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Cargando... Der Spaziergang. Prosastücke und kleine Prosa. (1985)por Robert Walser
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Pertenece a las series editorialesContieneThe Walk por Robert Walser (indirecto)
"Ranging from one-page fantasies to novella-length studies of everyday existence ... [these] stories are snapshots of the lives [of] great artists, poor young men, beautiful women and talking animals alike. Ranging from the realist to the allegorical, the short fiction in this volume demonstrates Walser's uncanny ability to capture both life's strangeness and its small joys"--Goodreads.com No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)833.91Literature German and related languages German fiction Modern period (1900-) 1900-1990Clasificación de la Biblioteca del CongresoValoraciónPromedio:
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Der Spaziergang sets the tone for all the pieces in the book - superficially a very simple account of a stroll the narrator takes on a sunny day in the Swiss town where he lives. He comments on shops and people he passes, reflects on the weather and the scenery, talks about a couple of encounters that sound significant but don't seem to lead to anything, and describes a lunch he's been invited to and a few small errands he has reserved for the afternoon (posting a letter, a fitting with the tailor, an appointment at the town hall). It's all set up in a very modest, self-deprecating and ironic tone, but we soon realise that there's something else going on under the surface. The prose defies the apparently realistic context by looping away in grand, rhythmic structures that often take the reader's breath away. The conversations the narrator describes clearly aren't meant to be taken as realistic accounts of what he has said (or what anyone could get away with saying in real life), but rather what he wishes he could have said, or what he was thinking when he said whatever he did actually say. This creates an uneasy sense of disconnection, alienation, from the banal, ordinary events of life. Images and chance remarks keep reminding us that there's a horrific war going on just offstage. Although all the explicit references are to German Romanticism of the Brentano era, this is unmistakably the voice of modernism - you can't help reading Walser's strolling writer posting his letters, eating his lunch and worrying about his tailor as a contemporary (or precursor) of Bloom wandering through Dublin, Mrs Dalloway buying her flowers or Prufrock walking on the beach.
In the two collections of prose pieces - most of which slide between categories like essay, sketch, story, memoir and review in undefinable ways - there's a similar sense of disconnection between the writer and the world, and a slightly amused astonishment at how strange everything is. We read pieces that are about nothing but themselves and the language they are made of, pieces about great writers (Dickens is chastised for being so good at what he did that he discourages all others from even trying to write), about a sausage, about odd characters who reject social norms, about fairy-tale-like incidents, and very frequently about young writers with various different names (in one case three different names in the same story) who work in offices or factories, become domestic servants, or live in isolation and penury in the suburbs and try to write - all things that Walser had done at various points in his career. Fascinating and delightful! ( )