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Cargando... Amores que atan, o, Belles lettrespor Julian Rios
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Inscríbete en LibraryThing para averiguar si este libro te gustará. Actualmente no hay Conversaciones sobre este libro. In this bit of fiction concieved by the Spanish writer Julian Rios we have a literary work that borrows the heroines from many of the masterworks of literature and erotic literature of the 20th century retelling their tales and some further escapades as seen through the eyes and memory(ies) of the mysterious Emil--a somewhat down and out aristocratic rogue created by Rios to narrate or re-narrate these tales and sometimes even new adventures. It's also somewhat of a literay guessing game for the reader as Rios is not always that obvious in the clues he leaves about the characters and the books he has appropriated. The work unfolds one chapter at a time--one heroine each per letter A being for Proust's Albertine, B for Musil's Bonadea up to and finally ending with Z for Queneau's Zazie. For those interested I will name several of the other writers he borrows heroines from--Samuel Beckett, Vladimir Nabokov, James Joyce, William Faulkner, Franz Kafka, D. H. Lawrence and Louis Ferdinand Celine--(As it happens though I have not been able to figure out three of the heroines even with a lot of googling though I'm sure they're out there). FWIW these renderings not only borrow characters and some of their adventures and mis-adventures but often times imitate the particular writers prose. He is a bit hit and miss on that and the more critical reviews I've seen have critiqued him mainly on that point. Even so the tone is always playful and his writing is witty and sharply focused. Emil narrating from a more contemporary vantage point--in present day London juxtaposes these narrations with current events--catastrophes of one sort or another--bombings in Northern Ireland or Spain--military coups in Greece and earthquakes in India and also with the ups and downs of his landlady's cat Guay (or Why or ?; while she's away on vacation he's doing a somewhat sloppy job of taking care of it). In any case it's a fun book and a challenge (recommended reading) for anyone out there who thinks they know a lot about modern or post-modern literature. sin reseñas | añadir una reseña
From one of Spain's most distinguished--and daring--writers comes this intensely erotic and shamelessly literary adventure through the streets of London. Emil, the mysterious narrator, has been abandoned by the woman he loves. Filled with doubt and nostalgia, bent on therapy or distraction or revenge, he wanders the city in search of her. Driven by the anguish of rejection and desire, he writes twenty-six letters to his fugitive lover, each an intricately detailed account of his affairs with twenty-six women who preceded her. Each of these figures bears an uncanny resemblance to a famous literary heroine, from Proust's Albertine to Fitzgerald's Daisy to Nabokov's Lolita to Queneau's Zazie. One by one, in alphabetical order, Emil's letters adopt the tone, style, and substance of the great novelists of the twentieth century, while, in recollection, his past love affairs grow increasingly extravagant and hallucinatory. As we follow his physical and creative journey, we try to unravel fact from fantasy, emotion from delusion, while searching for clues to the novel's amorous alphabet, the building blocks of modernist and postmodernist literature. A seductive puzzle saturated with wordplay,Loves That Bindis a linguistic tour de force of remarkable agility and wit. From the Hardcover edition. No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)863.64Literature Spanish and Portuguese Spanish fiction 20th Century 1945-2000Clasificación de la Biblioteca del CongresoValoraciónPromedio:
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This novel dazzles in places, see chapters L, M and Q, while simmering for most of the rest. Simple synopsis: a jilted lover wanders nocturnal London, and to steady his esteem after being dumped, recalls 26 past lovers -- all of which correspond to literary characters. An added erotic sense is simply bonus content, for those thus inclined.
No one need neither replicate nor resolve Ríos' riddles. Appreciation is afforded to all the early 20C heavyweights: Musil, Proust, Joyce, Nabokov and Faulkner. The effort does otherwise lack a certain rigor, the parodies are self-evident: anything further is the requirement of the reverent reader. My bullshit threashold is taking a weathering as of late.
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