Octavio Paz Lozano was a Mexican writer, poet, and diplomat, and the winner of the 1982 Neustadt International Prize for Literature and the 1990 Nobel Prize for Literature ("for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity.")
No voy a pretender que entend铆 todas las mamadas que escribi贸 este vato, digo, entiendo la mayor铆a de las palabras, su significado, y cuando no lo sab铆a buscaba en el diccionario, de eso no voy a hablar mal, est谩 curada leer nuevas palabras y aprender como se usan, pero el pedo de este wey es su uso del vocabulario , mamadas como la siguiente:
"La reforma es ante todo, una negaci贸n y ah铆 reside su grandeza. Pero lo que afirmaba esa negaci贸n -los principios del liberalismo europeo - eran ideas de una hermosura precisa, est茅ril y, a la postre, vac铆a. La geometr铆a no substituye a los mitos."
驴Alguien me puede decir que chingados quiere decir con la 煤ltima oraci贸n?; Y puras de esas, pero pos 驴Qu茅 esperaba de un pinche poeta?, Octavio Paz no consider贸 al pueblo de M茅xico como su lector, escribi贸 este grupo de ensayos para la gente "educada" que tiene el "intelecto" para leer esta madre y decir "No, si, yo si le entend铆 y he leido a todos los pitomil autores que hace referencia y estoy completamente de acuerdo, s煤per libro, se la chupo, etc etc etc", gente que es menos del 10% de toda la poblaci贸n, 隆Huevos!
Y la raza me puede decir "Pero Primo, este libro caus贸 un gran impacto en la sociedad", a lo que yo responder铆a, "Impacto mis huevos en tu ano, si hubiera tenido un impacto se hubiera notado un cambio, pero nop, seguimos cometiendo las mismas babosadas de hace 100 a帽os.
La pinche pretensi贸n fue lo que me cag贸 los "nuts", y el hecho de que el vato se escuda en la "ambig眉edad" del mexicano para describirlo, diciendo cosas como:
"... la revolucion es un exceso y un gasto, un llegar a los extremos, un estallido de alegr铆a y desamparo, un grito de orfandad y de j煤bilo, de suicidio y de vida..."
No mames, es como si me leyeran la mano y me dijeran, "Te vas a cochar a una wera que es morena ma帽ana esta noche y te va a gustar pero a la vez no..."
Otra cosa que no me gust贸 es que pretende describir al mexicano desde su mansi贸n escribiendo este libro, asom谩ndose por la ventana de vez en cuando y diciendo "No, si, la est谩n cagando Mexicanos", mientras llega su mayordomo con una torta de caviar con un martini porque el ruquillo est谩 cansado de escribir. Pinche vato de seguro nunca tuvo un solo callo en las manos por chambear y me quiere hablar de la clase obrera.
Luego cuando explic贸 la historia del pa铆s y llego al presente (en ese entonces) le sac贸 a los putazos, escribiendo cosas mamapitos como:
"Hemos tenido si, violencias populares, cierta extravagancia en la represi贸n, capricho, arbitrariedad, brutalidad, mano dura de algunos generales, humor negro, pero aun en sus peores momentos todo fu茅 humano"
La graaaaaaan mamadota... 隆De que sirve que sea humano, vergaaaa!, 隆Un muerto es un muerto!, lo bueno que se tuvo que tragar sus palabras en el Post Data que se avento despu茅s de lo de Tlatelolco....
Bueno... estoy viendo mis notas y todav铆a me falta comentar la mitad y todas son cosas que me hicieron enojar, mejor aqu铆 le paro; creo que cabe afirmar que no me gust贸, tiene dos tres p谩rrafos curadillas pero hasta ah铆, no se lo recomiendo a nadie, termin茅 bien emputado.
Can solitude really be a national characteristic and a trait of an entire culture or nation? The Nobel Prize winning Mexican poet and critic sets out to maintain that Mexico is a labyrinth of solitude, and that the solitude is inherent to its historical character and a key to understanding its history.
Widely considered one of the most influential texts on Mexican culture, Paz first explains that forms of solitude in a culture originate in a psychological complex of defeat. Starting with Aztecs, this crushing of the spirits began with its own extremely authoritarian rulers, who were overthrown and replaced by the authoritarian Spanish conquerors, who were then replaced by the authoritarian oligarchies during the period of Independence, before finally throwing in levels of intimidation by the United States. The result is oscillation between violent resentment and passivity. The sense of oppression is not, however, a feeling of inferiority, as Paz constantly points out.
He goes on to argue that Mexicans of all backgrounds and ages present a mask to the world in self-defence. Building a sort of wall of indifference and remoteness between reality and himself, a wall that is no less impenetrable for being invisible. The Mexican, he says, is always remote from the world and from other people, but also from himself. This resulting solitude is not embraced or refined but a reaction that tends to oscillate between extremes of defensiveness and aggression, and that long-sufferings coexist with distrust, irony, and suspicion.
This only really touches the surface of what were essays of great depth, turning into a most stimulating, challenging, but sometimes difficult read. Paz can get pretty frenzied when he gets into the swing of things, especially when dealing with politics and the relations between Mexico and the United States later on, and for some reason (I guess its mostly Mexicans) he had been perceived as a Mexican offending his own country and heritage, but I found his articulate and additive prose style capturing a spirit for his people with grace and with sadness.
He simply brings together all of his country's conflicts and taboos and pulls back the curtains writing of his subject matter with devoted passion.
The next time I think of Mexico (its generally Tequila, Drug Cartels, lucha libre (wrestling), Sombreros, and Salma Hayek, I will think in a deeper manner. Had he been a GR member, I would have certainly recommended this book to that funny looking guy who sits in the oval office wondering who else he can persecute.
A labyrinth is, by its very nature, a place in which one becomes lost; and in his book-length essay The Labyrinth of Solitude (1950), the Nobel Prize-winning Mexican poet and essayist Octavio Paz explores his interest in the ways in which both human beings generally, and the people of Mexico specifically, become lost in solitude and try to find their way out of it. In the process of that exploration, Paz sets down one of the most profound and perceptive considerations ever set down regarding the life, history, and culture of Mexico. That essay is combined with four others in this singularly powerful 1985 collection titled The Labyrinth of Solitude and Other Writings.
Over the course of his career, Paz studied law, wrote long poems with a modernist bent, served his country as Mexico鈥檚 Ambassador to India, and taught at Cambridge and Cornell universities. Yet such a bare description of Paz鈥檚 work does not do justice to the grace of his writing, whether in poetic or prose form 鈥� or to the breadth and catholicity of his interests. Reading El laberinto de la soledad, like reading any of Paz鈥檚 poetry, provides the pleasure of spending time in the company of a truly great mind.
The Labyrinth of Solitude 鈥� all nine chapters of it 鈥� takes up 212 pages of this 398-page book. Paz emphasizes that 鈥淪olitude 鈥� the feeling and knowledge that one is alone, alienated from the world and oneself 鈥� is not an exclusively Mexican characteristic鈥� (p. 195). Yet by evoking a number of archetypes of Mexican culture 鈥� from the image of the pachuco (a flamboyantly dressed young man who affiliates with a Mexican counterculture) to the celebration of the Day of the Dead 鈥� Paz suggests that Mexicans tend to mask themselves as a means of self-protection:
The Mexican鈥eems to me to be a person who shuts himself away to protect himself: his face is a mask and so is his smile. In his harsh solitude, which is both barbed and courteous, everything serves him as a defense: silence and words, politeness and disdain, irony and resignation鈥�.He builds a wall of indifference and remoteness between reality and himself, a wall that is no less impenetrable for being invisible. The Mexican is always remote, from the world and from other people 鈥� and also from himself. (p. 29)
The various and overlapping facets of Mexico鈥檚 history 鈥� the legacy of the great Indigenous nations of pre-Columbian times; the history of the conquest by the Spaniards and the imposition of the Roman Catholic faith; the achievement of independence from Spain in 1821; the Revolution of 1910 鈥� have all, in Paz鈥檚 view, contributed to, and even exacerbated, that Mexican tendency to 鈥渕ask up鈥� as a response to the harshness and dangers of life. Those many levels of masking create the 鈥渓abyrinth of solitude鈥� from which it is so difficult to escape.
With regard to religion in Mexico, for instance, Paz discusses how the Spanish conquest represented, for Indigenous Mexicans, a failure of their old gods to protect them from invasion and subjugation. The advent of Catholicism in Mexico, for all the trauma of its introduction into the country, provided people with a new religion that resembled the old religions in placing the believer in a child-to-parent relationship with divinity:
Nothing has been able to destroy the filial relationship of our people with the divine. It is a constant force that gives permanence to our nation and depth to the affective life of the dispossessed. But at the same time, nothing has succeeded in making this relationship more active and fecund 鈥� not even the Mexicanization of Catholicism, not even the Virgin of Guadalupe herself. (p. 108)
As it is in Mexico with religion, so it is with politics, festivals, gender relations 鈥� historically imposed layers weigh upon each other, forcing the individual Mexican to 鈥漨ask up鈥� once again in order to resolve the contradictions. And the more one puts on masks, and the longer one keeps them on, the deeper and more intense the solitude one experiences.
The labyrinthine aspects of The Labyrinth of Solitude are made clear by Paz late in the essay:
Several related ideas make the labyrinth one of the most fertile and meaningful mythical symbols: the talisman or other object, capable of restoring health or freedom to the people, at the center of a sacred area; the hero or saint who, after doing penance and performing the rites of expiation, enters the labyrinth; and the hero鈥檚 return 鈥� either to save or redeem his city, or to found a new one. (p. 208)
Focusing on the labyrinth archetype as it appears in the myths of Perseus and the Fisher King, Paz suggests that 鈥淲e have been expelled from the center of the world and are condemned to search for it through jungles and deserts, or in the underground mazes of the labyrinth鈥� (p. 209). Yet the essay ends on a relatively hopeful note, as Paz returns to his focus on Mexico鈥檚 fiestas from early in the essay, and states that 鈥淢yths and fiestas, whether secular or religious, permit man to emerge from his solitude and become one with creation鈥� (p. 211).
The other essays published in The Labyrinth of Solitude and Other Writings include four other comparably important examples of Paz's thoughts about his country. 鈥淭he Other Mexico,鈥� an essay that developed from a lecture that Paz delivered at the University of Texas in 1969, is characterized by Paz as 鈥渁 continuation鈥� (p. 215) of the ideas he set forth two decades earlier in The Labyrinth of Solitude.
Paz starts 鈥淭he Other Mexico鈥� by looking at the year 1968 鈥� a pivotal year in recent Mexican history. On the one hand, 1968 was the year of the Mexico City Olympics, the first Olympic tournament ever held in Latin America. On the other hand, the staging of the Olympics in Mexico City was protested by college and university students who felt that the millions of pesos being spent on the Olympic Games could have been better spent working to alleviate Mexico鈥檚 still-considerable poverty. Mexican security forces used violence to quash the protests in the Plaza de Tres Culturas, in the Tlatelolco section of Mexico City, and as many as 400 protesters were killed. The event is known as the Tlatelolco Massacre, and is still a trauma in Mexico鈥檚 collective memory. Paz resigned his post as Mexico鈥檚 Ambassador to India in protest.
Against the backdrop of the then-virtually absolute power of Mexico鈥檚 ruling Institutional Revolutionary Party (Partido Revolucionario Institucional or PRI), Paz posits that, while there is indeed a Mexico of people who are increasingly prosperous, with a growing middle class 鈥� exactly the Mexico that the government of the time wished to display to the world through the Olympic Games 鈥� there is an 鈥渙ther Mexico鈥� that does not participate in any of that prosperity: 鈥淔or years now, half of Mexico 鈥� poorly clothed, illiterate, and underfed 鈥� has watched the progress of the other half鈥� (p. 271).
Invoking the archetype of the pyramid on which victims were sacrificed to the Aztec gods in pre-contact times, Paz suggests that Mexican society remains pyramidal in its structure, with a small elite enjoying power and luxury at the top while vast numbers of those at the bottom live in poverty and misery. The only difference, from Paz鈥檚 point of view, is that a president and the PRI have taken the place of a god-king and his hierarchy of high priests:
The image of Mexico as a pyramid is鈥he viewpoint of what is on the platform at its top. It is the viewpoint of the ancient gods and of those who served them, the Aztec lords and priests. It is also that of their heirs and successors: the viceroys, the generals, the presidents. And, furthermore, it is the viewpoint of the vast majority, of the victims crushed by the pyramid or sacrificed on its platform-sanctuary. The critique of Mexico begins with the critique of the pyramid. (p. 308)
The other inclusions in the book are not as extensive as The Labyrinth of Solitude or 鈥淭he Other Mexico,鈥� but are interesting in their own way. 鈥淩eturn to The Labyrinth of Solitude鈥� (1975), an interview between Paz and a professor at a French university, sets forth Paz鈥檚 sense of change and continuity in Mexico over the 25 years since The Labyrinth of Solitude was written, provides Paz鈥檚 sense of the writers who influenced his composition of the essay, and is amusing for Paz鈥檚 description of how his book was initially received in Mexico 鈥淩ather negatively. Many people were indignant: some thought it was a book against Mexico. A poet told me鈥hat I had written an elegant insult against Mexican mothers鈥� (p. 330).
鈥淢exico and the United States,鈥� originally published in The New Yorker in September of 1979, makes valid points regarding Spanish Catholicism and English Protestantism as the different religious and cultural antecedents of these two republics of the North American mainland. But what really struck me about this thoughtful and perceptive essay is a warning that Paz offers to Americans near its conclusion:
Today, the United States faces very powerful enemies, but the mortal danger comes from within: not from Moscow, but from that mixture of arrogance and opportunism, blindness and short-term Machiavellianism, volubility and stubbornness which has characterized its foreign policies during recent years, and which reminds us in an odd way of the Athenian state in its quarrel with Sparta. (p. 376)
Paz was writing in 1979, at a time of heightened Cold War tension; within three months after the publication of the essay, the Soviet Union would be invading Afghanistan. But it seemed to me that his words would have been just as applicable on any given day of the Trump administration.
And 鈥淭he Philanthropic Ogre,鈥� published in Dissent magazine in late 1979, is most noteworthy for Paz鈥檚 gloomy reflections on the state of the Mexican government. He writes that 鈥淭he modern state is a machine 鈥� a continually self-producing machine鈥� (p. 379), and expresses his concern regarding the bureaucratic power of the PRI 鈥� an understandable concern, as the PRI, at the time of this essay, had held power continuously since 1929, and would not fall from power until the year 2000.
I was profoundly impressed by The Labyrinth of Solitude. It may be the most important book ever written by a Mexican author, or about Mexico. I do not offer this assessment casually or lightly.
yeah, donkey don, i see no way a twenty year old could get much out of this book... it's so rich and deep that some life lived and a healthy dose of critical thinking is certainly required. paz sets out to do nothing less than try and understand the totality of mexican existence and identity. which, understandably, poses quite a problem. as he puts it:
"The whole history of Mexico, from the Conquest to the Revolution, can be regarded as a search for our own selves, which have been deformed or disguised by alien institutions, and for a form that will express them."
the opening chapters (in which paz directly investigates the 'mask', the pachuco, the meaning and function of 'fiesta', myth, ritual, etc) are dark and poetic, but also somewhat academic and general... it's only at chapter four 'The Conquest and Colonialism' that, for me, the book takes off into serious five star territory. paz runs through the history of mexico less concerned with chronology and personality than why? why! why? why!
he starts at the beginning: whereas their neighbors to the north obliterated the red man, tossed out the europeans, and were thus placed in the magical blank-slateness of cherrypicking from the european tradition minus the burden of history, the mexicans had a different situation altogether: the spaniards chose rape and colonialism over genocide, thus creating the mexican: a (second class) race of pre-cortesian aztec indian mixed with spanish blood. pepper in catholicism colonialism and counter-reformation and it's problematic... to say the least.
paz follows the line from Independence through the Revolution and beyond with penetrating and profound insight... but the core of all he lays out, the fundament running through his Labyrinth, i think, is that mexico -- as with all individuals and nations and cultures and civilizations -- is not merely the end result of its history, but an ineffable collection and connection of all that they were and are and will be and all they've ever touched or dreamed or discarded. the challenge and necessity is to find that unique form by which to express this...
If you have read a snippet of "Labyrinth" (& let's face it--you HAVE: or else you know little about the Mexican race) you get the point. The Mexican is a pariah who wears masks to hide inner feelings (sometimes the repressed bursts out...such as in its celebrations), and the country borrows dogmas that do not usually sit well with the Mexicans... ergo disorder, even to this day.
Paz has done a sociological paper right. He gives authenticity to his thesis--& stuff like La Malinche and the Pachucos resonate. I read this in almost romantic fervor, though its more like a guidebook. I take lexicons/encyclopedias too seriously, I can honestly say.
El libro que todo mexicano deber铆a de leer, me tarde tanto en terminarlo a pesar de su breve extensi贸n porque no es posible digerir tanta realidad de golpe, hay que analizarlo, pensarlo y darle oportunidad de que se plante en nuestra conciencia. La obra de Octavio Paz se mantiene actual y firme al paso de los a帽os, cambiamos tanto para ser los mismos de siempre, con el PRI de siempre y los problemas de siempre, la raza de los derrotados y del, termino aun no acu帽ado pero ya presente en el inconsciente, ya merito.
For a book that was written a half-century ago, this one was amazingly revealing in a number of ways. The history and people of Mexico have always been somewhat outside my comprehension of the world and this book explained much of my confusion. The author's understanding of community and revolution astounded me, and his command of precisely useful compound terms to describe both, left me with a profound respect for the linguistic command of either Paz or his translator Kemp 鈥� or both. I wish I had time to go back through this book and make a list of those terms for my own use in discussing society. This book was added to my list after reading the author's book of poetry Airborn.
Es casi criminal que a los mexicanos nos pongan a leer este libro 隆en Preparatoria! A esa edad, esta lectura resulta, no s贸lo aburrida, sino odiosa. apenas lee el joven unas cuantas p谩ginas y saldr谩 corriendo a copiar alg煤n resumen bajado de la red, para cumplir con la tarea... El resultado, uno termina consider谩ndolo como aburrido e ininteligible, cuando en realidad es un GRAN libro! Cosa distinta cuando lo lees siendo adulto, con un criterio formado y una idea, no importa que sea vaga, de como funcionan las cosas en M茅xico. "El laberinto de la soledad" parte de una opini贸n tr谩gica e irrevocable: en el ser mexicano est谩 presente, aun despu茅s de muchas generaciones, el hecho de que se trata de un pueblo surgido de una violaci贸n. Dice Octavio Paz: "En todas sus dimensiones, de frente y de perfil, en su pasado y en su presente, el mexicano resulta un ser cargado de tradici贸n que, acaso sin darse cuenta, act煤a obedeciendo a la voz de la raza..." PAZ realiza un an谩lisis del actuar del mexicano, su psique, sus temores, sus alegr铆as, a trav茅s de los etapas hist贸ricas m谩s sobresalientes; la Conquista y la Colonia, la Guerra de Reforma, la Revoluci贸n y la 茅poca post-revolucionaria, hasta llegar a los a帽os 1970's. Todos los mexicanos deber铆amos leer este libro, y despu茅s, tal vez, quiz谩 podamos hacer algo para hacer a un lado nuestros traumas...
There was a common joke I used to hear a lot when I was a teenager, and that was "Call someone from Mexico a Mexican and they will get angry and tell you they are not Mexican." I found it funny at the time because it seemed to work every time. But in reality, the words must have cut far deeper than I imagined. And after reading Octavio Paz's Labyrinth of Solitude, I can understand why.
Paz brilliantly links Mexico's history with the question of "What makes a Mexican a Mexican?" It pervades every chapter in this book. Rather than focus on a primarily Marxist text, or endless talk about the Revolution, Paz delves deep into the Aztec mythos and Cortesian aftermath of a colonized people with no real identity. A culture trapped between two worlds that cannot be understood by any other culture. Not only is the document historical, it is also a brilliant exposition on the nature of Mexicans with particular emphasis on some of Mexico's most striking features: The pagan-Catholic cult of Death; the idea of the macho, or what is known as "the Chingada"; the role of women in Mexican society; the importance of the fiesta; and the idea of masks.
Although Paz doesn't cite as many sources as he should in some instances, his work is written in a poetic nature and does not come across as angry. It is not a book with an agenda (per se), but rather an educational discussion on culture. Even though the initial text was written 63 years ago, it still holds up today.
A major positive trait of this book is the additional writings that accompany the initial text. Paz kept revisiting his text decade after decade, and he had good reason to do so. Mexico saw a lot of change in the 20 years after writing The Labyrinth of Solitude, namely the Mexican Olympics and the Tlatelolco massacre in 1968. Paz brings this up and even goes so far as to criticize his own previous work and Mexico itself.
One of the greatest non-fiction books ever written which can be read in various contexts, Labyrinth of Solitude is a gem that should be read by anyone interested in cultural analysis.
Required reading for anyone interested in Mexican history and literature. Really for anyone immersing themselves in the fiction and Literature south of our border. More specifically it served as a most excellent warm up to my reading . One might imagine every nation and/or culture having their Paz. And let's say nothing about it's place in post-colonial literature. Some works simply stand as models for what in other contexts might also be done.
La Chingada es la madre de todos los Mexicanos The Chingada [translations varies with sentence] is the mother of all Mexicans
I remember I move through Mexico through the years my family lived there after moving from Madrid like a ghost against a compulsory changing Mexico. I traveled the streets where legends are an integral part of both tradition and history just to turn around the corner into a night club. Mexico was a magical land, yet a place of change, or a never moving change. It seemed to me that at every stage, at every part of Mexico, in every coffee house there is another revolution. Perhaps Carlos Fuentes is right in saying there was the beginning of the Mexican revolution but Mexico has not really seen the end.
Father Pe帽alosa in particular (a priest) gave me this book not only to find consolation in the feeling of detachment that I had from Mexican culture, a feeling of being left behind or being ignored, because it did not took long for me to have lost the air of a foreigner and having to adapt to a culture so family oriented was hard for me.
Reading Paz was studying Mexican culture. I understood the complexity of a Mexican teenager along with the fake masks we all wear. It allowed me to understand why it is so hard for them to adapt to USA or any other country whose family values are not really indigenous. Pe帽alosa confessed me that even he had doubts. Mexico Indian values are so deep rooted that when the Conquest of Mexico happened Franciscans had a really hard time converting Mexicas to Catholics. It was until the apparition of the Virgin Mary (it is important to note the differences in appearance of Virgin Mary in Mexico to the ones of Europe) to an Indian that ultimately change the converting to Catholicism exponentially. Here lies the dilemma Paz explains with 鈥渉ijos de la malinche,鈥� 鈥淪ons of the Malinche.鈥�
The Malinche was the translator to Hern谩n Cortez. She was the one that opened the doors to diplomacy and the conquest of Mexico, this betrayal (one can argue that she wanted the extermination of the Aztecs not of entire Mexico here but that will be for another time) opened a deep injury in the heart of all Mexicans. The mother betrayed the sons and this would be a slow to forget event. Paz then decides all Mexicans are sons of la chingada鈥攖he mother, just like la Malinche. Not a mother of flesh and bone but a mythical figure. The chingada is one of the Mexican representations of Maternity, like la 鈥榣lorona鈥� the long suffering Mexican mother. From here Paz moves to explain Ruben Dario鈥檚 study of the word Chingada, this was very funny for me to read, in fact I found it amusing a whole country can move with the saying of just one single word.
Do you want a deep study and self analysis (for Paz) of Mexico? The subjects in the book have never lost depth and are still very relevant in modern M茅xico. Do you want to understand more Mexican American Relations? Do you want to know Mexico? If yes then pick the book and read it, read it like you travel, like you have a Mexican woman that you cannot completely understand鈥攖hen again which women can be completely understood?. A woman that carries a wound deep into herself and a doubt, a guapango and a danz贸n, a silver bullet and a sword, the love for the god snake and god deer conflicting with the love to a bleeding God.
The reading may be a bit heavy but the end justifies the means. Enjoy.
Paz dissects Mexican politics and culture. There were some interesting sections of this book, but he says the same things over and over again, describing Mexico as a palimpsest where Spanish Catholicism overlays itself on Aztec religious theocracy. There were also some parts of the book I did not care about, such as long discussions of the history of Mexico's many revolutions and a critique of each regime. Also, Paz states often as generalized facts things that, while he may be trying to present an image of common Mexico, seem rather poor, such as his discussion of Mexican women being pure passivity, an idea that I'm sure was not totally true at his own time, but which he might see as the historical-social ideal of the people. The syntax of these passages make it look as if these are Paz's personal beliefs, which made me feel a bit annoyed with his philosophies, especially when it comes later to his discussion of Mexico needing to be femenized.
Todo mexicano que soporte una cr铆tica a nuestra cultura, a nuestro modo de pensar y a todo eso a lo que nos aferramos, definitivamente debe leer este libro. M谩s que bueno. No es apto para mexicanos sensibles.