Abstract
A recent exhibition at the Royal Academy in London, Mexico: A Revolution in Art 1910–1940, highlighted a juxtaposition of past and present that fascinated intellectuals, novelists and artists from around the world. Against this background, this article explores how tensions between what Adam Marrows describes as “the cosmic time of empire” and the more fluid senses of local, historical Mexican time in the modernist novels of D.H. Lawrence (The Plumed Serpent, 1926) and Aldous Huxley (Island, 1962) challenged the prevailing western concept of modernity. Their work deeply affected the next generation of Mexican writers including Carlos Fuentes, whose extensive experimentation with temporal dislocations in novels such as Terra Nostra (1975) incorporates features of utopianism and magical realism – foreshadowed by Huxley and Lawrence – that question the horizons of local and global histories and gesture towards “decolonial options” identified by Walter D. Mignolo as “roads towards the future”.
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