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

中文翻译：

---

三重伪装中的真相

卡洛斯·富恩特斯（Carlos Fuentes）的《圣地》是三重十字三部小说中的第一部，使用电影“语言”（倒叙、突然剪辑、特写、远景、溶解）进行叙事过渡、戏剧强度和亲密过程的再现。英雄的思想（想象一种现象学分析，其中意识，正如它所认为的那样，是一部电影）。然而，主要使用电影语言是因为它唤起了现在的虚无。这一直是严肃作家的主题——更不用说牧师和哲学家了——而且，最近，它已经成为电影本身的主题，尤其是当他们自觉地暗示，为了电影体验，任何人的生命和灵魂可用于光的物体必须屈服于硝酸银的神话。ersatz 的化学成分是可见光的病理。（例如，炸毁。) 富恩特斯不仅使用电影语言，而且在题词和文字中提到了博尔赫斯、费里尼、桑塔格、科塔扎尔、F.斯科特菲茨杰拉德的盖茨比等人，他们以不同的方式站在最令人印象深刻、最精辟的修辞家中现实和现实有着奇怪的相似之处；可能确实是本质上无法区分的矛盾。评论：美洲文学与艺术，第 100 期，卷。53, No. 1, 2020, 24–28