By Sterling Professor of the Humanities Harold Bloom
A severe assessment of the paintings gains the contributions of Lanin A. Gyurko, Richard J. Walter, Santiago Tejerina-Canal, and different students, discussing the topics and characters of the radical.
Read or Download Carlos Fuentes' the Death of Artemio Cruz (Bloom's Modern Critical Interpretations) PDF
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Extra resources for Carlos Fuentes' the Death of Artemio Cruz (Bloom's Modern Critical Interpretations)
Cruz the corporate magnate has remained oblivious to the poverty and suffering all around him—the adverse social conditions that men like himself, los de abajo, had fought and died in an attempt to eradicate: Vendors of lottery tickets, bootblacks, women in rebozos, children with their upper lips smeared with mucous swarmed around him as he moved toward the revolving door and passed into the vestibule and adjusted his necktie in front of the glass and through it, in the second glass, which looked out on Madero, saw a man identical to himself, wearing the same double-breasted suit, but colorless, tightening the knot of the same tie with the same nicotine ﬁngers, a man surrounded by beggars, who let his hand drop at the same instant he in the vestibule did, and turned and walked down the block, while he, for the moment a little disoriented, looked for the elevator.
Another indication of Kane’s stunted existence is that the major part 38 Lanin A. Gyurko of his treasures at Xanadu are never uncrated—they are essentially worthless to him. Similarly, Artemio Cruz is denied—throughout his lifetime and even on his deathbed—the fulﬁllment that he is seeking. Ironic testimony to the horrendous power of materialism that converts Cruz into a deathbed Midas is that although the anguished Cruz struggles desperately to recall the face of his dead son, he is unable to summon that image to consciousness, and yet the memories of his possessions—even at the very moment of his death—are amazingly precise and elaborate: “...
She lived several years in France; deception ... ” (p. 255) The disintegration of Cruz’s physical self and the shattering of his spiritual self attested to here are stunningly evident from the very beginning of the novel, expressed through the extreme fragmentation of language that characterizes Cruz’s ﬁrst-person monologue. Similarly, at the outset of Citizen Kane, the dropping by Kane of the glass ball—the object that, ironically, is the only one of his numerous possessions that still retains any meaning for him, and the smashing of the ball into fragments, one of which reﬂects and distorts the image of the nurse at his bedside—provides an adumbration of the incessant fragmentation that will characterize the entire ﬁlm.