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Haunted all her life by feelings of terror and emptiness, forty-nine-year-old Urania Cabral returns to her native Dominican Republic - and finds herself reliving the events of l961, when the capital was still called Trujillo City and one old man terrorized a nation of three million. Rafael Trujillo, the depraved ailing dictator whom Dominicans call the Goat, controls his inner circle with a combination of violence and blackmail. In Trujillo's gaudy palace, treachery and cowardice have become a way of life. But Trujillo's grasp is slipping. There is a conspiracy against him, and a Machiavellian revolution already underway that will have bloody consequences of its own. In this 'masterpiece of Latin American and world literature, and one of the finest political novels ever written' (Bookforum), Mario Vargas Llosa recounts the end of a regime and the birth of a terrible democracy, giving voice to the historical Trujillo and the victims, both innocent and complicit, drawn into his deadly orbit.
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Product details
Paperback: 416 pages
Publisher: Picador; First edition (November 9, 2002)
Language: English
ISBN-10: 0312420277
ISBN-13: 978-0312420277
Product Dimensions:
5.4 x 0.7 x 8.2 inches
Shipping Weight: 14.4 ounces (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
188 customer reviews
Amazon Best Sellers Rank:
#152,938 in Books (See Top 100 in Books)
One should generally take Mario Vargas Llosa’s books on their own merits. Aunt Julia and the Scriptwriter, for example, is a happy sendup of the art of the telenovela and can be read as such even if the writer’s first wife thinks she was mistreated in his writing of it. Death in the Andes comes across as a respectful, even loving tribute to the people of the most remote Peruvian highlands, who live an age-old reality which we outsiders would call supernatural or (more unfairly) superstitious, and who in real life for decades had to endure the conflict between their traditions and the modern realities of Maoist terrorism and central government disinterest. That the author may have written Death in the Andes as part of an attempt to atone for his role in the investigation of the Uchuraccay massacre does not diminish the beauty of the work.It is harder to read The Feast of the Goat without placing it into the political context of the times, though. The book was written in 2000, coincident with the Alberto Fujimori’s campaign for and inauguration to a third term as President of Peru. Mr. Vargas Llosa, who lost a runoff vote to the previously unknown Mr. Fujimori in 1990, was dismayed by that earlier outcome (as reportedly shown in A Fish in the Water, which I have not read). He feared Fujimori might be setting himself up as president-for-life, but Fujimori was no Trujillo. The main complaint about Fujimori, more than his ill-fated decision to run for a third term, involved his use of violence to put down the Sendero Luminoso and MRTA. What this criticism failed to note, however, was that he applied only as much force as needed to meet the country’s needs in each phase of the struggle; that Abimael Guzman was captured, tried, convicted, and sentenced to a peaceful life in prison, rather than summarily executed, should probably be seen as an indication of Fujimori’s respect for normal government institutions when they were free to operate under less than extreme circumstances.The Feast of the Goat, then, reads like a morality play directed to the Peruvian people and pushed into print to meet a deadline imposed by the country’s election calendar. In it, it seems for most of the book like the heroes are supposed to be the fictionalized versions of the real-life gunmen who killed Trujillo, but the long descriptions of their motives feel more like Mr. Vargas Llosa grinding away at his research. Likewise, the character of Urania Cabral, who unlike the plotters appears not to be based on a historic individual, falls short of gaining our full sympathy. There must be more to this person than the description of her short, agonizing interaction with Trujillo, her c.v., and her antipathy toward her crippled father would indicate. But instead, in the end (literally and figuratively), the book’s most interesting character turns out to be Trujillo’s successor, Joaquin Balaguer. In this telling, Balaguer comes out of nowhere following Trujillo’s death to save the country from descending into a bloodbath, but in reality Balaguer served Trujillo faithfully for 30 years in many high offices, and then for 23 more years as an iron-fisted president himself. Perhaps, though, not all caudillos are born equal, but instead can be sorted by their political leanings, their particular brand of violence, or whether – like Balaguer – they can claim the title of poet and author.Although my search has not been exhaustive by any stretch of the imagination, I have looked at other reviews of The Feast of the Goat in hopes of finding a better analysis of Urania Cabral’s character than I can give. So far, I haven’t found what I was seeking, but for a good, short critique of how the events portrayed in the book fit into the arc of Dominican history, the reader could check out brothersjudd.com.
Most of the reviewers of this book (Amazonian and "professional") seem to me to make either of two, or both, reductionist mistakes, missing the human element of the story, its emotional/psychic impact upon the reader: 1.) Regarding the book as a typical "dictatorship" book. The novel is far more than a mere political book, "Ã la Tom Clancy" as one reviewer puts it. If it were, one would be far better off reading the several excellent histories of the Trujillo era in the Dominican Republic. 2.) The dismissal of Urania Cabral and her story as the weak point in the book. Far from it, it is she that lends the book its poetic savour, its poetry, whatever claim it has to being literature.What the book does to the sensitive reader is to mesmerise her/him into the hearts and minds of those under Trujillo's thumb, those close to him, his closest associates. In short, one feels like a paralysed spider, stung by a wasp, waiting for one's blood to be sucked out. All those that come under Trujillo's influence in the book eventually end up like this. And the famously gruesome, spider/wasp episode, as described by Darwin, is not at all a mere conceit here. I don't think I've ever read more gruesomely, explicitly depicted torture scenes of brave men who are yet entranced in some way by the man responsible for their agonies.Finally, Urania, who begins and ends the book, lends it its context, its lyrical credibility and her story and earlier interview with her ailing father give the book its haunting poignancy. Hers a truly eerie story, mixing past and present, one that will leave the reader, who will feel after reading it like Urania:"Before she falls asleep, she thinks that the bed smells of old men, old sheets, very old dreams and nightmares."The only reason that I'm giving the book four stars instead of five is that it doesn't quite measure up to Llosa's best works: The War of The End of The World and Conversation in the Cathedral. But this is a tall order indeed. If it were any other writer, I would be in rhapsodies about the discovery of a new literary talent. But Llosa's masterful genius as the most gifted and prolific Spanish (the language) novelist of our time is already well and deservedly established.
As my introduction to Vargas-Lllosa and the Dominican Republic, it took me a few chapters for the book to take hold of me, but did it ever. Aside from a brilliant window into the mind and machinations of a dictator and those around him seeking power, I found the story of Urania and her exploration of the "geography of memory" equally compelling. My biggest challenge was keeping the characters in Trujillio's inner circle straight because they typically referred to by one of three different names (their two-name last names, affectionate names and nicknames). Fortunately, one of the most colorful characters, Samson the parrot, has only one name!
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