The Street Language in Mexico

One of the primary heathen reflections of ties with the U.S. in Latin American literature comes in the do of imagery taken from American popular finis, and Manuel Puig in feature is given to using imagery from movies as a mood of indicating differences amidst the devil cultures, especi tout ensembley between the image of U.S. culture and the reality of Latin American culture. The stationary an even dead(prenominal) nature of media images is contrasted with the struggle for daily existence and the revolutioanry fervor that this may engender in people who see the image on the screen and contrast that with the reality of their lives.

In Manuel Puig's novel embrace of the Spider Woman, two men share a prison cell in a Buenos Aires prison. One is Molina, a homosexual sentenced to eight years in prison for the corruption of minors, and the other is Valentfn, a young Marxist imprisoned for revolutionary activities. Molina tries to pass the period by telling the younger man about films he has seen, recreating the stories with words. It is in the course of these retellings of the different films that the lecturer gets to know these characters and sees how they bring about as they interact with one some other and with the images recalled from films by Molina. In the course of the novel, the two men become much closer, develop a friendship they would be unlikely to have in

Neruda's poetry presents a sense of impinge between Latin America and the north, a run afoul that is to a greater extent ethnic than regional or even ideological. It is a conflict that Neruda sees as beginning with the coming of the European to the New realness. In discussing Neruda's poetry, Gordon Brotherston notes the divisiveness between Latin and Saxon American as easy as a division between Latin and Indian America. Brotherston sees Neruda as attempting to be an American poet and sometimes a Latin American poet. This is evident in his epic work Canto general, and in one section he refers to the American Veteran of World War II who returns to his home

Brotherston, Gordon. Latin American Poetry. New York: Cambridge University Press, 1975.

Neruda vacillates between criticism of North America and an attempt to find a fraternal bond with the people of North America

The movies mean a bit more to Molina, who identifies with the actresses and wishes he were one or another of them as he recounts the floor. He asks that Valentfn allow him to do this:

The ratifier is thus constantly urged to reconsider all impressions gathered of the two men and their relationship. The two men do the same affair from time to time, though it is not always clear to the reader in the fist half of the book what the relationship real is and from what point of view each man is approaching that relationship. Molina tells the story of movie after movie to pass the time. The movies are all older films and show that there is a generational wisecrack between the two men, and in addition there is a hearty gap that means that Molina would know about films that Valentfn would be less likely to have experienced in his social milieu. Yet, Valentfn becomes very enamored of the game of telling the movies, for it passes the time on the one hand and involves him with another world on the other:

--That you'll let me escape from reality once in a while, because why should I let myself get more low-spirited tha
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