Este sitio utiliza cookies para ofrecer nuestros servicios, mejorar el rendimiento, análisis y (si no estás registrado) publicidad. Al usar LibraryThing reconoces que has leído y comprendido nuestros términos de servicio y política de privacidad. El uso del sitio y de los servicios está sujeto a estas políticas y términos.
Dalton Aarón, Diddy, un hombre anodino, de vida pagada, al que nunca ha rozado el desastre, arto de su vida y de sí mismo, intenta suicidarse. Pero se recupera, o quizá sueñe que se recupera, para emprender un viaje en un tren de lujo. Túneles, un guardavías muerto, una mujer ciega a la que Diddy seduce, oscuridad, velocidad y desconcierto esperan al protagonista en cada compartimiento del tren, o de sus sueños, o del inconsciente colectivo en el que la obsesión, la desintegración y el miedo, al ritmo de novela negra, son las vías de un terrible desenlace. ublicada por primera vez en 1967,… (más)
I would have to say that one of the most interesting aspects of Sontag’s novel is her persistent use of the third person personal. Very rarely does she employ a third person pronoun and so we achieve a level with her main character (Diddy) that is close to being analogous to the relationship he holds to himself. That is, one of detachment. The present is always second guessed in her repetition of the “(now)” which, though seemingly tired after the first quarter, continues its significance throughout, with its culmination coinciding with Diddy himself in the end. I will say that her ‘surreal’ surrenders of her character begin to lose focus towards the end. But, they are also what bring the ‘plot’ together. The denouement in and of itself becomes as mundane as the revelation we have of Diddy himself. In this sense one can consider Sontag’s style in this novel as equally lackluster as inevitable. The end is virtually prefigured in the beginning, and one is only duped by succumbing to the standard conception of plot narrative. Her ability to ply that without being overt thus places her in an uncomfortable position between the modernist and postmodernist text. The modern is used, with only minor hints toward the contrary, all the way towards the end in which the reader, not just the character, is thwarted. Most distaste towards this novel I image will come from just that. All I can say is that what captivated me the most is her being able to create a first person narrative through a third person narration. It was downright hypnotizing, dare be it, mesmerizing. One can hardly help but relate more to Diddy (however one may actually differ from him) than most intimate first person narratives such as the Kafka which she is compared to. The first person alienates as much as it communes with the reader; as opposed to her communal use of the one step removed for both reader and character alike but separate. Granted, very few characters can exist in the way that Sontag’s Diddy does, but she uncovers in an extended way another intimacy between reader and narrator. That of the readers detachment from the character, and the character’s equal detachment from him/herself. Which at time speaks an honesty hitherto unexplored at such a level. ( )
Información procedente del Conocimiento común italiano.Edita para encontrar en tu idioma.
A Diana Kemeny con affettuosa gratitudine
Primeras palabras
Información procedente del Conocimiento común italiano.Edita para encontrar en tu idioma.
Diddy il Buono stava facendo un viaggio per ufficio.
Citas
Información procedente del Conocimiento común italiano.Edita para encontrar en tu idioma.
Senza essere veramente vivo, Diddy aveva una vita. Nonè esattamente la stessa cosa. Vi sono persone che fanno tutt'uno con la propria vita. Altre, come Diddy, che la abitano semplicemente. Come inquilini insicuri, che non sanno mai esattamente fin dove si estende il loro appartamento o quando scadrà il contratto. Come cartografi inesperti che fanno e rifanno carte sbagliate di un continente esotico.
Últimas palabras
Información procedente del Conocimiento común italiano.Edita para encontrar en tu idioma.
Diddy prosegue nella sua marcia, in cerca della morte. Ha tracciato la sua pianta finale; disegnato il suo ultimo itinerario. Diddy ha trovato l'inventario del mondo.
Dalton Aarón, Diddy, un hombre anodino, de vida pagada, al que nunca ha rozado el desastre, arto de su vida y de sí mismo, intenta suicidarse. Pero se recupera, o quizá sueñe que se recupera, para emprender un viaje en un tren de lujo. Túneles, un guardavías muerto, una mujer ciega a la que Diddy seduce, oscuridad, velocidad y desconcierto esperan al protagonista en cada compartimiento del tren, o de sus sueños, o del inconsciente colectivo en el que la obsesión, la desintegración y el miedo, al ritmo de novela negra, son las vías de un terrible desenlace. ublicada por primera vez en 1967,
▾Descripciones de biblioteca
No se han encontrado descripciones de biblioteca.
▾Descripción de los miembros de LibraryThing
Descripción del libro
Resumen Haiku
Biblioteca heredada: Susan Sontag
Susan Sontag tiene una Biblioteca heredada. Las Bibliotecas heredadas son bibliotecas personales de lectores famosos que han sido compiladas por miembros de Librarything pertenecientes al grupo Bibliotecas heredadas.
Google Books — Cargando...
(3.43)
2
I will say that her ‘surreal’ surrenders of her character begin to lose focus towards the end. But, they are also what bring the ‘plot’ together. The denouement in and of itself becomes as mundane as the revelation we have of Diddy himself. In this sense one can consider Sontag’s style in this novel as equally lackluster as inevitable. The end is virtually prefigured in the beginning, and one is only duped by succumbing to the standard conception of plot narrative. Her ability to ply that without being overt thus places her in an uncomfortable position between the modernist and postmodernist text. The modern is used, with only minor hints toward the contrary, all the way towards the end in which the reader, not just the character, is thwarted. Most distaste towards this novel I image will come from just that.
All I can say is that what captivated me the most is her being able to create a first person narrative through a third person narration. It was downright hypnotizing, dare be it, mesmerizing. One can hardly help but relate more to Diddy (however one may actually differ from him) than most intimate first person narratives such as the Kafka which she is compared to. The first person alienates as much as it communes with the reader; as opposed to her communal use of the one step removed for both reader and character alike but separate. Granted, very few characters can exist in the way that Sontag’s Diddy does, but she uncovers in an extended way another intimacy between reader and narrator. That of the readers detachment from the character, and the character’s equal detachment from him/herself. Which at time speaks an honesty hitherto unexplored at such a level.
(