Federico Campbell was born in Tijuana, Baja California, on July 1, 1941.
studied law and philosophy at the Universidad Nacional Autonoma de Mexico and journalism (1966-67) in Saint Paul, Minnesota.
In 1969 he was Washington correspondent of the Mexican News Agency.
Between 1977 and 1988 he worked as a reporter for the weekly Proceso.
His novel The Morse code was published by Alfaguara.
His anthology of critical essays on Juan Rulfo, the fiction of memory, appeared in 2003 under the seal of Editorial Era.
In 2000 he won the Prize for Fiction Colima, awarded by the INBA and the University of Colima, for his novel Transpeninsular.
In 1977 he founded the publishing Typewriter.
In 1994 participated in the National System of Creators and in 1995 won the JS Guggenheim Fellowship.
theater has translated Harold Pinter, David Mamet and Leonardo Sciascia. Write in the journal
Goals and in newspapers in northwestern Mexico a weekly column, more literary than political: The Hour of the Wolf.
Work published
Novel: Everything
seals, Ed Joaquin Mortiz, 1983, in Tijuanenses volume.
pretext or the masked writer. Fund de Cultura Economica, 1979.
Transpeninsular. Joaquín Mortiz, 2000.
The Morse key. Alfaguara, 2001.
Story:
Tijuanenses. Alfaguara, 1997. Tijuana. Stories on the border. The University of California Press, Berkeley. Translation Debra Castillo. Contains All the seals and five stories, including "The Brothers."
Anthology:
Empire goodbye. Aldus and CNCA, 2002. Anthology of prose (short stories and novels).
The fiction of memory. Juan Rulfo to criticism. Era, 2003.
Essay: Sciascia
memory. Fondo de Cultura Economica, 1989. Postscript
sad. Tightrope Editions, 1994.
The invention of power. Aguilar, 1994.
black mask. Joaquín Mortiz, 1995.
Conversations with writers. Conaculta, 2004.
Interview:
The typewriter [interviews with FC] by Hernán Becerra Pino. Editions of the National Council for Culture and the Arts, Cecut, Tijuana, 1997.
* * * Key Morse
The son tells the story of his father, an old telegraph. Thirty years after the death of parents, three children are made about them and discover that each had a different perception of everyone. More than the story of an office in extinction, the telegraph, the Morse code sets the stage memory to reconstruct or invent from the relentless trial of children. The same experiences, never commented because they lived together, are just around the years, different for everyone: the invention of the father in each of the subsidiaries fantasies.
Transpeninsular
The theme is the search for the missing writer. It is a journey through the Baja California peninsula and on the last love of the narrator character, he is giving an overlap of geography, the peninsula of Baja California and Italy. Fernando is the story of Jordan, an anthropologist and journalist who in the 50 "discovers" the cave paintings of Baja California and died in 1956 in La Paz, at age 36, apparently by suicide, or murdered.
All seals
is a novel that happens in Tijuana teenage narrator's character, a memory Tijuana, to the 50. Beckett and the tone is melancholy. Much of the scenes take place in a rarefied atmosphere, delusional, schizoid. The boy falls in love with an American woman who arrives at the airport in Tijuana in a yellow plane, and finally concentrated all women in the narrator's life: mother, sisters, first girlfriend, the woman. Ones without a precise definition, intermediate, middle, amphibians and air, the protagonists assume time dilation and the purgatory of the borderline personality.
This novel was translated into English in Tijuana volume. Stories on the Border, by The University of California Press, Berkeley. Translation Debra Castillo.
pretext or the masked writer
is the story of a journalist, Bruno Medina, who was a government office charged with the false biography, a pamphlet by Professor Alvaro Ocaranza, to been disrupted. The novel reflects the atmosphere of political persecution that occurred in Mexico and other Latin American countries in the late 60's. The tragedy is exacerbated when the ghost writer, author of anónino, feel your Ocaranza relationship with the teacher is transformed into an identification that breaks your whole being and lives as a betrayal of the father. There is also the issue of relations between the press and power. All
hoax Bruno becomes a problem for identities, Pirandellian a betrayal of the symbolic father and a teacher's shame, a way of life and literary self-destruction, an inability to live life with courage, enthusiasm, passion and risk. Sexuality, sexual isolation, is mad, pointless and masturbatory mired in anguish. To his great misfortune, takes shape in his mind the possibility that paranoid in the end is investigated by means of a linguistic approach of estiloestadística. Meet the terror when he discovers that this method (literary police) in effect there will be annihilation and moral, mental, irreversible, by highlighting the project that had never suspected: the libel of his own life.
Sciascia memory is readable and introductory analysis of all the works of the Sicilian writer Leonardo Sciascia. This is a reflection on the mafia, the Sicilian, the English world, and things we have in common English, Mexican and Sicilian: the Holy Office of the Inquisition, for example. Also concerns the "sicilianización the world," Sicily as a metaphor for today's world and the disappearance of the state. It also contains a chronicle of Sicily tour and an interview with Sciascia.
For Claude Ambroise, the largest specialist Sciascia, "the best presentation of the work of Sciascia is a English-language book written by a Mexican (Federico Campbell, Sciascia memory) that, without being pedantic, but with precision and passion, outlines the research content sciasciana. Campbell's membership in the Hispanic world of greater thickness allows you to give the English side of the Sicilian writer: the critic reactive Mexican-Borges Sciascia dialogue and insert and update them in a Latin American context, reflections on the Inquisition and injustice. " (Leonardo Sciascia. Opere 1984-1989. A cure di Claude Ambroise. Classici Bompiani, Milano, 1991.)
Black Mask (crime and power)
The suspicion that the crime novel has not only the issue of justice and political legitimacy, but also a universe in which power is fused with the crime, led the author to weave a meditation on the police power and the absence of the state. Essays on detective novels and true crime.
Sad Postscript is a literary journal that takes as its model the Journal de Jules Renard or Brancati Vitaliano Roman Journal: a diary in public. Its theme is the impotence of literary why an accomplished writer stops writing and choose to keep quiet? There is a melancholy following the act of finishing a work, as suggested by the subtitle of the book: Post coitum omne animal triste.
The invention of power can be understood the invention of power in the sense that it says "the invention of the umbrella, but also and above all, as the capacity of power has prefabrication and inventive. That is, the power as a producer of reality and fiction: iron hands and paper tigers over a circularity not less theoretical than practical, for the power but also invented invented.
The typewriter
The volume, by Hernan Becerra Pino, anthology twenty-three of the best interviews throughout his literary work have made him the writer Tijuana. Among the interviewed literary obsessions include aviation, flying experience, the transience of journalism, literary impotence, the ambiguities of memory, the ghost of the father, the passion for Italy and Baja California, the crime of power and "Tijuana written by hand."
The fictional mind: Juan Rulfo to criticism
Selection and foreword by Federico Campbell. Anthology of fifty years of criticism of the literary work Juan Rulfo.
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