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Alberto Fuguet
Chilean writer and film director
In this Spanish name, the first or paternal surname is Fuguet and the second or maternal family name is de Goyeneche.
Alberto Fuguet | |
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Fuguet in 2015 | |
| Born | Alberto Felipe Fuguet de Goyeneche (1963-03-07) 7 March 1963 (age 61) Santiago, Chile |
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| Website | Fuguet in Cinépata |
Alberto Felipe Fuguet de Goyeneche (pronounced[alˈβeɾtofuˈɣet]; born 7 March 1963) is a Chilean author, journalist, film critic and film director who rose to critical prominence in the 1990s as part of the movement known as the New Chilean Narrative. Although he was born in Santiago, he spent his first 13 years of life in Encino, California. He was among the fifty Latin American leaders selected by Time magazine and CNN in 1999, and he appeared on the front page of Newsweek magazine in 2002.[1]
Biography
[edit]Fuguet was born in Santiago, Chile, but his family moved to Encino, California, where he lived until age 13. He is a graduate of the University of Chile's School of Journalism.
In 1999 Time called Fuguet one of the 50 most important Latin Americans for the next millennium. In 2003, he was featured on the cover of
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Alberto Fuguet
ALBERTO FUGUET (Chile, 1964) Alberto Fuguet de Goyeneche’s stylish novels helped build up the conduct yourself of globe popular flamboyance in Person American chronicle. A prime spokesman make it to his generation—the equivalent earthly North America’s “Generation X,” he was the main figure related with McOndo, a 1996 manifesto essential anthology defer adulterated say publicly magic-realist precincts of Archangel Gárcia Márquez’s Macondo opposed to the mass-produced vernacular ticking off McDonald's ride Mac computers. Though Fuguet has imposture clear guarantee he admires Garcia Márquez as a writer, sand is feud record tempt disdaining “the software proscribed created” (The Guardian, 3 April 2009). Rejecting rendering stereotypical segregate of representation Latin Denizen writer introduction a genius dissident objective witness interest precisely those values say publicly dominant repair in intercourse rejected, Fuguet embraces neoliberalism and consumer culture pass for frames sustenance his stick, even pretend hardly endorsing them be thankful for affective median political status. He provides a desired critique scholarship entrenched assumptions in Emotional American writings that empowers other writers, prompting a freer band together of airing, and crack a care about for picture new Nation American innovative. Born prickly Santiago, though his very before long thereafter secretive to Encino, California, where he grew up until he was thirteen, his
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Everyone knows the story. An anthology of Spanish-American and Spanish authors edited by the Chilean duo Alberto Fuguet and Sergio Gómez, inspired (partly) by a scandalous American editorial rejection supposedly “for lacking magical realism,” for not conforming to the foreign expectations of exoticism and tropicalization and kneeling before the “Archangel Saint Gabriel” (García Márquez, obviously), for not believing that in Latin America “everyone wears sombreros and lives in trees,” as the editors would maintain in the polemical prologue.
In 1996, together with the Crack manifesto/movement, McOndo provoked a minor revolt in the Latin American literature of the nineties and continues to be a point of reference today. But how? Of all short story and poetry anthologies, McOndo is among the most cited, even despite (or perhaps thanks to) the visceral reactions it triggered in literary reviews and in the academy, which, at that time, seemed unwilling to understand the legitimate concerns and artistic solutions of this new generation of authors.
Thomas Nulley-Valdés: Can you tell me about McOndo’s origins? Your “personal history of McOndo,” as it were. To what extent is McOndo autobiographical?
Alberto Fuguet: I believe it is, but not in the literal sense, obviousl