNESTO CORTÁZAR (1)
  • IN: The Eagle's Throne (2002) Fiction, NULL
    EPIGRAPH: L’águila siendo animal se retrató en el dinero. Para subir al nopal pidió permiso primero. [The eagle, being an animal, had its picture drawn on coins. Before climbing up the nopal it asked for permission first.]
    FROM: “Me he de comer esa tuna” [I have to eat that prickly pear], (1944), Song, Mexico
• Leo Tolstoy (1)
  • IN: Happy Families (2006) Fiction, NULL
    EPIGRAPH: Happy families are all alike; every unhappy family is unhappy in its own way.
    FROM: Anna Karenina, (1878), Novel, Russia
• Mahmoud Darwish (1)
  • IN: Constancia and Other Stories for Virgins (1989) Fiction, NULL
    EPIGRAPH: Seal me with your eyes. Take me wherever you are … Shield me with your eyes. Take me as a relic from the mansion of sorrow … Take me as a toy, a brick from the house So that our children will remember to return
    FROM: Mahmud Darwish, cited by Edward Said in “Reflections on Exile”, (2000), Poem, Palestine
• Henri Bergson (1)
  • IN: Christopher Unborn (1986) Fiction, NULL
    EPIGRAPH: The body is the part of our representation that is continuously being born.
    FROM: NULL, (None), NULL, France
• Pierre Corneille (1)
  • IN: Hydra Head (1978) Fiction, NULL
    EPIGRAPH: Une tête coupée en fait renaître mille
    FROM: Cinna, (1643), Play, France
• Amos Oz (1)
  • IN: The Orange Tree (1993) Fiction, NULL
    EPIGRAPH: Like the planets in their orbits, the world of ideas tends toward circularity.
    FROM: AMOS OZ, Late Love, (1971), Novella, Israeli
• Pascal (1)
  • IN: The Orange Tree (1993) Fiction, NULL
    EPIGRAPH: Combien de royaumes nous ignorent!
    FROM: Pensées, (1670), Book, France
• Goya (1)
  • IN: Terra Nostra (1975) Fiction, NULL
    EPIGRAPH: What does that old spook want…?
    FROM: Goya, Los caprichos, (1799), Book, Spain
• Cernuda (1)
  • IN: Terra Nostra (1975) Fiction, NULL
    EPIGRAPH: Fervid in her fetid rags. It is she, the first False mother of many, like you, aggrieved By her, and for her, grieving.
    FROM: Cernuda, Ser de Sansueña, (1949), Poem, Spain
• Yeats (1)
  • IN: Terra Nostra (1975) Fiction, NULL
    EPIGRAPH: Transformed utterly: A terrible beauty is born …
    FROM: Yeats, Easter, 1916, (1916), Poem, Ireland
• Jules Supervielle (1)
  • IN: Distant Relations (1980) Fiction, NULL
    EPIGRAPH: LA CHAMBRE VOISINE Tournez le dos à cet homme Mais restez auprès de lui (Ecartez votre regard, Sa confuse barbarie), Restez debout sans mot dire, Voyez-vous pas qu’il sépare Mal le jour d’avec la nuit, Et les cieux les plus profonds Du coeur sans fond qui l’agite? Eteignez tous ces flambeaux Regardez: ses veines luisent. Quand il avance la main, Un souffle de pierreries, De la circulaire nuit Jusqu’à ses longs doigts parvient. Laissez-le seul sur son lit, Le temps le borde et le veille, En vue de ces hauts rochers Où gémit, toujours caché, Le coeur des nuits sans sommeil. Qu’on n’entre plus dans la chambre D’où doit sortir un grand chien Ayant perdu la mémoire Et qui cherchera sur terre Comme le long de la mer L’homme qu’il laissa derrière Immobile, entre ses mains Raides et définitives. THE ADJACENT ROOM Turn your back to that man But do not leave him (Avert your gaze, Its dim barbarity), Stand without saying a word, Don’t you see how nearly he fails To distinguish day from night, And the farthest skies From the bottomless heart which troubles him? Extinguish all these torches. Look: his veins glisten. When he extends his hand, A breath of precious stones From the circular night To his long fingers flows. Leave him alone on his bed, Time tucks him in, watches over him, Within sight of those high rocks Where, forever hidden, moans The heart of sleepless nights. Let no one enter the room From which a huge dog will emerge Having lost its memory And it will search the earth And the ocean’s breadth For the man it left behind. Motionless, between hands Both hard and decisive.
    FROM: LA CHAMBRE VOISINE/ The Adjacent Room, (1935), Poem, France
• Jules Michelet (2)
  • IN: Laura (1965) Fiction, NULL
    EPIGRAPH: El hombre caza y lucha. La mujer intriga y sueña; es la madre de la fantasia, de los dioses. Posee la segunda visión, las alas que la permiten volar hacia el infinito del deseo y de la imaginación... Los dioses son como los hombres: nacen y mueren sobre el pecho de una mujer...
    FROM: La Sorcière, (1862), Book, France
• Thomas Browne (1)
  • IN: The Old Gringo (1985) Fiction, NULL
    EPIGRAPH: But who knows the fate of his bones or how often he is to be buried?
    FROM: Religio Medici, (1643), Book, NULL
• Ambrose Bierce (1)
  • IN: The Old Gringo (1985) Fiction, NULL
    EPIGRAPH: What they call dying is merely the last pain.
    FROM: Parker Adderson, Philosopher, (1891), Short story, US

Cited by

• Peter Straub (1)
  • IN: Mystery (1990) Fiction, American
    EPIGRAPH: I need, therefore I imagine.
    FROM: NULL, (None), NULL, Mexico