Mexican novelist, journalist, playwright, and essayist, who made his international breakthrough with La muerte de Artemio Cruz (1962, The Death of Artemio Cruz). Major themes in Carlos Fuentes' work are the limitless power of fantasy, the dilemma of national identity, and the promise and failure of the Mexican revolution. Fuentes was frequently mentioned as a candidate for the Nobel Prize for literature

"My first contact with literature was sitting on the knees of Alfonso Reyes when the Mexican writer was ambassador to Brazil in the earlier thirties. Reyes had brought the Spanish classics back to life for us; he had written the most superb books on Greece; he was the most lucid of literary theoreticians; in fact, he had translated all of Western culture into Latin American terms. In the late forties, he was living in a little house the color of the mamey fruit, in Cuernavaca. He would invite me to spend weekends with him, and since I was eighteen and a night prowler, I kept him company from eleven in the morning, when Don Alfonso would sit in a café and toss verbal bouquets at the girls strolling around the plaza that was then a garden of laurels and not, as it has become, of cement." ('How I Started to Write,' in Myself with Others: Selected Essays by Carlos Fuentes, Farrar, Straus, and Giroux, 1988,  p. 18)

Carlos Fuentes was born in Panama City, but his parents were Mexican, and he later became a Mexican citizen. Fuentes' father, Rafael Fuentes Boettiger, loved books and movies. He was a career diplomat and travelled all over the world. At the age of twenty-five, he married the eighteen-year-old Berta Macías Rivas, Fuentes' mother, who was not so liberal-minded as his father.

As a child Fuentes lived with his family in the United States, Chile, and Argentina. Berta insisted that the family spoke only Spanish at home, but after education in Washington, Fuentes became bilingual from an early age. At home his father made him read Mexican history, which Fuestes saw as a history of crushing defeats compared with the United States. "I learned to imagine Mexico before I ever knew Mexico," Fuentes once said. ('Fuentes, Carlos' by Marie Josephine Diamond, Encyclopedia of World Writers: 1800 to the Present, edited by Marie Josephine Diamond, Facts on File, 2020, p. 199)

Fuentes' upbringing was privileged. He received a cosmopolitan education in private schools. It was not until when Fuentes was sixteen he returned to Mexico, where he attended the prestigious Colegio de México. Fuentes played with the idea of becoming a writer, but he eventually followed the advice of Alfonso Reyes: "Mexico is a very formal country. If you don't have a title, you are nobody: nadie, ninguno. You must become a licenciado, a lawyer; then you can do whatever you please, like I did." ('A Writer from Mexico' by Carlos Fuentes, in The Tanner Lectures on Human Values V: 1984, edited by Sterling M. McMurrin, Cambridge University Press, 2011, p. 23) Fuentes entered the School of Law at the National University of Mexico, receiving his LL.B. in 1948. He also studied economics at Institut des Hautes Études Internationales in Geneva.

During his university years Fuentes adopted Marxist ideals and joined the Communist Party. In 1959 Fuentes married the famous Mexican actress Rita Macedo. They were a striking couple. Macedo was "dark-skinned, with large, almond-shaped eyes and prominent cheekbones," as Fuentes described her. (This I Believe: An A to Z of a Life, translated by Kristina Cordero, Random House, 2005, p. 25) She appeared in the last scene of Luis Buñuel's film Exterminating Angel. An interviewer in the New York Times described Fuentes as "a taut, handsome man with wavy chestnut hair, a thick mustache and long sideburns." ('Fuentes, Carlos,' in World Authors 1950-1970, edited by John Wakeman, 1975, p. 510) The marriage ended in divorce in 1966; ; they had a daughter, Cecilia. In 1973 Fuentes married Sylvia Lemus, a journalist; they had two children. 

From 1950 to 1952 Fuentes was a member a of the Mexican delegation to the International Labor Organization. Returning to Mexico in 1954 he was appointed assistant head of the press section of the Ministry of Foreign Affairs, and from 1957 to 1959 he was head of Department of Cultural Relations. Fuentes also worked as secretary, then assistant director of the Cultural Department at the National Autonomous University of Mexico. From 1959 Fuentes devoted himself to writing. He wrote in longhand on yellow pads, then edited as he transcribed his work on a manual typewriter. He worked every day, including weekends, producing six or seven typed pages a day. ('The 'Transopolitan' Novelist: Carlos Fuentes, Mexico's Provocative Broker Among Cultures, Uncovers a New Vision of Latin America in the Rich Layers of Its Past' by Anthont Day, Los Angeles Times, April 19, 1992)

During the 1960s Fuentes lived mostly in Europe. Due to his ties to Cuba, he was twice denied an entry visa to the United States. In 1971 he broke from the Castro regime, when the poet Heberto Juan Padilla was imprisoned for criticizing the government. Fuentes had an affair with the actress Jean Seberg, who later inspired his novel Diana o la Cazadora Solitaria (1996, Diana: The Goddess Who Hunts Alone). The American actress in the story is named Diana Soren. "I—and I lived with her only for two months—want to run even now to embrace her again, feel her for the last time and assure her that she could  be loved with passion, but for herself, that the passion she sought did not exlude her true self. . . . But the chance for that is gone." (Ibid., translated from the Spanish by Alfred Mac Adam, Farrar, Straus and Giroux, 1995, p. 7) Seberg, whose death in 1979 was declared a suicide, left no account of her acquaintance with the Mexican writer. The FBI had a file on Fuentes, like it had a file on Seberg.  Fuentes was also romantically linked to the film star Jeanne Moreau.

Cambio de piel (1967, A Change of Skin), Fuentes' third major novel, which depicted a group of people on a journey from Mexico City to Vera Cruz for Holy Week, won a prestigious prize in Barcelona, Spain. However, at the same time the book was criticized as "pornographic, communistic, anti-Christian, anti-German and pro-Jewish". ('Fuentes, Carlos,' in World Authors 1950-1970, p. 510) Censors did not allow its publication in the country.

The narrator, Freddy Lambert, is a Nietzschean visionary and a madman, who has both appalled and fascinated readers. His name has been connected to a character in Balzac's La Comédie humaine, Louis Lambert, "a man of ideas," who goes insane after devouring too much knowledge. (Critical Passions: Selected Essays by Jean Franco, p. 164) New York Times Book Review branded Fuentes as a Nazi apologist. Due to his support for the Cuban revolution and anti-imperialist views, Fuentes was declared persona non grata in the United States and forbidden in 1969 to enter Puerto Rico. He once described the United States as "the Jekyll and Hyde of our wildest continental dreams: a democracy inside, an empire outside." ('Prologue,' in  Ariel by Jose Enrique Rodó, 1988, p. 16)

Before the Olympic Games in 1968 Fuentes protested the Mexican government's brutal repression of student revolution in Tlatelolco Square and was exiled in Paris. With other leftist intellectuals and labor leaders he attacked in 1971 the dominant Partido Revolucionario Institucional, or PRI. From 1974 to 1977 Fuentes served as the Mexican ambassador to France. In addition to his career as a writer, he worked a teacher and fellow at various universities, including Columbia University, New York, the University of Pennsylvania, Philadelphia, Princeton University, New Jersey, and Harvard University, Cambridge, Massachusetts.

In Nuevo tiempo mexicano (1994, A New Time For Mexico) Fuentes asked of the economic policies of President Carlos Salinas de Gortari: "Are we going straight back to our unending dilemma, that of being two nations? Are we practicing an archaic, savage capitalism, concentrating wealth in a minority and waiting for the impossible miracle of trickle-down from the first to the second nation, the cruelly excluded, sometimes patient, sometimes frightened, but rebellious nation?" (Ibid., traslated from the Spanish by Marina Gutman Castañeda and the author, University of California Press, 1997, pp. 83-84) However, in the 1990s Fuentes converted to neoliberalism and started to support NAFTA. With Bill Clinton he had more than one dinner in Martha's Vineyard. 

"I believe in the concept of the university," Fuentes said in En esto creo (2002, This I Believe: An A to Z of a Life). "The university does not divide, it unites. It acknowledges and recognizes, it neither overlooks nor forgets. Universities are a meeting place for things that have survived, things that are present, and things that are yet to come in terms of culture." (Ibid., p. 68) A very dark vision of today's world was presented in La voluntad y la fortuna (2008, Destiny and Desire), which won the Cervantes Prize. The moral voice of the story tells in the prelude: "I look without looking. I'm afraid of being seen. I'm not what you would call a "pleasant" sight. I'm the thousandth severed head so far this year in Mexico." (Ibid., translated by Edith Grossman, Random House, p. 2011, p. 4)

Fuentes' several awards include Villaurrutia Prize (1975), Gallegos Prize (1977), Reyes Prize (1979), Mexican National Award for Literature (1984), Cervantes Prize (1987), Darío Prize (1988), New Order of Cultural Independence (1988), Prince of Asturias Prize (1994), Grinzane Cavouch International Prize (1994), National Order of Merit (1997). In 1972 Fuentes was elected to the Colegio Nacional. His welcoming address was delivered by Octavio Paz. Fuentes died on May 15, 2012,  in Mexico City.

Fuentes started his writing career in the late 1940s. Along with Emmanuel Carballo and Octavio Paz he founded the review Revista Mexicana de Literatura in 1954. He edited El Espectador (1959-61), Siempre from 1960, and Política from 1960. Fuentes' first collection of short stories, Los días emmascarados, came out in 1954. La región más transparente (1958, Where the Air Is Clear) was Fuentes' first novel. It gave a panoramic picture of Mexico City and has been compared to John Dos Passos's novel Manhattan Transfer (1925), set in New York City. The central character is an Indian, who has a double personality as an avatar of the Aztec God of war and a trickster.

From the late 1960s, myths and legeds began to take a more prominent place in Fuentes' narrative than in the early fiction. The dense and complex Cumpleaños (1969, Birthday), his first novel in which the events takes place outside Mexico, drew from European history and myth. At the time of its publication, the book received relatively little attention. Many readers found it difficult, because Fuentes abandoned normal chronology and in some scenes made no clear distinction between the identity of his characters, making them appear as one being. It has been suggested that much of the action is a dream.

Although Fuentes' novels featured fantastic and archetypal figures, such as the Mayan rain God (in the short story 'Chac Mool') and the pilgrim (in Terra Nostra), he was not interested in the work of the Swiss psychologist Carl Jung. "My intuition of the mythical must be a priori; a posteriori, any ideas I now have about the subject are very much due to Lévi-Strauss," Fuentes wrote in a letter. ('Carlos Fuentes, Cumpleaños: A Mythological Interpretation of an Ambiguous' Novel by Gloria Durán, in Latin American Literary Review, Vol. 2, No. 4 (Spring, 1974) He was often paired with the Argentinian writer Jorge Luis Borges, the original master of magic realism, of whom he has also written. "It is here, walking from the café to the bookstore a few years ago, that I first saw the blind man. I saw him. . . . He came out of the bookstore and pointed in a certain direction with the cane. I saw his eyes and eas mesmerized: he seemed to be literally looking inside himself, as if this were the only thing that counted in matters of sight—seeing outside being a totally frivolous affair." ('Borges in Action,' in Myself with Others: Selected Essays, p. 141) When Borges used history and historical figures as a basis for pure fantasy, Fuentes maintained a realistic perspective – magical elements, myths of the past and wide range of cultural references are combined with historical knowledge and social and political critique. Moreover, unlike Borges, Fuentes  adopted experimental techniques familiar from the nouveau roman and postmodern fiction.

"I tighten the muscles of my face and open my right eye and see it reflected in the squares of silvered glass that encrust a woman's purse. I am this, this am I: old man with his face reflected in pieces by different-sized squares of glass: I am this eye, this eye I am: eye furrowed by roots of accumulated choler, old and forgotten and always present; eye green and swollen between its lids: lids, eyelids, oily eyelids. And nose: I am this nose, this nose, this earthbrown baked nose with flaring windows; and I am these cheeks, cheeks, cheek-bones where the white whiskers are born. Are born. Face. Face." (from The Death of Artemio Cruz, translated by Sam Hileman, Collins, 1964, p. 9)

The Death of Artemio Cruz is dedicated to the American sociologist C. Wright Mills, "True voice of the Unites States of America, Friend and companion in Latin American struggle". The story is told in the first, second, and third person. Artemio Cruz is a poor peon and supporter of revolutionary ideals. He gains wealth and becomes a corrupt, ruthlessness business magnate, a symbol of international capitalist greed. As he lies on his deathbed, Fuentes follows his fragmented thoughts and images wavering between past and present.

The haunting novella Aura (1962) is told in the second person narrative, in present tense. Thus the reader and the fictional protagonist are united in a story which deterministically leads to change of identities. A young historian, Felipe Motero, starts to complete the memoirs of General Llorente in a strange, old house. He fells in love with the beautiful young Aura. She is the niece of his employer, Señora Consuelo, the widow of the general. Eventually Consuelo tells him that Aura is the projection of her younger self and Felipe finds his reincarnated identity. "You plunge your face, your open eyes, into Consuelo's silver-white hair, and you'll embrace her againg when the clouds cover the moon, when you're both hidden again, when the memory of youth, of youth re-embodied, rules the darknes." (Ibid., bilingual edition, translated by Lysander Kemp, Farrar, Straus and Giroux, 1991, p. 145) Octavio Paz has said that "It is not strange that Fuentes is obsessed with the wrinkled and toothless face of a tyrannical, insane, infatuated old lady. She represents the old vampire, the witch,  the white serpent of Chinese stories, the old lady of murky passions, the outcast." (Carlos Fuentes: A Critical View, edited by Robert Brody and Charles Rossman, 2011, p. 95)

Fuentes began to write the novel in Paris, which he has called a double city. "I believe that the mirrors of Paris contain something more than their own illusion." ('How I Wrote One of My Books,' in Myself with Others: Selected Essays, p. 29)  In the story Fuentes recreated a girl he had met as a child in Mexico and years later again in Paris: "She was another, she had been another, not she who was going to be but she who, always, was being." (Ibid., p. 29)

In later novels Fuentes dealt with the question of Mexican identity and its relationship to other cultures. Terra Nostra (1975) was Fuentes's major novel on Spanish and Latin American history. Fusing history and myth, it moves freely in time from ancient Rome to the apocalyptic end of the 20th century. "Time is the subject matter of all my fiction," Fuentes once said. ('Fuentes, Carlos' by Marie Josephine Diamond, Encyclopedia of World Writers: 1800 to the Present, p. 200) One of the main settings is the 16th century Spain, where Philip II constructs the monastery-palace of El Escorial.

El gringo viejo (1985, The Old Gringo) was a triangle drama of an American woman, Harriet Winslow, Tomás Arroyo, a general, and the American journalist and writer Ambrose Bierce, who disappeaed during Pancho Villa's revolution in 1913. "She sees, over and over, the specters of Tomás Arroyo and the moon-faced woman and the old gringo cross her window. But they are not ghosts. They have simply mobilized their old pasts, hoping that she would do the same and join them." (Ibid., translated from the Spanish by  Margaret Sayers Peden and the author, 2007, Farrar, Straus and Giroux, p. 3)

The book was filmed by Luis Puenzo in 1989, starring Jane Fonda and Gregory Peck. In Instinto de Inez (2001) Gabriel Atlan-Ferrara, a symphony conductor, realizes at the age of 93, that the future means for him death but in the past are love and Inez, the eternity. Like Artemio Cruz at the end of his life, Garbriel studies the choices he has made in his life. At the center of the story is a mystic crystal seal which unites space and time. Fuentes dedicated the book to his son Carlos Fuentes Lemus, who died in 1999 from complications associated with hemophilia. Fuentes' daughter Natasha Fuentes Lemus died in 2005 after a cardiac arrest

For further reading: Carlos Fuentes by Daniel de Guzman (1972); Nostalgia del futuro en la obra de Carlos Fuentes by Liliana Befumo Boschi and Elisa Calabrese (1974); Carlos Fuentes: A Critical View, ed. by Robert Brody and Charles Rossman (1974); The Achetypes of Carlos Fuentes by Glorian Durán (1980); Los disfraces: La obra mestiza de Carlos Fuentes by Georgina Garciá Gutiérrez (1981); Carlos Fuentes by Wendy D. Faris (1983); Carlos Fuentes: Life, Work, and Criticism by Alfonso Gonzáles (1987); Interpretaciones a la obra de Carlos Fuentes, edited by Ana María de López Hernández (1990); The Writings of Carlos Fuentes by Raymond Leslie Williams (1996); The Postmodern Fuentes by Chalene Helmuth (1997); Carlos Fuentes desde la crítica, ed. by Georgina Garcia-Gutierrez (2001); Carlos Fuentes' the Death of Artemio Cruz, ed. by Harold Bloom (2006); Fuentes, Terra Nostra, and the Reconfiguration of Latin American Culture by Michael Abeyta (2006); Carlos Fuentes: A Critical View, edited by Robert Brody and Charles Rossman (2011); The Narrative of Carlos Fuentes: Family, Text, Nation by Steven Boldy (2011); After the Nation: Postnational Satire in the Works of Carlos Fuentes and Thomas Pynchon by Pedro García-Caro (2014); Pensar América Latina desde la literatura: imagen y memoria en Terra nostra de Carlos Fuentes by Myriam Jiménez Quenguan (2020); Mexican Literature as World Literature, edited by Ignacio M. Sánchez Prado (2022); 'Carlos Fuentes and Neoliberalism' by Alejandro Enríquez, A Contra corriente: Una revista de estudios latinoamericanos, Vol. 20, Num. 2 (Winter 2023); The Doppelgänger in Our Time: Visions of Alterity in Literature, Visual Culture, and New Media by Alia Soliman (2024)   

Selected works:

• Los días emmascarados, 1954
• La región más transparente, 1958
  - Where the Air Is Clear (translated by Sam Hileman, 1960)
• Las buenas conciencias, 1959
  - The Good Conscience (translated by Sam Hileman, 1961)
• La muerte de Artemio Cruz, 1962
  - The Death of Artemio Cruz (translated by Sam Hileman, 1964; Alfred Mac Adam, 1991)
  - Artemio Cruzin kuolema (suom. Margareta Konkka, 1967)
• Aura, 1962
  - Aura (tranlated by Lysander Kemp, 1965)
  - Aura (suom. Sari Selander, 1997)
  - Film 1966, La Strega in amore / Strange Obsession / The Witch / The Witch in Love, dir. by Damiano Damiani, starring Rosanna Schiaffino, Richard Johnson, Gian Maria Volontè
• The Argument of Latin America: Words for North Americans, 1963
• Whither Latin America, 1963
• Cantar de ciegos, 1964
  - Film 1965, Un Alma pura, dir. by Juan Ibáñez, screenplay by Carlos Fuentes, starring Arabella Arbenz, Enrique Rocha, Veit Gentry, Leonora Carrington
• Las Dos Elenas, 1965 (screenplay)
  - Films: 1965, dir. by José Luis Ibáñez, starring Julissa, Enrique Álvarez Félix, Beatriz Baz, Ángel Fernández; TV film 2001
• Pedro Paramo, 1966 (screenplay, based on Juan Rulfo's novel)
  - Film 1967, dir. by Alfredo Leal, starring John Gavin, Ignacio López Tarso, Pilar Pellicer, Julissa
• Tiempo de morir, 1966 (screenplay)
  - Films: 1966, dir. by Arturo Ripstein, written by Carlos Fuentes and Gabriel García Márquez , starring Marga López, Jorge Martínez de Hoyos, Enrique Rocha, Alfredo Leal; 1985, dir. by Jorge Alí Triana, starring Gustavo Angarita, Sebastián Ospina, Sebastián Ospina, María Eugenia Dávila
• Los caifanes, 1967 (screenplay)
  - Film dir. by Juan Ibáñez, story by Juan Fernando Pérez Gavilán, strarring Julissa, Enrique Álvarez Félix, Óscar Chávez, Ernesto Gómez Cruz, Sergio Jiménez
• Zona sagrada, 1967
  - Holy Place (translated by Suzanne Jill Levine, 1972)
• Cambio de piel, 1967
  - A Change of Skin (translated by Sam Hileman, 1968)
• Paris: La revolución de mayo, 1968
• Cumpleaños, 1969
• El mundo de José Luis Cuevas, 1969
• La nueva novela hispanoamericana, 1969
• Casa con dos puertas, 1970
• Todos los gatos son pardos, 1970 (play)
• El tuerto es rey, 1970 (play)
• Tiempo mexicano, 1971
• Poemas de amor, 1971
• ed.: Los signos en rotación y otra ensayos, 1971
• Los reinos originarios, 1971 (includes Todos los gatos son pardos and El tuerto es rey)
• Cuerpos y ofreadas, 1972
• Chac Mool y otros cuentos, 1973
• Obras completas, 1974 -
• Terra Nostra, 1975
  - Terra Nostra (translated by Margaret Sayers Peden, 1976)
• Cervantes, o, La crítica de la lectura, 1976
  - Don Quixote; or, The Critique of Reading (tr. anonymously, 1976)
• La cabeza de la hidra, 1978
  - The Hydra Head (translated by Margaret Sayers Peden, 1978)
  - Lohikäärmeen pää (suom. Matti Rossi, 1980)
• Una familia lejana, 1980
  - Distant Relations (translated by Margaret Sayers Peden, 1982)
  - Tarina Heredian suvusta (suom. Matti Rossi, 1982)
• Agua quemada, 1981
  - Burnt Water: Stories (translated by Margaret Sayers Peden, 1980)
• Orquídeas a la luz de la luna, 1982 (play) [Orchids in the Moonlight]
• High Noon in Latin America, 1983
• Juan Soriano y su obra, 1984
• On Human Rights: A Speech, 1984
• El gringo viejo, 1985
  - The Old Gringo (translated by Margaret Sayers Peden and the author, 1985)
  - Vanha gringo (suom. Matti Rossi, 1989)
  - Film 1989, dir. by Luis Puenzo, starring Jane Fonda, Gregory Peck, Jimmy Smits, Patricio Contreras
• Latin America: At War with the Past, 1985
• Palacio Nacional, 1986 (with Guillermo Tovar y de Teresa)
• Gabriel García Marquez and the Invention of America, 1987 (lecture)
• Cristóbal nonato, 1987
  - Christopher Unborn (translated by Alfred MacAdam and the author, 1989)
• Myself with Others: Selected Essays, 1988
• Valiante mundo nuevo, 1990
• La campaña, 1990
  - The Campaign (tr. Alfred Mac Adam, 1991)
• Constancia, y otras novelas para vírgenes, 1990
  - Constance and Other Stories for Virgins (translated by Thomas Christensen, 1990)
• El espejo enterrado, 1992
  - TV mini-series 1994, The Buried Mirror: Reflections on Spain and the New World, dir. by Peter Newington, prod. Michael Gill
• El naranjo, 1993
  - The Orange Tree (tr. Alfred Mac Adam, 1995)
• Geografía de la novela, 1993
• Tres discursos para dos aldeas, 1993
• Nuevo tiempo mexicano, 1994
  - A New Time for Mexico (translated by Marina G. Gutman and the author, 1996)
• Frontera de cristal, 1995
  - The Crystal Frontier (translated by Alfred J. Mac Adam, 1997)
• Diana o la Cazadora Solitaria, 1996
  - Diana: The Goddess Who Hunts Alone (translated by Alfred Mac Adam, 1995)
• Por un progreso incluyente, 1997
• Los años con Laura Díaz, 1999
  - The Years with Laura Diaz (translated by Alfred Mac Adam, 2000)
• Mexico, 2000 (documentary)
  - Dir. by Lorena Parlee, written by Carlos Blanco Aguinaga, Carlos Fuentes
• Instinto de Inez, 2001
  - Inez (tr. Margaret Sayers Peden, 2002)
  - Inez (suom. Tarja Härkönen, 2002)
• Machado de la Mancha, 2001
  
• En esto creo, 2002
  - This I Believe: An A-Z of a Writer's Life (tr. Kristina Cordero, 2005)
• La Silla del Águila, 2003
  - Eagles's Throne (translated by Kristina Cordero, 2006)
  - Kotkan istuin (suom. Tarja Härkönen, 2004)
• Contra Bush, 2004
• Todas las familias felices, 2006
  - Happy Families: Stories (translated by Edith Grossman, 2008)
• La voluntad y la fortuna, 2008
  - Destiny and Desire (translated by Edith Grossman, 2011)
• Políticas educativas de la educación básica y media de Centroamérica: 2006-2007 (edited by Claribel Andino Pérez)
• Adán en Edén, 2009
• Vlad, 2010
  - Vlad (translated by E. Shaskan Bumas and Alejandro Branger, 2012)
• Carolina Grau, 2011
• Gran novela latinoamericana, 2011
  - The Great Latin American Novel (translated by Brendan Riley, 2016)
  
• Federico en su balcón, 2012
  - Nietzsche on His Balcony (translated from the Mexican Spanish by Ethan Shaskan Bumas and Alejandro Branger, 2016)
  
• El siglo que despierta / Carlos Fuentes y Ricardo Lagos en conversación, 2012
  
• Cuentos completos, 2013 (edited by Omegar Martínez)
  
• Conferencias políticas: educación, sociedad y democracia, 2018
• Aura, 2022 (originally published in 1962; illustrated by Alejandra Acosta)
  
• Terra Nostra, 2022 (originally published in 1975)
• Tiempo mexicano, 2022 (originally published in 1971)