Mario Vargas Llosa

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This name uses Spanish naming customs: the first or paternal family name is Vargas and the second or
maternal family name is Llosa.

Mario Vargas Llosa

Mario Vargas Llosa at the Crculo de Bellas Artes in Madrid , during the
tribute to the Swedish Nobel writer Tomas Transtrmer, 18.10.2012
Born

Jorge Mario Pedro Vargas Llosa

March 28, 1936 (age 80)
Arequipa, Arequipa, Peru

Citizenship

Peru, Spain[1]

Alma mater
National University of San Marcos

Complutense University of Madrid

Literary movement

Latin American boom

Notable awards

Miguel de Cervantes Prize

1994
Nobel Prize in Literature
2010

Spouse
Julia Urquidi (m. 195564)

Patricia Llosa (m. 19652015)

Partner

Isabel Preysler (2015present)[2]

Children
lvaro Vargas Llosa

Gonzalo Vargas Llosa

Morgana Vargas Llosa

Signature

Website
www.mvargasllosa.com

Jorge Mario Pedro Vargas Llosa, 1st Marquis of Vargas Llosa (born March 28, 1936), more commonly
known as Mario Vargas Llosa (/vrs jos/;[3] Spanish: [majo agas osa]), is a Peruvian writer,
politician, journalist, essayist, college professor, and recipient of the 2010 Nobel Prize in Literature.[4] Vargas
Llosa is one of Latin America's most significant novelists and essayists, and one of the leading writers of his
generation. Some critics consider him to have had a larger international impact and worldwide audience
than any other writer of the Latin American Boom.[5] Upon announcing the 2010 Nobel Prize in Literature,
the Swedish Academy said it had been given to Vargas Llosa "for his cartography of structures of power
and his trenchant images of the individual's resistance, revolt, and defeat". [6]
Vargas Llosa rose to fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros,
literally The City and the Dogs, 1963/1966[7]), The Green House (La casa verde, 1965/1968), and the
monumental Conversation in the Cathedral (Conversacin en la catedral, 1969/1975). He writes prolifically
across an array of literary genres, including literary criticism and journalism. His novels include comedies,
murder mysteries, historical novels, and political thrillers. Several, such as Captain Pantoja and the Special
Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982), have been adapted as feature films.
Many of Vargas Llosa's works are influenced by the writer's perception of Peruvian society and his own
experiences as a native Peruvian. Increasingly- however- he has expanded his range, and tackled themes
that arise from other parts of the world. In his essays, Vargas Llosa has made many criticisms of
nationalism in different parts of the world.[8] Another change over the course of his career has been a shift
from a style and approach associated with literary modernism, to a sometimes playful postmodernism.
Like many Latin American writers, Vargas Llosa has been politically active throughout his career; over the
course of his life, he has gradually moved from the political left towards liberalism. While he initially
supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted
with his policies. He ran for the Peruvian presidency in 1990 with the center-right Frente
Democrtico coalition, advocating classical liberal reforms, but lost the election to Alberto Fujimori. He is the
person who, in 1990, "coined the phrase that circled the globe", [9] declaring on Mexican television, "Mexico
is the perfect dictatorship", a statement which became an adage during the following decade.
In 1995, he wrote and published a children's book called, Hitos y Mitos Literarios (English version as "The
Milestones and the Stories of Greatest Literary Works"), which is illustrated by Willi Glasauer, and published
by Crculo de Lectores.[10]
Contents
[hide]

1Early life and family

2Writing career
o

2.1Beginning and first major works

2.21970s and the "discovery of humor"

2.3Later novels

3Later life and political involvement

4Style of writing
o

4.1Plot, setting, and major themes

4.2Modernism and postmodernism

4.3Interlacing dialogues

4.4Literary influences

5Impact

6Awards and honors

7Selected works
o

7.1Fiction

7.2Non-fiction

7.3Drama

8Notes

9References

10External links

Early life and family[edit]

Mario Vargas Llosa was born to a middle-class family[11] on March 28, 1936, in the Peruvian provincial city
of Arequipa.[12] He was the only child of Ernesto Vargas Maldonado and Dora Llosa Ureta (the former a radio
operator in an aviation company, the latter the daughter of an old criollo family), who separated a few
months before his birth.[12] Shortly after Mario's birth, his father revealed that he was having an affair with a
German woman; consequently, Mario has two younger half-brothers: Enrique and Ernesto Vargas. [13]

Mario Vargas Llosa's thesisBases para una interpretacin de Rubn Daro, presented to his alma mater, the National
University of San Marcos (Peru), in 1958.

Vargas Llosa lived with his maternal family in Arequipa until a year after his parents' divorce, when his
maternal grandfather was named honorary consul for Peru in Bolivia.[12] With his mother and her family,
Vargas Llosa then moved to Cochabamba, Bolivia, where he spent the early years of his childhood. [12] His
maternal family, the Llosas, were sustained by his grandfather, who managed a cotton farm. [14] As a child,
Vargas Llosa was led to believe that his father had diedhis mother and her family did not want to explain
that his parents had separated.[15] During the government of Peruvian President Jos Bustamante y Rivero,
Vargas Llosa's maternal grandfather obtained a diplomatic post in the Peruvian coastal city of Piura and the
entire family returned to Peru.[15] While in Piura, Vargas Llosa attended elementary school at the religious
academy Colegio Salesiano.[16] In 1946, at the age of ten, he moved to Lima and met his father for the first
time.[16] His parents re-established their relationship and lived in Magdalena del Mar, a middle-class Lima
suburb, during his teenage years.[17] While in Lima, he studied at the Colegio La Salle, a Christian middle
school, from 1947 to 1949.[18]
When Vargas Llosa was fourteen, his father sent him to the Leoncio Prado Military Academy in Lima.[19] At
the age of 16, before his graduation, Vargas Llosa began working as an amateur journalist for local
newspapers.[20] He withdrew from the military academy and finished his studies in Piura, where he worked
for the local newspaper, La Industria, and witnessed the theatrical performance of his first dramatic work, La
huida del Inca.[21]
In 1953, during the government of Manuel A. Odra, Vargas Llosa enrolled in Lima's National University of
San Marcos, to study law and literature.[22] He married Julia Urquidi, his maternal uncle's sister-in-law, in
1955 at the age of 19; she was 10 years older.[20] Vargas Llosa began his literary career in earnest in 1957
with the publication of his first short stories, "The Leaders" ("Los jefes") and "The Grandfather" ("El abuelo"),
while working for two Peruvian newspapers. [23] Upon his graduation from the National University of San
Marcos in 1958, he received a scholarship to study at the Complutense University of Madrid in Spain.[24] In
1960, after his scholarship in Madrid had expired, Vargas Llosa moved to France under the impression that
he would receive a scholarship to study there; however, upon arriving in Paris, he learned that his
scholarship request was denied.[25] Despite Mario and Julia's unexpected financial status, the couple
decided to remain in Paris where he began to write prolifically.[25] Their marriage lasted only a few more
years, ending in divorce in 1964.[26] A year later, Vargas Llosa married his first cousin, Patricia Llosa,[26] with
whom he had three children: lvaro Vargas Llosa (born 1966), a writer and editor; Gonzalo (born 1967), a
businessman; and Morgana (born 1974), a photographer. As of 2015, he is in a relationship with Filipina
Spanish socialite and TV personality Isabel Preysler and seeking a divorce from Patricia Llosa. [27] He is an
atheist.[28][29]

Writing career[edit]
Beginning and first major works[edit]
Vargas Llosa's first novel, The Time of the Hero (La ciudad y los perros), was published in 1963. The book
is set among a community of cadets in a Lima military school, and the plot is based on the author's own
experiences at Lima's Leoncio Prado Military Academy.[30] This early piece gained wide public attention and
immediate success.[31] Its vitality and adept use of sophisticated literary techniques immediately impressed
critics,[32] and it won the Premio de la Crtica Espaola award.[31] Nevertheless, its sharp criticism of the

Peruvian military establishment led to controversy in Peru. Several Peruvian generals attacked the novel,
claiming that it was the work of a "degenerate mind" and stating that Vargas Llosa was "paid by Ecuador" to
undermine the prestige of the Peruvian Army.[31]
In 1965, Vargas Llosa published his second novel, The Green House (La casa verde), about a brothel
called "The Green House" and how its quasi-mythical presence affects the lives of the characters. The main
plot follows Bonifacia, a girl who is about to receive the vows of the church, and her transformation into la
Selvatica, the best-known prostitute of "The Green House". The novel was immediately acclaimed,
confirming Vargas Llosa as an important voice of Latin American narrative. [33] The Green House won the first
edition of the Rmulo Gallegos International Novel Prize in 1967, contending with works by
veteran Uruguayan writer Juan Carlos Onetti and by Gabriel Garca Mrquez.[34] This novel alone
accumulated enough awards to place the author among the leading figures of the Latin American Boom.
[35]
Some critics still consider The Green House to be Vargas Llosa's finest and most important achievement.
[35]
Indeed, Latin American literary critic Gerald Martin suggests that The Green House is "one of the greatest
novels to have emerged from Latin America".[35]
Vargas Llosa's third novel, Conversation in the Cathedral (Conversacin en la catedral), was published in
1969, when he was 33. This ambitious narrative is the story of Santiago Zavala, the son of a government
minister, and Ambrosio, his chauffeur.[36] A random meeting at a dog pound leads the pair to a riveting
conversation at a nearby bar known as "The Cathedral".[37] During the encounter, Zavala searches for the
truth about his father's role in the murder of a notorious Peruvian underworld figure, shedding light on the
workings of a dictatorship along the way. Unfortunately for Zavala, his quest results in a dead end with no
answers and no sign of a better future.[38] The novel attacks the dictatorial government of Odra by showing
how a dictatorship controls and destroys lives. [31]The persistent theme of hopelessness makes Conversation
in the Cathedral Vargas Llosa's most bitter novel.[38]
He lectured Spanish American Literature at King's College London from 1969 to 1970.[39]

1970s and the "discovery of humor"[edit]

In 1971, Vargas Llosa published Garca Mrquez: Story of a Deicide (Garca Mrquez: historia de un
deicidio), which was his doctoral thesis for the Complutense University of Madrid. [40][41] Although Vargas Llosa
wrote this book-length study about his then friend, the Colombian Nobel laureate writer Gabriel Garca
Mrquez, they did not speak to each other again. In 1976, Vargas Llosa punched Garca Mrquez in the
face in Mexico City at the Palacio de Bellas Artes, ending the friendship.[42] Neither writer had publicly stated
the underlying reasons for the quarrel.[43] A photograph of Garca Mrquez sporting a black eye was
published in 2007, reigniting public interest in the feud.[44] Despite the decades of silence, in 2007, Vargas
Llosa agreed to allow part of his book to be used as the introduction to a 40th-anniversary edition of Garca
Mrquez's One Hundred Years of Solitude, which was re-released in Spain and throughout Latin America
that year.[45] Historia de un Deicidio was also reissued in that year, as part of Vargas Llosa's complete works.
Following the monumental work Conversation in the Cathedral, Vargas Llosa's output shifted away from
more serious themes such as politics and problems with society. Latin American literary scholar Raymond L.
Williams describes this phase in his writing career as "the discovery of humor". [46] His first attempt at a
satirical novel was Captain Pantoja and the Special Service (Pantalen y las visitadoras), published in
1973.[47] This short, comic novel offers vignettes of dialogues and documents about the Peruvian armed
forces and a corps of prostitutes assigned to visit military outposts in remote jungle areas. [48] These plot
elements are similar to Vargas Llosa's earlier novel The Green House, but in a different form. As
such, Captain Pantoja and the Special Service is essentially a parodyof both The Green House and the
literary approach that novel represents.[48] Vargas Llosa's motivation to write the novel came from actually
witnessing prostitutes being hired by the Peruvian Army and brought to serve soldiers in the jungle. [49]
From 1974 to 1987, Vargas Llosa focused on his writing, but also took the time to pursue other endeavors.
[50]
In 1975, he co-directed an unsuccessful motion-picture adaptation of his novel, Captain Pantoja and the
Secret Service.[50] In 1976 he was elected President of PEN International, the worldwide association of
writers and oldest human rights organisation, a position he held until 1979. [50] During this time, Vargas Llosa
constantly traveled to speak at conferences organized by internationally renowned institutions, such as
the Hebrew University of Jerusalem and the University of Cambridge, where he was Simn Bolvar
Professor and an Overseas Fellow of Churchill College in 197778.[51][52][53]
In 1977, Vargas Llosa was elected as a member of the Peruvian Academy of Language, a membership he
still holds today. That year, he also published Aunt Julia and the Scriptwriter (La ta Julia y el escribidor),
based in part on his marriage to his first wife, Julia Urquidi, to whom he dedicated the novel. [54] She later
wrote a memoir, Lo que Varguitas no dijo (What Little Vargas Didn't Say), in which she gives her personal
account of their relationship. She states that Vargas Llosa's account exaggerates many negative points in
their courtship and marriage while minimizing her role of assisting his literary career.[55] Aunt Julia and the
Scriptwriter is considered one of the most striking examples of how the language and imagery of popular

culture can be used in literature.[56] The novel was adapted in 1990 into a Hollywood feature film, Tune in
Tomorrow.

Later novels[edit]

Vargas Llosa in 1982

Vargas Llosa's fourth major novel, The War of the End of the World (La guerra del fin del mundo), was
published in 1981 and was his first attempt at a historical novel.[57] This work initiated a radical change in
Vargas Llosa's style towards themes such as messianism and irrational human behaviour.[58] It recreates
the War of Canudos, an incident in 19th-century Brazil in which an armed millenarian cult held off a siege by
the national army for months.[59] As in Vargas Llosa's earliest work, this novel carries a sober and serious
theme, and its tone is dark.[59] Vargas Llosa's bold exploration of humanity's propensity to idealize violence,
and his account of a man-made catastrophe brought on by fanaticism on all sides, earned the novel
substantial recognition.[60] Because of the book's ambition and execution, critics have argued that this is one
of Vargas Llosa's greatest literary pieces.[60]Even though the novel has been acclaimed in Brazil, it was
initially poorly received because a foreigner was writing about a Brazilian theme. [61] The book was also
criticized as revolutionary and anti-socialist. [62] Vargas Llosa says that this book is his favorite and was his
most difficult accomplishment.[62]
After completing The War of the End of the World, Vargas Llosa began to write novels that were significantly
shorter than many of his earlier books. In 1983, he finished The Real Life of Alejandro Mayta (Historia de
Mayta, 1984).[57] The novel focuses on a leftist insurrection that took place on May 29, 1962 in
the Andean city of Jauja.[57] Later the same year, during the Sendero Luminoso uprising, Vargas Llosa was
asked by the Peruvian President Fernando Belande Terry to join the Investigatory Commission, a task
force to inquire into the massacre of eight journalists at the hands of the villagers of Uchuraccay.[63] The
Commission's main purpose was to investigate the murders in order to provide information regarding the
incident to the public.[64] Following his involvement with the Investigatory Commission, Vargas Llosa
published a series of articles to defend his position in the affair.[64] In 1986, he completed his next
novel, Who Killed Palomino Molero (Quin mat a Palomino Molero?), which he began writing shortly after
the end of the Uchuraccay investigation.[64] Though the plot of this mystery novel is similar to the tragic
events at Uchuraccay, literary critic Roy Boland points out that it was not an attempt to reconstruct the
murders, but rather a "literary exorcism" of Vargas Llosa's own experiences during the commission. [65] The
experience also inspired one of Vargas Llosa's later novels, Death in the Andes (Lituma en los Andes),
originally published in 1993 in Barcelona.[66]
It would be almost 20 years before Vargas Llosa wrote another major work: The Feast of the Goat (La fiesta
del chivo), a political thriller, was published in 2000 (and in English in 2001). According to Williams, it is
Vargas Llosa's most complete and most ambitious novel since The War of the End of the World.[67] Critic
Sabine Koellmann sees it in the line of his earlier novels such as "Conversacin en la catedral" depicting
the effects of authoritarianism, violence and the abuse of power on the individual. [68] Based on the
dictatorship of Rafael Trujillo, who governed the Dominican Republic from 1930 until his assassination in
1961, the novel has three main strands: one concerns Urania Cabral, the daughter of a former politician and
Trujillo loyalist, who returns for the first time since leaving the Dominican Republic after Trujillo's
assassination 30 years earlier; the second concentrates on the assassination itself, the conspirators who
carry it out, and its consequences; and the third and final strand deals with Trujillo himself in scenes from
the end of his regime.[67] The book quickly received positive reviews in Spain and Latin America, [69] and has
had a significant impact in Latin America, being regarded as one of Vargas Llosa's best works. [67]
In 2003 he wrote The Way to Paradise in which he studies Flora Tristan and Paul Gauguin.

In 2006, Vargas Llosa wrote The Bad Girl (Travesuras de la nia mala), which journalist Kathryn Harrison
argues is a rewrite (rather than simply a recycling) of Gustave Flaubert's Madame Bovary (1856).[70] In
Vargas Llosa's version, the plot relates the decades-long obsession of its narrator, a Peruvian expatriate in
Paris, with a woman with whom he first fell in love when both were teenagers.

Later life and political involvement[edit]

Argentine writer Ernesto Sabato (left) with Mario Vargas Llosa (right) in 1981

Like many other Latin American intellectuals, Vargas Llosa was initially a supporter of the Cuban
revolutionary government of Fidel Castro.[33] He studied Marxism in depth as a university student and was
later persuaded by communist ideals after the success of the Cuban Revolution.[71] Gradually, Vargas Llosa
came to believe that Cuban socialism was incompatible with what he considered to be general liberties and
freedoms.[72] The official rupture between the writer and the policies of the Cuban government occurred with
the so-called 'Padilla Affair', when the Castro regime imprisoned the poet Heberto Padilla for a month in
1971.[73] Vargas Llosa, along with other intellectuals of the time, wrote to Castro protesting the Cuban
political system and its imprisonment of the artist.[74] Vargas Llosa has identified himself with liberalism rather
than extreme left-wing political ideologies ever since.[75] Since he relinquished his earlier leftism, he has
opposed both left- and right-wing authoritarian regimes.[76]
With his appointment to the Investigatory Commission on the Uchuraccay massacre in 1983, he
experienced what literary critic Jean Franco calls "the most uncomfortable event in [his] political career".
[66]
Unfortunately for Vargas Llosa, his involvement with the Investigatory Commission led to immediate
negative reactions and defamation from the Peruvian press; many suggested that the massacre was a
conspiracy to keep the journalists from reporting the presence of government paramilitary forces in
Uchuraccay.[64] The commission concluded that it was the indigenous villagers who had been responsible for
the killings; for Vargas Llosa the incident showed "how vulnerable democracy is in Latin America and how
easily it dies under dictatorships of the right and left".[77] These conclusions, and Vargas Llosa personally,
came under intense criticism: anthropologist Enrique Mayer, for instance, accused him of "paternalism",
[78]
while fellow anthropologist Carlos Ivn Degregori criticized him for his ignorance of the Andean world.
[79]
Vargas Llosa was accused of actively colluding in a government cover-up of army involvement in the
massacre.[64] US Latin American literature scholar Misha Kokotovic summarizes that the novelist was
charged with seeing "indigenous cultures as a 'primitive' obstacle to the full realization of his Western model
of modernity".[80] Shocked both by the atrocity itself and then by the reaction his report had provoked, Vargas
Llosa responded that his critics were apparently more concerned with his report than with the hundreds of
peasants who would later die at the hands of the Sendero Luminoso guerrilla organization. [81]

Vargas Llosa at the founding act of UPD, September 2007

Over the course of the decade, Vargas Llosa became known as a "neoliberal", although he personally
dislikes the term and considers it "pure nonsense" and only used for derision. [82] In 1987, he helped form and
soon became a leader of the Movimiento Libertad.[83] The following year his party entered a coalition with the
parties of Peru's two principal conservative politicians at the time, ex-president Fernando Belande Terry (of
the Popular Actionparty) and Luis Bedoya Reyes (of the Partido Popular Cristiano), to form the tripartite
center-right coalition known as Frente Democrtico (FREDEMO).[83] He ran for the presidency of Peru in
1990 as the candidate of the FREDEMO coalition. He proposed a drastic economic austerity program that
frightened most of the country's poor; this program emphasized the need for privatization, a market
economy, free trade, and most importantly, the dissemination of private property.[84] Although he won the first
round with 34% of the vote, Vargas Llosa was defeated by a then-unknown agricultural engineer, Alberto
Fujimori, in the subsequent run-off.[84] Vargas Llosa included an account of his run for the presidency in the
memoir A Fish in the Water (El pez en el agua, 1993).[85] Since his political defeat, he has focused mainly on
his writing, with only occasional political involvement.[86]
A month after losing the election, at the invitation of Octavio Paz, Vargas Llosa attended a conference in
Mexico entitled, "The 20th Century: The Experience of Freedom". Focused on the collapse of communist
rule in central and eastern Europe, it was broadcast on Mexican television from 27 August to 2 September.
Addressing the conference on 30 August 1990, Vargas Llosa embarrassed his hosts by condemning the
Mexican system of power based on the rule of the Institutional Revolutionary Party (PRI), which had been in
power for 61 years. Criticizing the PRI by name, he commented, "I don't believe that there has been in Latin
America any case of a system of dictatorship which has so efficiently recruited the intellectual milieu, bribing
it with great subtlety." He declared, "Mexico is the perfect dictatorship. The perfect dictatorship is not
communism, not the USSR, not Fidel Castro; the perfect dictatorship is Mexico. Because it is a
camouflaged dictatorship."[9][87] The statement, "Mexico is the perfect dictatorship" became a clich in
Mexico[88] and internationally, until the PRI fell from power in 2000.
Vargas Llosa has mainly lived in Madrid since the 1990s, but spends roughly three months of the year in
Peru with his extended family.[84][89] He also frequently visits London where he occasionally spends long
periods. Vargas Llosa acquired Spanish citizenship in 1993, though he still holds Peruvian nationality. The
writer often reiterates his love for both countries. In his Nobel speech he observed: "I carry Peru deep inside
me because that is where I was born, grew up, was formed, and lived those experiences of childhood and
youth that shaped my personality and forged my calling". He then added: "I love Spain as much as Peru,
and my debt to her is as great as my gratitude. If not for Spain, I never would have reached this podium or
become a known writer".[90]
In 1994 he was elected a member of the Real Academia Espaola (Royal Spanish Academy), he took up
seat L on 15 January 1996.[91][92] He has been involved in the country's political arena. In February 2008 he
stopped supporting the People's Party in favor of the recently created Union, Progress and Democracy,
claiming that certain conservative views held by the former party are at odds with his classical liberal beliefs.
His political ideologies appear in the book Poltica razonable, written with Fernando Savater, Rosa
Dez, lvaro Pombo, Albert Boadella and Carlos Martnez Gorriarn.[93] He continues to write, both

journalism and fiction, and to travel extensively. He has also taught as a visiting professor at a number of
prominent universities.[94]
On November 18, 2010, Vargas Llosa received the honorary degree Degree of Letters from the City College
of New York of the City University of New York, where he also delivered the President's Lecture. [95]
On 4 February 2011, Vargas Llosa was raised into the Spanish nobility by King Juan Carlos I with the
hereditary title of Marqus de Vargas Llosa (English: Marquis of Vargas Llosa).[96][97]
In April 2011, the writer took part in the Peruvian general election, 2011 by saying he was going to vote
for Alejandro Toledo (Peruvian former president 20012006). After casting his vote, he said his country
should stay in the path of legality and freedom. [98][99]
Vargas Llosa joined the Mont Pelerin Society in 2014.[100]
As for hobbies, Vargas Llosa is very fond of association football, and is a renowned supporter
of Universitario de Deportes.[101] The writer himself has confessed in his book A Fish in the Water since
childhood he has been a fan of the 'cream colored' team from Peru, which was first seen in the field one day
in 1946 when he was only 10 years old.[102] In February 2011, Vargas Llosa was awarded with an honorary
life membership of this football club, in a ceremony which took place in the Monumental Stadium of Lima.[103]
[104]

He was named in the Panama Papers released by the International Consortium of Investigative
Journalists on 10 May 2016.

Style of writing[edit]
Plot, setting, and major themes[edit]
Vargas Llosa's style encompasses historical material as well as his own personal experiences. [105] For
example, in his first novel, The Time of the Hero, his own experiences at the Leoncio Prado military school
informed his depiction of the corrupt social institution which mocked the moral standards it was supposed to
uphold.[30] Furthermore, the corruption of the book's school is a reflection of the corruption of Peruvian
society at the time the novel was written.[32] Vargas Llosa frequently uses his writing to challenge the
inadequacies of society, such as demoralization and oppression by those in political power towards those
who challenge this power. One of the main themes he has explored in his writing is the individual's struggle
for freedom within an oppressive reality.[106] For example, his two-volume novel Conversation in the
Cathedral is based on the tyrannical dictatorship of Peruvian President Manuel A. Odra.[107] The protagonist,
Santiago, rebels against the suffocating dictatorship by participating in the subversive activities of leftist
political groups.[108] In addition to themes such as corruption and oppression, Vargas Llosa's second
novel, The Green House, explores "a denunciation of Peru's basic institutions", dealing with issues of abuse
and exploitation of the workers in the brothel by corrupt military officers. [46]
Many of Vargas Llosa's earlier novels were set in Peru, while in more recent work he has expanded to other
regions of Latin America, such as Brazil and the Dominican Republic. [109] His responsibilities as a writer and
lecturer have allowed him to travel frequently and led to settings for his novels in regions outside of Peru.
[50]
The War of the End of the World was his first major work set outside Peru.[31] Though the plot deals with
historical events of the Canudos revolt against the Brazilian government, the novel is not based directly on
historical fact; rather, its main inspiration is the non-fiction account of those events published by Brazilian
writer Euclides da Cunha in 1902.[59] The Feast of the Goat, based on the dictatorship of Rafael Trujillo,
takes place in the Dominican Republic;[67] in preparation for this novel, Vargas Llosa undertook a
comprehensive study of Dominican history.[110] The novel was characteristically realist, and Vargas Llosa
underscores that he "respected the basic facts, ... I have not exaggerated", but at the same time he points
out "It's a novel, not a history book, so I took many, many liberties." [111]
One of Vargas Llosa's more recent novels, The Way to Paradise (El paraso en la otra esquina), is set
largely in France and Tahiti.[112] Based on the biography of former social reformer Flora Tristan, it
demonstrates how Flora and Paul Gauguin were unable to find paradise, but were still able to inspire
followers to keep working towards a socialist utopia.[113] Unfortunately, Vargas Llosa was not as successful in
transforming these historical figures into fiction. Some critics, such as Barbara Mujica, argue that The Way
to Paradiselacks the "audacity, energy, political vision, and narrative genius" that was present in his
previous works.[114]

Modernism and postmodernism[edit]

The works of Mario Vargas Llosa are viewed as both modernist and postmodernist novels.[115] Though there
is still much debate over the differences between modernist and postmodernist literature, literary scholar M.
Keith Booker claims that the difficulty and technical complexity of Vargas Llosa's early works, such as The

Green House and Conversation in the Cathedral, are clearly elements of the modern novel. [35] Furthermore,
these earlier novels all carry a certain seriousness of attitudeanother important defining aspect of
modernist art.[115] By contrast, his later novels such as Captain Pantoja and the Special Service, Aunt Julia
and the Scriptwriter, The Real Life of Alejandro Mayta, and The Storyteller (El hablador) appear to follow a
postmodernist mode of writing.[116] These novels have a much lighter, farcical, and comic tone,
characteristics of postmodernism.[48] Comparing two of Vargas Llosa's novels, The Green
House and Captain Pantoja and the Special Service, Booker discusses the contrast between modernism
and postmodernism found in the writer's works: while both novels explore the theme of prostitution as well
as the workings of the Peruvian military, Booker points out that the former is gravely serious whereas the
latter is ridiculously comic.[48]

Mario Vargas Llosa, actor in his play "Los cuentos de la peste", with Aitana Snchez-Gijn, Teatro
Espaol, Madrid (2015).

Interlacing dialogues[edit]
Literary scholar M. Keith Booker argues that Vargas Llosa perfects the technique of interlacing dialogues in
his novel The Green House.[48] By combining two conversations that occur at different times, he creates the
illusion of a flashback. Vargas Llosa also sometimes uses this technique as a means of shifting location by
weaving together two concurrent conversations happening in different places. [117] This technique is a staple
of his repertoire, which he began using near the end of his first novel, The Time of the Hero.[118] However, he
does not use interlacing dialogues in the same way in all of his novels. For example, in The Green
House the technique is used in a serious fashion to achieve a sober tone and to focus on the
interrelatedness of important events separated in time or space. [119] In contrast, Captain Pantoja and the
Special Service employs this strategy for comic effects and uses simpler spatial shifts. [120] This device is
similar to both Virginia Woolf's mixing of different characters' soliloquies and Gustave
Flaubert's counterpoint technique in which he blends together conversation with other events, such as
speeches.[117]

Literary influences[edit]
Vargas Llosa's first literary influences were relatively obscure Peruvian writers such as Martn Adn, Carlos
Oquendo de Amat, and Csar Moro.[121] As a young writer, he looked to these revolutionary novelists in
search of new narrative structures and techniques in order to delineate a more contemporary, multifaceted
experience of urban Peru. He was looking for a style different from the traditional descriptions of land and
rural life made famous by Peru's foremost novelist at the time, Jos Mara Arguedas.[122] Vargas Llosa wrote
of Arguedas's work that it was "an example of old-fashioned regionalism that had already exhausted its
imaginary possibilities".[121] Although he did not share Arguedas's passion for indigenous reality, Vargas Llosa
admired and respected the novelist for his contributions to Peruvian literature. [123] Indeed, he has published a
book-length study on his work, La utopa arcaica (1996).
Rather than restrict himself to Peruvian literature, Vargas Llosa also looked abroad for literary inspiration.
Two French figures, existentialist Jean-Paul Sartre and novelist Gustave Flaubert, influenced both his
technique and style.[124] Sartre's influence is most prevalent in Vargas Llosa's extensive use of conversation.
[125]
The epigraph of The Time of the Hero, his first novel, is also taken directly from Sartre's work.
[126]
Flaubert's artistic independencehis novels' disregard of reality and moralshas always been admired
by Vargas Llosa,[127] who wrote a book-length study of Flaubert's aesthetics, The Perpetual Orgy.[128] In his
analysis of Flaubert, Vargas Llosa questions the revolutionary power of literature in a political setting; this is
in contrast to his earlier view that "literature is an act of rebellion", thus marking a transition in Vargas

Llosa's aesthetic beliefs.[129] Other critics such as Sabine Kllmann argue that his belief in the transforming
power of literature is one of the great continuities that characterize his fictional and non-fictional work, and
link his early statement that 'Literature is Fire' with his Nobel Prize Speech 'In Praise of Reading and
Writing'.[130]
One of Vargas Llosa's favourite novelists, and arguably the most influential on his writing career, is the
American William Faulkner.[131] Vargas Llosa considers Faulkner "the writer who perfected the methods of
the modern novel".[132] Both writers' styles include intricate changes in time and narration. [125][132] In The Time
of the Hero, for example, aspects of Vargas Llosa's plot, his main character's development and his use of
narrative time are influenced by his favourite Faulkner novel, Light in August.[133]
In addition to the studies of Arguedas and Flaubert, Vargas Llosa has written literary criticisms of other
authors that he has admired, such as Gabriel Garca Mrquez, Albert Camus, Ernest Hemingway,
and Jean-Paul Sartre.[134] The main goals of his non-fiction works are to acknowledge the influence of these
authors on his writing, and to recognize a connection between himself and the other writers; [134] critic Sara
Castro-Klarn argues that he offers little systematic analysis of these authors' literary techniques. [134] In The
Perpetual Orgy, for example, he discusses the relationship between his own aesthetics and Flaubert's,
rather than focusing on Flaubert's alone.[135]

Impact[edit]
Mario Vargas Llosa is considered a major Latin American writer, alongside other authors such as Octavio
Paz, Julio Cortzar, Jorge Luis Borges, Gabriel Garca Mrquez and Carlos Fuentes.[136] In his book The
New Novel in Latin America (La Nueva Novela), Fuentes offers an in-depth literary criticism of the positive
influence Vargas Llosa's work has had on Latin American literature. [137] Indeed, for the literary critic Gerald
Martin, writing in 1987, Vargas Llosa was "perhaps the most successful ... certainly the most controversial
Latin American novelist of the past twenty-five years".[138]
Most of Vargas Llosa's narratives have been translated into multiple languages, marking his international
critical success.[136] Vargas Llosa is also noted for his substantial contribution to journalism, an
accomplishment characteristic of few other Latin American writers. [139] He is recognized among those who
have most consciously promoted literature in general, and more specifically the novel itself, as avenues for
meaningful commentary about life.[140] During his career, he has written more than a dozen novels and many
other books and stories, and, for decades, he has been a voice for Latin American literature. [141] He has won
numerous awards for his writing, from the 1959 Premio Leopoldo Alas and the 1962 Premio Biblioteca
Breve to the 1993 Premio Planeta (for Death in the Andes) and the Jerusalem Prize in 1995.[142] The literary
critic Harold Bloom has included his novel The War of the End of the World in his list of essential literary
works in the Western Canon. An important distinction he has received is the 1994 Miguel de Cervantes
Prize, considered the most important accolade in Spanish-language literature and awarded to authors
whose "work has contributed to enrich, in a notable way, the literary patrimony of the Spanish language".
[143]
In 2002, Vargas was the recipient of the PEN/Nabokov Award. Vargas Llosa also received the
2005 Irving Kristol Award from the American Enterprise Institute and was the 2008 recipient of the Harold
and Ethel L. Stellfox Visiting Scholar and Writers Award at Dickinson College.[144]
A number of Vargas Llosa's works have been adapted for the screen, including The Time of the
Hero and Captain Pantoja and the Special Service (both by the Peruvian director Francisco Lombardi)
and The Feast of the Goat (by Vargas Llosa's cousin, Luis Llosa).[145] Aunt Julia and the Scriptwriter was
turned into the English-language film, Tune in Tomorrow. The Feast of the Goat has also been adapted as a
theatrical play by Jorge Al Triana, a Colombian playwright and director.[146]

Awards and honors[edit]

1967 Rmulo Gallegos Prize

1986 Grinzane Cavour Prize for Fiction foreign

1986 Prince of Asturias Award for Literature

1993 Planeta Prize for Death in the Andes, a thriller starring one of
the characters in Who Killed Palomino Molero?

1994 Miguel de Cervantes Prize, after taking Spanish citizenship

1996 Peace Prize of the German Book Trade

1999 Menndez Pelayo International Prize

2004 Independent Foreign Fiction Prize

2004 Grinzane Cavour Prize

2006 Maria Moors Cabot prize

2010 Nobel Prize for Literature

2010 International Award Viareggio-Versilia

2011 - St. Louis Literary Award from the Saint Louis University Library
Associates[147]

2012 "10 Most Influential Ibero American Intellectuals" of the year

Foreign Policy magazine [1]

2012 Carlos Fuentes International Prize for Literary Creation in the

Spanish Language [148]

2016 Pedro Henrquez Urea International Prize

Grand Cross with Diamonds of the Order of the Sun (Peru)

Austrian Cross of Honour for Science and Art, 1st class

Chevalier of the Legion of Honour (France)

Officer of the Ordre des Arts et des Lettres (France)

Commander of the Ordre des Arts et des Lettres (France)

Commander of the Order of the Aztec Eagle (Mexico)

Grand Cross with Silver Star of the Order of Ruben Dario (Nicaragua)

Grand Cross with Silver Star of the Order of Christopher

Columbus (Dominican Republic)

1959 Los jefes (The Cubs and Other Stories, 1979)

1963 La ciudad y los perros (The Time of the Hero, 1966)

1966 La casa verde (The Green House, 1968)

1969 Conversacin en la catedral (Conversation in the Cathedral,

1975)

[149]

Selected works[edit]
Fiction[edit]

1973 Pantalen y las visitadoras (Captain Pantoja and the Special

Service, 1978)

1977 La ta Julia y el escribidor (Aunt Julia and the Scriptwriter, 1982)

1981 La guerra del fin del mundo (The War of the End of the World,
1984)

1984 Historia de Mayta (The Real Life of Alejandro Mayta, 1985)

1986 Quin mat a Palomino Molero? (Who Killed Palomino

Molero?, 1987)

1987 El hablador (The Storyteller, 1989)

1988 Elogio de la madrastra (In Praise of the Stepmother, 1990)

1993 Lituma en los Andes (Death in the Andes, 1996)

1997 Los cuadernos de don Rigoberto (The Notebooks of Don

Rigoberto, 1998)

2000 La fiesta del chivo (The Feast of the Goat, 2001)

2003 El paraso en la otra esquina (The Way to Paradise, 2003)

2006 Travesuras de la nia mala (The Bad Girl, 2007)

2010 El sueo del celta (The Dream of the Celt, 2010)

2013 El hroe discreto (The Discreet Hero, 2015)

2016 - Cinco esquinas (Five Corners, 2016)

1958 Bases para una interpretacin de Rubn Daro (The basis for
interpretation of Ruben Dario)

1971 Garca Mrquez: historia de un deicidio (Garca Mrquez: Story

of a Deicide)

1975 La orga perpetua: Flaubert y "Madame Bovary" (The Perpetual

Orgy)

1990 La verdad de las mentiras: ensayos sobre la novela moderna (A

Writer's Reality)

1993 El pez en el agua. Memorias (A Fish in the Water)

1995 Hitos y Mitos Literarios (The Milestones and the Stories of

Greatest Literary Works) (Illustrations by Willi Glasauer), (Crculo de
Lectores)

Non-fiction[edit]

1996 La utopa arcaica: Jos Mara Arguedas y las ficciones del

indigenismo (Archaic utopia: Jos Mara Arguedas and the fictions of
indigenismo)

1997 Cartas a un joven novelista (Letters to a Young Novelist)

2000 Nationalismus als neue Bedrohung (Nationalism as a new

threat)[8]

2001 El lenguaje de la pasin (The Language of Passion)

2004 La tentacin de lo imposible (The Temptation of the Impossible)

2007 El Pregn de Sevilla (as Introduction for LOS TOROS)

2009 El viaje a la ficcin: El mundo de Juan Carlos Onetti

2011 Touchstones: Essays on Literature, Art, and Politics

2012 La civilizacin del espectculo

2012 In Praise of Reading and Fiction: The Nobel Lecture

2014 Mi trayectora intelectual (My Intellectual Journey)

2015 Notes on the Death of Culture

1952 La huida del inca

1981 La seorita de Tacna

1983 Kathie y el hipoptamo

1986 La Chunga

1993 El loco de los balcones

1996 Ojos bonitos, cuadros feos

2007 Odiseo y Penlope

2008 Al pie del Tmesis

2010 Las mil y una noches

Drama[edit]

Vargas Llosa's essays and journalism have been collected as Contra viento y marea, issued in three
volumes (1983, 1986, and 1990). A selection has been edited by John King and translated and published
as Making Waves. 2003 "The Language of Passion"

Notes[edit]
1.

Jump up^ "Mario Vargas Llosa wins Nobel literature prize". The Seattle
Times. In 1990, he ran for the presidency in Peru but lost to Alberto

Fujimori. Disheartened by the broad public approval for Fujimori's harsh

rule in Peru, Vargas Llosa took the Spanish citizenship, living in Madrid
and London.
2.

Jump up^ Mario Vargas Llosa confirma separacion con Patricia Llosa

3.

Jump up^ "Vargas Llosa" Archived December 31, 2014, at the Wayback
Machine.. Random House Webster's Unabridged Dictionary.

4.

Jump up^ "Peru's Mario Vargas Llosa wins Nobel Literature Prize".
London: The Independent. October 7, 2010.

5.

Jump up^ Boland & Harvey 1988, p. 7 and Cevallos 1991, p. 272

6.

Jump up^ "The Nobel Prize in Literature 2010". Nobelprize. October 7,

2010. Retrieved October 7, 2010.

7.

Jump up^ The first year given is the original publication date; the second
is the year of English publication.

8.

^ Jump up to:a b Kordi 2005, pp. 265268.

9.

^ Jump up to:a b Terra. 2010 October 7. Vargas Llosa a 20 aos de "Mxico

es una dictadura perfecta"[permanent dead link] (Vargas Llosa, 20 years after "Mexico
is a perfect dictatorship").

10. Jump up^ http://www.todocoleccion.net/calendarios-antiguos/almanaquecultural~x51936606

http:/ Archived August 10, 2016, at the Wayback
Machine./www.todocoleccion.net/calendarios-antiguos/almanaque-cultural1995~x37099565
11. Jump up^ Williams 2001, pp. 1516
12. ^ Jump up to:a b c d Williams 2001, p. 17
13. Jump up^ Morote 1998, p. 14
14. Jump up^ Morote 1998, pp. 67
15. ^ Jump up to:a b Williams 2001, p. 24
16. ^ Jump up to:a b Williams 2001, p. 30
17. Jump up^ Williams 2001, p. 31
18. Jump up^ Williams 2001, p. 32
19. Jump up^ Vincent 2007, p. 2
20. ^ Jump up to:a b Castro-Klarn 1990, p. 9
21. Jump up^ Williams 2001, p. 34
22. Jump up^ Williams 2001, p. 39
23. Jump up^ The newspapers were El Mercurio Peruano and El
Comercio. Castro-Klarn 1990, p. 21
24. Jump up^ Williams 2001, p. 44

25. ^ Jump up to:a b Williams 2001, p. 45

26. ^ Jump up to:a b Williams 2001, p. 54
27. Jump up^ "Mario Vargas Llosa confirma que ha pedido el divorcio a su
esposa". El Pais. 17 November 2015. Retrieved 17 November2015.
28. Jump up^ Harding, James. Alpha Dogs: The Americans Who Turned
Political Spin into a Global Business. New York: Farrar, Straus, and Giroux,
2008. Print. "But politics dragged two more humiliating months out of Mario
Vargas Llosa, the Catholic Church ,which had for years bristled at Vargas
Llosa's public atheism, also pleaded with him to stay in the race."
29. Jump up^ "Archived copy". Archived from the original on 2016-08-10.
Retrieved 2016-09-24.
30. ^ Jump up to:a b Kristal 1998, p. 32
31. ^ Jump up to:a b c d e Cevallos 1991, p. 273
32. ^ Jump up to:a b Kristal 1998, p. 33
33. ^ Jump up to:a b Kristal 1998, p. xi
34. Jump up^ Armas Marcelo 2002, p. 102. See also I Edition of the
International Novel Prize Rmulo Gallegos, Gobierno Bolivariano de
Venezuela Ministerio del Poder Popular para La Cultura, retrieved April
16, 2008
35. ^ Jump up to:a b c d Booker 1994, p. 6
36. Jump up^ Kristal 1998, p. 61
37. Jump up^ Castro-Klarn 1990, p. 80
38. ^ Jump up to:a b Castro-Klarn 1990, p. 106
39. Jump up^ "Tenth Nobel Prize Winner". King's College London. 2010-1210. Archived from the original on 2016-03-04.
40. Jump up^ Jaime Perales Contreras, review of Mario Vargas Llosa, Obras
Completas, Vol. VI, Tomo. I, in Americas Magazine, Organization of
American States, JulyAugust 2007.
41. Jump up^ Shaw & Llosa 1973, p. 431
42. Jump up^ "Todo occurri en 1976, en el Palacio de Bellas Artes de la
ciudad de Mxico. ... todos los presentes quedaron impresionados y
sorprendidos por el puetazo que MVLL propin a Garca Mrquez cuando
el escritor colombiano vena a abrazar al novelista peruano." Armas
Marcelo 2002, p. 110
43. Jump up^ Dammann 2007
44. Jump up^ Cohen 2007
45. Jump up^ Vincent 2007, p. 3
46. ^ Jump up to:a b Qtd. in Cevallos 1991, p. 273
47. Jump up^ Castro-Klarn 1990, p. 136

48. ^ Jump up to:a b c d e Booker 1994, p. 33

49. Jump up^ Setti 1989, p. 65
50. ^ Jump up to:a b c d Williams 2001, p. 60
51. Jump up^ Williams 2001, pp. 6061
52. Jump up^ "Simn Bolvar Chair". Centre of Latin American Studies,
University of Cambridge. December 1, 2011. Retrieved January 16, 2012.
53. Jump up^ "Nobel Prizes in Medicine, Economics, and Literature for
Churchill Fellows". Churchill College, Cambridge. October 12, 2010.
Archived from the original on October 7, 2010. Retrieved February
22, 2011.
54. Jump up^ Kristal 1998, p. 91
55. Jump up^ Kristal 1998, p. 221
56. Jump up^ Booker 1994, p. 54
57. ^ Jump up to:a b c Kristal 1998, p. 140
58. Jump up^ Campos & Oviedo 1981, p. 299
59. ^ Jump up to:a b c Booker 1994, p. 75
60. ^ Jump up to:a b Kristal 1998, p. 124
61. Jump up^ Setti 1989, p. 46
62. ^ Jump up to:a b Setti 1989, p. 42
63. Jump up^ Kristal 1998, pp. 150151
64. ^ Jump up to:a b c d e Kristal 1998, p. 151
65. Jump up^ Boland & Harvey 1988, p. 164
66. ^ Jump up to:a b Franco 2002, p. 56
67. ^ Jump up to:a b c d Williams 2001, p. 267
68. Jump up^ Koellmann 2002, pp. 239 ff.
69. Jump up^ Williams 2001, p. 268
70. Jump up^ Harrison 2007
71. Jump up^ Setti 1989, p. 140
72. Jump up^ Setti 1989, p. 141
73. Jump up^ Bohlen, Celestine (September 28, 2000). "Heberto Padilla, 68,
Cuban Poet, Is Dead". The New York Times.
74. Jump up^ Setti 1989, p. 142
75. Jump up^ Morote 1998, p. 234

76. Jump up^ Vincent 2007, p. 1

77. Jump up^ Qtd. Kirk 1997, pp. 183184
78. Jump up^ Qtd. Kokotovic 2007, p. 172
79. Jump up^ Qtd. Kokotovic 2007, p. 177
80. Jump up^ Kokotovic 2007, p. 177
81. Jump up^ Qtd. Kristal 1998, p. 231
82. Jump up^ Llosa, MV (2001). "Global Village or Global Pillage?". Reason.
Reason Foundation. 33 (3): 4047.
83. ^ Jump up to:a b Boland & Harvey 1988, p. 8
84. ^ Jump up to:a b c Parker 2007
85. Jump up^ Larsen 2000, p. 155
86. Jump up^ Williams 2001, p. 82
87. Jump up^ El Pas (Madrid). 1990 September 1. Vargas Llosa: "Mxico es
la dictadura perfecta" Archived October 24, 2011, at the Wayback Machine.
88. Jump up^ Reding 1991, p. 257.
89. Jump up^ "Archived copy". Archived from the original on July 20, 2011.
Retrieved December 11, 2010.
90. Jump up^ "Mario Vargas Llosa: In praise of reading and fiction" (PDF). The
Nobel Foundation. 2010-12-07. Archived (PDF) from the original on 201603-25.
91. Jump up^ Williams 2001, p. 83
92. Jump up^ "Mario Vargas Llosa". Real Academia Espaola. Archived
from the original on 20 September 2015. Retrieved 27 March2016.
93. Jump up^ "Escritor Mario Vargas Llosa retira su apoyo al PP y pide el
voto para UPyD", Terra Actualidad, February 25, 2008, retrieved March
22, 2008. (Spanish)
94. Jump up^ These include Queen Mary, University of London and King's
College London, both part of the University of London, the Pullman campus
of Washington State University, the University of Puerto Rico at Ro
Piedras, Columbia University, Harvard University, Princeton
University, Georgetown University, and the City University of New York.
See "Biographical Sketch" at the Wayback Machine (archived July 2,
2007). Mario Vargas Llosa Papers. Princeton University Library. Retrieved
on April 14, 2008.
95. Jump up^ "Nobel Laureate Mario Vargas Llosa Speaks at CCNY
November 18". The City College of New York.
96. Jump up^ "Real Decreto 134/2011, de 3 de febrero, por el que se
concede el ttulo de Marqus de Vargas Llosa a don Jorge Mario Vargas
Llosa".

97. Jump up^ Declaraciones de Mario Vargas Llosa al enterarse de la

concesin del ttulo nobiliario de Marqus de Vargas Llosa. RPP noticias.
4.2.2011 Archived September 5, 2013, at the Wayback Machine.
98. Jump up^ "Vargas Llosa votar por Alejandro Toledo en elecciones
peruanas". Elcomercio.pe. Retrieved 2011-04-07. | Source in Spanish:
"Vargas Llosa will vote for Alejandro Toledo in Peruvian elections"
99. Jump up^ "Vargas Llosa: Peru should maintain legality, freedom and
economic development". andina. Retrieved 2011-04-11.
100. Jump up^ Chafuen, Alejandro (March 26, 2014). "Away From Socialism:
Mario Vargas Llosa Joins The Mont Pelerin Society". Forbes.
Retrieved September 24, 2016.
101. Jump up^ "Mario Vargas Llosa a Nobel football fan and supporter of
Universitario de Deportes", South American Football Confederation,
October 7, 2010, retrieved December 30,2010[dead link]
102. Jump up^ "Como pez en el agua: El dia en que Vargas Llosa debut con
la U". Depor.pe. Retrieved 2010-12-30. | Source in Spanish: "As a fish in
the water: The day Vargas Llosa played with Universitario"
103. Jump up^ "Vargas Llosa protagonista de la 'noche crema' de Universitario
de Deportes". Elmundo.es. Retrieved 2011-02-14. | Source in Spanish:
"Vargas Llosa in 'cream night' of Universitario"
104. Jump up^ "Vargas Llosa: La 'U' es un mito, una leyenda, una
tradicin". elcomercio.pe. Retrieved 2011-02-14. | Source in Spanish:
"Vargas Llosa: La 'U' is a myth, a legend, a tradition"
105. Jump up^ Booker 1994, p. 48
106. Jump up^ Morote 1998, pp. 6667
107. Jump up^ Kristal 1998, p. 56
108. Jump up^ Kristal 1998, p. 59
109. Jump up^ Castro-Klarn 1990, p. 19
110. Jump up^ Williams 2001, p. 270
111. Jump up^ Qtd. in Gussow 2002
112. Jump up^ Vargas Llosa 2003
113. Jump up^ Heawood 2003
114. Jump up^ Mujica 2004
115. ^ Jump up to:a b Booker 1994, p. 32
116. Jump up^ Booker 1994, p. 3
117. ^ Jump up to:a b Booker 1994, p. 14
118. Jump up^ Booker 1994, p. 13
119. Jump up^ Booker 1994, p. 35

120. Jump up^ Booker 1994, pp. 3536

121. ^ Jump up to:a b Castro-Klarn 1990, p. 3
122. Jump up^ Castro-Klarn 1990, p. 4
123. Jump up^ Kristal 1998, p. 9
124. Jump up^ Castro-Klarn 1990, pp. 67
125. ^ Jump up to:a b Castro-Klarn 1990, p. 6
126. Jump up^ Castro-Klarn 1990, p. 34
127. Jump up^ Kristal 1998, p. 25
128. Jump up^ Castro-Klarn 1990, p. 115
129. Jump up^ Kristal 1998, p. 81
130. Jump up^ Sabine Kllmann, A Companion to Mario Vargas Llosa.
Woodbridge (Tamesis), 2014 ISBN 9781855662698
131. Jump up^ Kristal 1998, p. 28
132. ^ Jump up to:a b Kristal 1998, p. 26
133. Jump up^ Kristal 1998, p. 34
134. ^ Jump up to:a b c Castro-Klarn 1990, p. 116
135. Jump up^ Castro-Klarn 1990, p. 119
136. ^ Jump up to:a b Castro-Klarn 1990, p. 1
137. Jump up^ Lamb 1971, p. 102
138. Jump up^ Martin 1987, p. 205
139. Jump up^ Castro-Klarn 1990, p. 2
140. Jump up^ Muoz 2000, p. 2
141. Jump up^ Williams 2001, p. 84
142. Jump up^ "Vargas Llosa Wins The Jerusalem Prize", The New York
Times, January 17, 1995, retrieved March 20, 2008
143. Jump up^ "cuya obra haya contribuido a enriquecer de forma notable el
patrimonio literario en lengua espaola." Premio "Miguel de Cervantes" (in
Spanish), Gobierno de Espaa Ministerio de Cultura, 2012-03-20,
retrieved April 12, 2008
144. Jump up^ "Honoring the Storyteller". Dickinson College. December 2,
2008. Retrieved October 7, 2010.
145. Jump up^ Mario Vargas Llosa, The Internet Movie Database,
retrieved March 20, 2008
146. Jump up^ Navarro 2003

147. Jump up^ Website of St. Louis Literary Award Archived August 23, 2016,
at the Wayback Machine.
148. Jump up^ "Mario Vargas Llosa wins Inaugural Carlos Fuentes
Prize". Latino Fox News. October 15, 2012. Retrieved October 15,2012.
149. Jump up^ "Escritor Mario Vargas Llosa acepta recibir Premio
Internacional Pedro Henrquez Urea 2016". Ministerio de
Cultura. Archived from the original on 2016-03-18.

References[edit]

Armas Marcelo, J. J. (2002), Vargas Llosa, el vicio de escribir (in Spanish),

Madrid: Alfaguara, ISBN 84-204-4286-0.

Boland, Roy; Harvey, Sally (1988), Mario Vargas Llosa: From Pantalen y las
visitadoras to Elogio de la madrastra, Auckland: Antipodas, the Journal of
Hispanic Studies of the University of Auckland / VOX/AHS, ISBN 0-9597858-17.

Booker, M. Keith (1994), Vargas Llosa Among the Postmodernists, Gainesville,

FL: University Press of Florida, ISBN 0-8130-1248-1.

Campos, Jorge; Oviedo, Jose Miguel (1981), Vargas Llosa y su Guerra del fin
del mundo, Madrid: Taurus Ediciones, ISBN 84-306-2131-8

Castro-Klarn, Sara (1990), Understanding Mario Vargas Llosa, Columbia, SC:

University of South Carolina Press, ISBN 0-87249-668-6.

Cevallos, Francisco Javier (1991), "Garca Mrquez, Vargas Llosa, and Literary
Criticism: Looking Back Prematurely", Latin American Research Review, Latin
American Research Review, Vol. 26, No. 1, 26 (1): 266
275, JSTOR 2503775. (Subscription required to access online.)

Coca, Csar (August 27, 2006), "30 aos despus de la ruptura con Garca
Mrquez, Vargas Llosa desvela las claves literarias y personales", Hoy (in
Spanish), retrieved April 16, 2008.

Cohen, Noam (March 29, 2007), "Garca Mrquez's Shiner Ends Its 31 Years of
Quietude", The New York Times, retrieved March 31, 2008.

Dammann, Guy (January 10, 2007), "Let's hear it for literary feuds", The
Guardian, London, retrieved October 7, 2010.

Fernndez, Casto Manuel (1977), Aproximacin formal a la novelstica de

Vargas Llosa (in Spanish), Madrid: Editora Nacional, ISBN 84-276-0383-5.

Franco, Jean (2002), The Decline and Fall of the Lettered City: Latin America in
the Cold War, Cambridge, MA: Harvard University Press, ISBN 0-674-00842-1.

Gussow, Mel (2002-03-28), "Lacing his Fiction with History: Vargas Llosa Keeps
a Latin American Literary Boom Booming", The New York Times, 151 (52071),
retrieved March 27, 2008.

Harrison, Kathryn (October 14, 2007), "Dangerous Obsession", The New York
Times, retrieved April 14, 2008.

Heawood, Jonathan (November 24, 2003), "Past Master: Review of Mario

Vargas Llosa, The Way to Paradise", New Statesman, 132 (4665): 55,
retrieved April 7, 2008, (subscription required (help)).

Igartua, Francisco (1998), Huellas de un destierro, Lima: Aguilar, ISBN 9972-00266-7.

Kirk, Robin (1997), The Monkey's Paw: New Chronicles from Peru, Amherst,
MA: University of Massachusetts Press, ISBN 1-55849-109-0.

Koellmann, Sabine (2002), Vargas Llosa's Fiction and the Demons of Politics,
Oxford: Peter Lang, ISBN 3-906768-54-6.

Koellmann, Sabine (2014), A Companion to Mario Vargas Llosa, Woodbridge:

Tamesis, ISBN 1-85566-269-8.

Kokotovic, Micha (2007), The Colonial Divide in Peruvian Narrative: Social

Conflict and Transculturation, Brighton: Sussex Academic Press, ISBN 1-84519184-6.

Kordi, Snjeana (2005). "Anatomija nacionalizma: recenzija knjige Maria

Vargasa Llose, Nationalismus als neue Bedrohung" [Anatomy of nationalism:
Review of Mario Vargas Llosa's, Nationalism as a new threat] (PDF). Knjievna
republika (in Serbo-Croatian). Zagreb. 3 (56): 265268. ISSN 13341057. ZDB-ID 2122129-7. Archived from the original on 2 September 2012.
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Latin American Cultural Studies, 9 (2): 155
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External links[edit]
Wikiquote has quotations
related to: Mario Vargas
Llosa
Wikimedia Commons has
media related to Mario
Vargas Llosa.

Official website

Mario Vargas Llosa papers at the Wayback Machine (archived July 2,

2007) at Princeton University

Works by or about Mario Vargas Llosa in libraries (WorldCat catalog)

"Mario Vargas Llosa collected news and commentary". The

Guardian.

"Mario Vargas Llosa collected news and commentary". The New York
Times.

Featured author: Mario Vargas Llosa at The New York Times, 28 June
1998

Susannah Hunnewell, Ricardo Augusto Setti (Fall 1990), "Mario Vargas

Llosa, The Art of Fiction No. 120", The Paris Review.

Interview transcript with Ramona Koval, ABC Radio National, Edinburgh

International Book Festival, August 2003

Mario Vargas Llosa and the Relationship Between Politics and

Journalism, Andrew Wiles, 10 September 2010

Vargas Llosa, Mario (13 Oct 2013). "A Personal Journey: From
Marxism to Liberalism". Montreal Economic Institute. Retrieved 2
June 2014.

Appearances on C-SPAN
Awards

Preceded by
ngel Gonzlez

Recipient of the Prince of Asturias Award for Literature

1986

Succeeded by
Camilo Jos Cela

Preceded by
Miguel Delibes

Recipient of the Miguel de Cervantes Prize

1994

Succeeded by
Camilo Jos Cela

Preceded by
Herta Mller

Recipient of the Nobel Prize for Literature

2010

Succeeded by
Tomas Transtrmer

Spanish nobility

New title

Marquis of Vargas Llosa

2011 present

Incumbent
Heir:
lvaro Vargas Llosa

Non-profit organization positions

Preceded by
V. S. Pritchett

International President of PEN International

19761979
[show]

Works by Mario Vargas Llosa

[show]

Laureates of the Nobel Prize in Literature

Succeeded by
Per Wstberg

[show]

2010 Nobel Prize laureates

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