Abstract
L A REGION MAS TRANSPARENTE (1958), Carlos Fuentes's first novel, oscillates between two different perspectives on the nature of the self and its relations to history and the community. On the one hand, the novel outlines a view of the self that derives primarily from existentialist ideas found in the works of Andre Gide, JeanPaul Sartre, and Albert Camus.' In this view, the self is discontinuous, contingent, wholly unaffected by any kind of socio-cultural conditioning, permanently separated from a stable and enduring core of meaning-and it is precisely for this reason that it possesses an absolute freedom to mold itself into constantly new shapes.2 On the other
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