Latin American Boom

context: en: Carlos Fuentes was born on November 11, 1928 and began to publish in the 1950s.  He was the son of a Mexican diplomat and lived in cities such as Buenos Aires, Quito, Montevideo and Rio de Janeiro, as well as Washington, D. C..  His experiences with anti-Mexican discrimination in the United States led him to examine Mexican culture more closely.  His 1962 novel The Death of Artemio Cruz (La muerte de Artemio Cruz in Spanish), which employs innovative changes in narrative point-of-view, describes the life of a former Mexican revolutionary on his deathbed.  Other important works include Where the Air Is Clear (1959), Aura (1962), Terra Nostra (1975), and the post-Boom novella The Old Gringo (1985).
qas: question: zh_tw: 小說《最明淨的地區》是什麼時候出版的？
answers: en: text: 1959

question: zh_tw: 卡洛斯・富恩特斯過去常在美國哪個地方居住？
answers: en: text: Washington, D. C.

context: en: In The Ends of Literature, Brett Levinson writes that magical realism, "a key aesthetic mode within recent Latin American fiction ... materializes when Latin American history reveals itself as incapable of accounting for its own origin, an incapacity which traditionally ... represents a demand for a myth: mythos as a means to explain the beginnings which escape history's narrative." The writings of the Chroniclers of the Indies depicted the exotic "new world" and their accounts of conquering strange new lands became accepted as history.  These often fantastical stories helped to bring about a new aesthetic, which morphed into magical realism and "(as conceived by Alejo Carpentier) marvelous realism or lo real maravilloso. According to this aesthetic, unreal things are treated as if realistic and mundane, and mundane things as if unreal. Plots, while often based on real experiences, incorporate strange, fantastic, and legendary elements, mythical peoples, speculative settings, and characters who, while plausible, could also be unreal, and combine the true, the imaginary, and the nonexistent in such a way that they are difficult to separate."
qas: question: zh_tw: 情節往往是基於什麼？
answers: en: text: real experiences

context: en: The Boom novels are essentially modernist novels.  They treat time as nonlinear, often use more than one perspective or narrative voice and feature a great number of neologisms (the coining of new words or phrases), puns and even profanities.  As Pope writes, in reference to the style of the Boom: "It relied on a Cubist superposition of different points of view, it made time and lineal progress questionable, and it was technically complex. Linguistically self assured, it used the vernacular without apologies."  Other notable characteristics of the Boom include the treatment of both "rural and urban settings", internationalism, an emphasis on both the historical and the political, as well as "questioning of regional as well as, or more than, national identity; awareness of hemisphereic as well as worldwide economic and ideological issues; polemicism; and timeliness."  Boom literature breaks down the barriers between the fantastical and the mundane, transforming this mixture into a new reality.  Of the Boom writers, Gabriel García Márquez is most closely associated with the use of magical realism; indeed, he is credited with bringing it "into vogue" after the publishing of One Hundred Years of Solitude in 1967.
qas: question: zh_tw: 蒲柏在他的作品裡提到了什麼？
answers: en: text: style of the Boom

context: en: The greater attention paid to Spanish American novelists and their international success in the 1960s, a phenomenon that was called the Boom, affected all writers and readers in that period. What mainly brought writers together and focused the attention of the world on Hispanic America was the triumph of the Cuban Revolution in 1959, which promised a new age. The period of euphoria can be considered closed when in 1971 the Cuban government hardened its party line and the poet Heberto Padilla was forced to reject in a public document his so-called decadent and deviant views. The furor over Padilla's case brought to an end the affinity between Spanish American intellectuals and the Cuban inspirational myth.  The Padilla affair is thought by some to have signalled the beginning of the end of the Boom. However, in a significant sense, the Boom has not ended; the writers associated with the Boom have continued to publish books that have been read by audiences far larger than those enjoyed by Latin American writers prior to the Boom. The books of such writers as Carlos Fuentes and Mario Vargas Llosa are widely distributed and translated into other major European and Asian languages to a much greater extent than those of such significant pre-Boom writers as José María Arguedas, Eduardo Mallea or Manuel Rojas.
qas: question: zh_tw: 哪個詩人的案件引發的憤怒，被認為是文學爆炸的終結？
answers: en: text: Padilla