Perón and the Enigmas of Argentina [antikvár]

Prolog ue Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. —T. S. Eliot, Burnt Norton On the evening of Junc 21, 1978, an enthusiastic audience at ^ the Prince Edward Theatre in London applauded the ' opening of a new musical, based on the life and early death of the second wife of a president of Argentina. Those present, and thousands of audiences to come, were commemorating a legend and in so doing were themselves participating in the unfolding of another legend, for the worldwide success of Evita has come to mirror the mythology of its heroine. Dreams seem to attend it, among them one that runs somewhat counter to the main themes of the musical and emerges almost fortuitously, a longing of the times caught in the cadence of the most memorable of the songs and held there in tonal amber: Don't cry for me Argentina. The truth is I shall not leave you Though it may get harder For you to see me I'm Argentina And always will be.'