click on the journal question that intrigues you the most.
This will pull up a form for you to fill out responding to that
Llosa alternates between the “reality” of Varguitas and the radio dramas that Pedro creates. Explain what this alternating pattern allows him to do that a more straightforward narrative would not. Feel free to compare and contrast with Esquivel’s experimental format in Like Water for Chocolate. answer this journal
Why is Varguitas in love with Julia? He’s clearly able to meet and be attractive to other women, so why does he fall in love with Julia? What does she offer him that other women do not? answer this journal
Pedro’s radio dramas always end up becoming extreme and controversial by the end of the chapter if not insanely outrageous. However, they start out like typical soap opera/movie plots and only get outrageous by the end. If anything, the beginnings are clichés. What, if anything, is Llosa saying about our expectations of entertainment with these chapters? Do we appreciate the cliché or the unexpected twist more? Is society ever going to truly appreciate the artist who does something avant garde really out there and different from what everyone expects? answer this journal
Show how the soap operas are connected to the “regular” chapters. How does Pedro take what is happening around him and spin it into fiction? (this is important to Llosa, as he’s doing the same thing to his own life here taking what actually happened and turning it into a novel). answer this journal
Pedro Camacho is a very unique character. Is he a genius or insane? Or both? Describe Pedro and explain what makes him admirable and/or pathetic. Should Varguitas follow Pedro’s lead or run away while he can? answer this journal