[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-38002-en":3,"doc-seo-38002-105":29,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":11,"is_downloadable":11,"audit_status":11,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":13,"seo_description":14,"update_tm":27,"read_time":28},38002,13056703019662,"Evangeline","https://ap-avatar.wpscdn.com/avatar/be000253a8e92610077?_k=1778726343310543188",1,"Story & Novel","The Last Dream","The Last Dream collects autobiographical and fictionalized stories in which a filmmaker frames his life through writing and cinema. An introduction explains the paradox of refusing autobiography while presenting fragmentary, intimate snapshots: glimpses, chance encounters, and texts created at different moments. The volume ties literature, personal memory, and lived experience into initiation narratives, linking early love of writing to later works and recurring characters, including Patty Diphusa and accounts of death, visits, and reflective days.","Dedication  \nFor Lola García, my brother Agustín, and Jonás Peiró  \nEpigraph  \nAnd they contained accounts of moments that he treasured but could share with no one. Casual glances at young men who had come to his lectures or whom he encountered at a concert. Glances that were sometimes reciprocated and then became unmistakable in their intensity. While he enjoyed the homage he received in public and appreciated the large audiences he attracted, it was always these chance meetings, silent and furtive, that he remembered. Not to have registered in his diary the message sent by the secret energy in a gaze would have been unthinkable.  \n—Colm Tóibín, The Magician  \nContents  \nCover  \nTitle Page  \nDedication  \nEpigraph  \nIntroduction  \nThe Visit  \nToo Many Gender Swaps  \nThe Mirror Ceremony  \nJoanna, the Beautiful Madwoman  \nThe Last Dream  \nThe Life and Death of Miguel  \nConfessions of a Sex Symbol  \nBitter Christmas  \nAdiós, Volcano  \nRedemption  \nMemory of an Empty Day  \nA Bad Novel  \nA Note from the Translator  \nAbout the Author  \nCopyright  \nAbout the Publisher  \nIntroduction  \nI’ve been asked to write my autobiography more than once, and I’ve always refused. It’s also been suggested that I let someone else write my biography, but I have always felt somewhat resistant to the idea of a book entirely about me as an individual. I’ve never kept a diary, and whenever I’ve tried, I’ve never made it to page two. In a sense, then, this book represents something of a paradox. It might be best described as a fragmentary autobiography, incomplete and a little cryptic. Still, I believe that the reader will end up getting the most information about me as a filmmaker, as a fabulator (as a writer), and the way in which my life makes things blend together. But there are contradictions even in what I’ve just written: I say I’ve never kept a diary, and there are four texts here that prove the opposite: one about the death of my mother, one about my visit to the Mexican singer Chavela Vargas in Tepoztlán, the account of a pointless day, and “A Bad Novel.” These four texts are snapshots of my life as I was living it, without any degree of distance. This collection of stories (I call everything a story, I don’t distinguish between genres) demonstrates the intimate relationship between what I write, what I film, what I live.  \nThe unpublished stories, together with a bunch of others, had been filed in my office by Lola García. Lola is my assistant in this and many other ventures. She compiled them, extracting them from several old blue folders rescued in the chaos of my many moves, and she and Jaume Bonfill decided to dust them off. I had not read them since I first wrote them. Lola had filed them away and I’d forgotten about them. Had she not suggested it, it never would have occurred to me to read them after so many decades. Sensibly,  \nLola selected a few, to see how I would react to rereading them. In the isolated moments between the preproduction and postproduction of Strange Way of Life, I entertained myself by rereading them. I haven’t tinkered with them, because what I found interesting was remembering myself and remembering them as they were written at the time and seeing how my life and everything around me changed after I left school with a high school diploma.  \nI have known that I was a writer since I was a boy, I always wrote. If I was certain about one thing, it was my literary vocation, and if there is one thing about which I’m not certain, it’s my achievements. There are two stories about my love of literature and writing (“The Life and Death of Miguel”—written over the course of several afternoons between 1967 and 1970—and “A Bad Novel,” written in 2023) .  \nI made my peace with some of them and remembered how and where I wrote them. I can picture myself, in the courtyard of the family home in Madrigalejo, writing “The Life and Death of Miguel” on an Olivetti typewriter under a grapevine with a skinned rabbit hanging from a string","cbCairIoz7N5ltyA","https://ap.wps.com/l/cbCairIoz7N5ltyA","pdf",2809955,2,152,"English","en",105,"# Introduction\n# Contents\n## The Visit\n## Too Many Gender Swaps\n## The Mirror Ceremony\n## Joanna, the Beautiful Madwoman\n## The Last Dream\n## The Life and Death of Miguel\n## Confessions of a Sex Symbol\n## Bitter Christmas\n## Adiós, Volcano\n## Redemption\n## Memory of an Empty Day\n## A Bad Novel","[{\"question\":\"What is the organizing idea behind The Last Dream collection?\",\"answer\":\"The introduction presents the book as a fragmentary, cryptic autobiography where writing, filming, and lived experience closely interrelate, often without formal separation by genre.\"},{\"question\":\"How does the introduction address the author’s reluctance to write autobiography?\",\"answer\":\"He says he has refused writing his autobiography and never kept a diary, yet includes four texts that contradict that claim, functioning as direct snapshots without distance.\"},{\"question\":\"Who compiled the unpublished stories included in the book?\",\"answer\":\"Lola García, his assistant in many ventures, filed the texts in his office from old folders, selected some for rereading, and helped bring them back for the 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is the organizing idea behind The Last Dream collection?","Question",{"text":74,"@type":75},"The introduction presents the book as a fragmentary, cryptic autobiography where writing, filming, and lived experience closely interrelate, often without formal separation by genre.","Answer",{"name":77,"@type":72,"acceptedAnswer":78},"How does the introduction address the author’s reluctance to write autobiography?",{"text":79,"@type":75},"He says he has refused writing his autobiography and never kept a diary, yet includes four texts that contradict that claim, functioning as direct snapshots without distance.",{"name":81,"@type":72,"acceptedAnswer":82},"Who compiled the unpublished stories included in the book?",{"text":83,"@type":75},"Lola García, his assistant in many ventures, filed the texts in his office from old folders, selected some for rereading, and helped bring them back for the 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