By Carlos Fuentes

During this comedian novel of political intrigue, Adam Gorozpe, a revered businessman in Mexico, has a existence so ideal that he may possibly to boot be his namesake within the backyard of Eden—but there are snakes during this Eden too. For something, Adam's spouse Priscila has fallen in love with the brash director of nationwide security—also named Adam—who makes use of violence opposed to token sufferers to conceal the truth that he's letting drug runners, murderers, and kidnappers pass loose. one other not likely snake is the little Boy-God who's all started preaching on the street donning a white tunic and stick-on wings, inspiring Adam's brother-in-law to renounce his task writing cleaning soap operas to persist with this junior deity and implore Adam to do a similar. Even Elle, Adam's mistress, thinks the boy is necessary to their salvation—especially now that it sort of feels the opposite Adam has positioned out a freelance on Adam Gorozpe. to avoid wasting his courting, his marriage, his lifestyles, and the soul of his state, possibly Adam will certainly need to name upon the wrath of the angels to expel these kind of snakes from his Mexican Eden.

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Reprinted by permission of David R. Godine, Publisher, Inc. From Willie Masters' Lonesome Wife, by William H. Gass. Copyright © 1968 by William H. Gass. Reprinted by permission of TriQuarterly, a publication of Northwestern University Press. From The World Within the Word, by William H. Gass. Copyright © 1978 by William H. Gass. Reprinted by permission of Alfred A. , and Salmagundi. From The Sense of an Ending: Studies in the Theory of Fiction, by Frank Kermode. Copyright © 1977 by Oxford University Press.

In the Heart of the Heart of the Country: Eyes Driven Back In 57 4. Willie Masters' Lonesome Wife: The Flesh Made Word 102 5. The Tunnel: Recent Excavations 116 6. The Aesthetic of Doubt in Recent Fiction 135 7. An Interview with William Gass 153 Notes 175 Index 189 Page ix Crosscurrents/Modern Critiques/Third Series In the early 1960s, when the Crosscurrents/Modern Critiques series was developed by Harry T. Moore, the contemporary period was still a controversial one for scholarship. Even today the elusive sense of the present dares critics to rise above mere impressionism and to approach their subject with the same rigors of discipline expected in more traditional areas of study.

Copyright © 1983 by Conjunctions. Reprinted by permission of Conjunctions. From The Dehumanization of Art and Other Essays on Art, Culture and Literature, by José Ortega y Gasset, trans. Helen Weyl. Page xvii Copyright © 1948, 1968 by Princeton University Press. Reprinted by permission of Princeton University Press. From From Baudelaire to Surrealism, by Marcel Raymond, trans. G. M. Copyright © 1949 by Wittenborn Art Books, Inc. Reprinted by permission of Wittenborn Art Books, Inc. From "Individual Voice in the Collective Discourse: Literary Innovation in Postmodern American Fiction," by Charles Russell, in Sub-stance, 27 (1980).

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