Peruvian writer, a leading figure of the Generation of 50 and one of the best storytellers of the twentieth-century American literature.
He completed his schooling at the Colegio Champagnat de Lima, later entering the Catholic University of Peru (1946), where he studied Literature and Law. He abandoned legal studies in 1952, when he was in the final yearof the race, receiving a scholarship to study journalism in Madrid, where he moved in November of that year.
In July 1953, and after winning a short story competition organized by the Institute of Hispanic Culture, traveled to Paris to prepare a thesis on French literature at the Sorbonne University, but again decided to leave school and stay in Europe, doing work possible, and alternating theirstay in France with short seasons in Germany (1955-56, 1957-58) and Belgium (1957).
In 1958 he returned to Peru, and in September the following year he traveled to the city of Ayacucho, to the post of professor and director of cultural extension of the National University of Huamanga. In October 1960 he returned to France. In Paris he worked as a translator and editor for Agence France Presse(1962-1972). In 1972 he was appointed cultural attache in Paris and Peruvian Deputy Delegate to UNESCO, and later Minister Counsellor, to reach the Peruvian ambassador to UNESCO (1986-90).
By 1993 he finally settled in Lima. In his country he was awarded the National Prize for Literature (1983) and the National Culture Award (1993), having also been awarded the Prize in 1994 for Latin Americanand Caribbean Juan Rulfo, one of the most prestigious literary awards in the Hispanic cultural field.
Ribeyro is a narrator belongs to the Generation of 50, a group of writers who sought a renewal in Peruvian narrative, and whose theme was preferred description of the changes in society Lima, who began to suffer in those years a rapid modernization process.
Considered one of the beststorytellers Hispanic, between the published volumes of stories include The vultures no pen (1955), Tales of circumstances (1958), bottles and men (1964), Three Stories sublevantes (1964), Youth in the other side (1973) and only for non-smokers (1987), which was gathered from the collections of the silent Word (4 vols., 1973-1992) and The Complete Stories (1994).
The space bounded by the author is animpoverished Lima bourgeoisie, though sometimes venturing in marginal environments, keeping the basic outline of the disappointed expectation of the characters, bureaucrats, gray beings and forgotten, voiceless victims of cruel plot urban sprawl and an incipient modernization. The background to these stories, judging by the narrator's intention is to show the end of the aristocratic order in thehands of a pragmatic and vulgar bourgeois.
In his stories are a constant perceived cyclical argument: the examination of human and social environment, which confirms the certainty of failure of any endeavor, his characters, at the end of each story, are always faced with the frustration. And built a world of powerful inner coherence, a universe dominated by a deep skepticism and fatalism derivedfrom observation of reality. This course supports the internal logic of its solid storytelling, even if it is possible to find intensity and nuances of tone. It added that cutting also cultivated fantastic stories, of excellent workmanship, but a smaller set up.
Ribeyro literary sources found in the beds of the nineteenth century realism, especially in the writing of G. de Maupassant. Which iswhy, probably, who has never tried to hide an open preference for the traditional concept of narrative structure and language. Owner of an austere style, described as a traditional affinity with the classical models, he avoided the experimental techniques of the modern novel. However, despite this apparent conservatism formal, his stories were a decisive contribution to strengthen the transition...