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Carlos Fuentes was a dapper man. His physical bearing, his way of dressing, and his manners were all exquisite. He favored tailored Italian suits, supple loafers, pocket squares. He liked tony international places: he once said he owed the idea for La muerte de Artemio Cruz (1962; The Death of Artemio Cruz), perhaps the most “Mexican” of his novels, “to the North Sea and a beach in Holland” (Interview). But his cosmopolitanism got him into trouble, such as when a well-intentioned but off-key televised public-service announcement resulted in late-night TV parodies. Addressing the pollution problem in Mexico City, Fuentes pleaded for the public to save his “beloved” city—all while standing in an idyllic spot in Cambridge, England.
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