By Carlos Fuentes
Un clásico de los angeles genuine narrativa en español, por uno de los autores fundamentales de l. a. literatura mexicana contemporánea: Carlos Fuentes.
Cuatro personajes que viajan en automóvil de México a Veracruz se ven obligados a pernoctar en Cholula, donde visitan una pirámide que parece ocultar secretos, y donde aflorarán los más oscuros secretos de cada uno...
El Domingo de Ramos de 1965 cuatro personajes inician un viaje hacia Veracruz y se detienen en Cholula, ciudad de las pirámides aztecas. En el laberinto de sus galerías se internarán las dos parejas, como en un descenso a los infiernos, que concluirá con una tragedia ritual inesperada.
Ficción overall en palabras del propio autor, Cambio de piel indaga en el mito del México prehispánico y en el holocausto europeo a través de l. a. memoria de sus protagonistas para decirnos que, en definitiva, todas las violencias son los angeles misma violencia.
La crítica ha opinado:
"Cambio de piel (1967) premio Biblioteca Breve, es una de las novelas mejor logradas, posee una estructura de impotencia en l. a. que cuatro personajes viajan en vehicle desde l. a. Ciudad de México hasta reunirse en un lodge de Cholula y en una pirámide que se derrumba ante ellos. Propuesta abstracta de Carlos Fuentes con personajes intercambiables y decadentes." -Sergio Martínez Estrada, Animal Político-
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Additional resources for Cambio de piel (Penguin Clásicos)
3 m) enclosed the masonry field. When the game was first developed, the objective was to drive a large rubber ball (the size of a bowling ball and weighing about 5 pounds, or 2 kg) into the opponents’ side along the parallel walls of the I. But after the 10th century, when the game evolved to include a stone ring placed vertically in the middle of each long wall, rules called for players to shoot the ball into that 20- to 40-inch goal (situated several feet above ground level). They were to do so by relying solely on their knees, thighs, and buttocks—rules prohibited the use of hands, feet, or arms.
Rodríguez-O, The Forging of the Cosmic Race: A Reinterpretation of Colonial Mexico (Berkeley: University of California Press, 1980), pp. 235-239. 28. Cisneros, Riders Across the Centuries, p. 39; Weckmann, The Medieval Heritage of Mexico, pp. 119-121. 29. Richard W. Slatta, Cowboys of the Americas (New Haven: Yale University Press, 1990), p. 43; Richard W. Slatta, Comparing Cowboys and Frontiers (Norman: University of Oklahoma 37 Press, 1997), pp. 77; Sands, Charrería Mexicana, pp. 32-39, and chapter 2.
They were to do so by relying solely on their knees, thighs, and buttocks—rules prohibited the use of hands, feet, or arms. According to Spaniards who witnessed the game immediately after the conquest, the best players could perform for lengthy periods without ever allowing the ball to hit the earth. Games would continue until one of the teams triumphed, an end that might take days. Superior players might have been rewarded in one of two ways because, according to those who have studied the game, tlachtli had both entertainment and religious meaning.
Cambio de piel (Penguin Clásicos) by Carlos Fuentes