El vértigo horizontal by Juan Villoro

El vértigo horizontal. Juan Villoro. Mexico City: Almadía. 2018. 408 pages.

El vértigo horizontal [Horizontal vertigo], by the Mexican writer Juan Villoro, is designed as a cartographic map of the Mexico City subway with different lines and intersections. The lines lead to different descriptions of how to live in the city, characters of the city, crossings, places, and ceremonies. The index that is designed as a trip in the subway allows readers to read the book in three different ways: linear (from beginning to end), by the routes indicated by the writer on the index map (in the style of Cortázar and his Rayuela), or in the order that the reader wishes.

The nonfiction book could be categorized as the writer’s masterpiece not only because it portrays Mexico City in an extraordinary way, or because of its unusual structure, but because it is written with different literary genres such as crónicas, essays, and hybrid texts. The genre that predominates is the crónica, also known as the journalistic chronicle. The crónica oscillates between literature and journalism. It is a hybrid genre, and therefore some texts in the book could be classified as follows: essay chronicle, story chronicle, poetic chronicle, historical chronicle, biographical chronicle, and other categories. In addition, Villoro embellishes some of those literary genres with an eroticism unexplored in his previous nonfiction writing.

Several characters appear in the book, but the main character is the city itself. The writer shows a subjective interpretation of his city, an inherent city to him. He gives a radiographic image of specific places such as monuments, skyscrapers, housing units, streets, and neighborhoods. He creates an encyclopedia of different problems that are endemic to the city, such as contaminated water, roads, earthquakes, landslides, environmental pollution, economy, and children living on the street. He sketches different typical and atypical personalities of the city and describes and analyzes identity, customs, food, and Mexican cinema. That is, he portrays the city as it is, with its diverse artistic, political, religious, social, and cultural themes.

Villoro’s great achievement in El vértigo horizontal resides in his ability to understand and make the city known through different characters, occupations, and beliefs. Although many writers have been interested in Mexico City, such as Carlos Monsiváis and Carlos Fuentes, Villoro finds a new, postmodern way of portraying the contemporary city.

Luvia Estrella Morales
University of Oklahoma

Originally published in World Literature Today, Spring 2019.

Editor’s Pick 

Other Reviews in this Issue

La Construcción Poética de lo Sagrado en “Alturas de Macchu Picchu” de Pablo Neruda. Roberto Onell.
Función del diálogo en la narrativa de Ernest Hemingway. Alfredo Bryce Echenique
Mujeres que matan. Alberto Barrera Tyszka
El vértigo horizontal. Juan Villoro

Languages

Latin American Literature Today No. 10
Number 10

In our tenth issue, we question the values of literature and journalism in the post-truth age through the words of Mexican writer Juan Villoro and we explore new territories of digital literature in a dossier curated by Scott Weintraub. We also feature memories of the 1968 Tlatelolco Massacre told through graphic narrative, new perspectives on the translation of Shakespeare into Spanish with an essay from Braulio Fernández Biggs, and Wayuu literature from the Venezuelan side of the border than runs through their ancestral lands.

Table of Contents

Editor's Note

Featured Author: Juan Villoro

Dossier: Digital Literature

Essays

Indigenous Literature

Fiction

Poetry

Interviews

Previews

Chronicle

On Translation

Graphic Narrative

Nota Bene