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Aunt Julia and the Scriptwriter

Introduction

English literature is full of great literary works, and still researches are underway to explore the new dimensions of the literature written in the past. This paper will also perform similar tasks, by combining four great literary works and creating a connection between them. This study will use the story of Aunt Julia and The Script Writer by Mario Vargas Llosa and connect that story with three other stories, including, Battle Royal by Ralph Ellison, A Very Old Man With Enormous Wings: A Tale For Children by Gabriel Garcia Marquez, and Rocking Horse Winner by DH Lawrence. The first story be connected with the other in unsettled manner (Rosenberg, pp. 98-122).

Discussion and Analysis

Before connecting the stories, it is better to discuss each of them individually, a better view what these stories are, so that the connection that be created in the conclusion section may not lose the element of transition in stories.

Aunt Julia and the Scriptwriter

The novel Aunt Julia and the Scriptwriter begins with a semiserious Mario introducing himself as a student and news director of Radio Panamerica, the lesser of Lima's two radio stations owned by the Genaro family, with the importation of Pedro Camacho from Bolivia to write original radio serials to replace those which the Genaros brought from Cuba, and with the arrival of the newly divorced Aunt Julia, also from Bolivia. Mario's initial encounters with Camacho and Julia are equally unpromising but turn out, in true melodramatic fashion, to be important first steps in forming a professional bond between Mario and the scriptwriter and a very personal one with Aunt Julia (Aunt Julia and the Scriptwriter) (Llosa, pp. 125-163).

The story of the furtive courtship between Mario and Julia is the central portion of Mario's narrative, as the two fall quite hopelessly, passionately, and madly in love with each other. Their love, when it finally discovered after their ill-starred elopement, brings down upon them a family catastrophe that competes, in all of its absurdity and odd manifestations, with elements of Camacho's soap operas, the stories which recounted antiphonally throughout the novel. Indeed, the comedy of errors of their elopement — they dash about the countryside to find a mayor who will, for a bribe, marry the underage Mario without parental consent — has exactly enough improbability about it to make it truly resemble the vicissitudes of real life. (Rosenberg, pp. 98-122).

The work's final chapter serves as a neat conclusion to all the cliff-hanger questions about Mario's narrative and explains what has happened, over a twelve-year period, to Mario, Julia, Pedro Camacho, and lesser characters such as Pascual, Javier, and Big Pablito. In so doing, it serves both to provide a neat summary of much of the novel's action and to mark a decidedly new phase in Mario's fortunes. In Aunt Julia and the Scriptwriter been variously hailed as a “ribald classic,” a pure example of the “literature of exhaustion” that reflects upon itself, and a postmodern novel that ...