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Truth in Triple Masquerade

Holy Place, by Carlos Fuentes, the first of three novels in Triple Cross, uses movie “language” (flashbacks, sudden cuts, close-ups, longshots, dissolves) for narrative transition, dramatic intensities, and the representation of intimate process in the hero’s mind (imagine a phenomenological analysis where consciousness, as it perceives itself, is a movie). Mainly, however, movie language is used because it evokes the nothing that is Now. This is always a theme for serious writers—not to mention priests and philosophers—and, recently, it has become a theme of movies themselves, especially when they self-consciously suggest that, for the sake of movieexperience, the life and soul of any object available to light must surrender to a myth of silver nitrate. The chemical constituents of ersatz are the pathos of visibilia. (Blow Up, for example.) Fuentes not only uses movie language but he refers in epigraphs and text to Borges, Fellini, Sontag, Cortázar, F. Scott Fitzgerald’s Gatsby, and others who, in different ways, stand among the most impressive, incisive rhetoricians of the idea that ersatz reality and Reality have strange affinities; may indeed be contraries indistinguishable in essence. Review: Literature and Arts of the Americas, Issue 100, Vol. 53, No. 1, 2020, 24–28