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Cargando... Obras completas - Volumen 3 - Tierras de la memoria / Diario del sinvergüenza / Últimas invencionespor Felisberto Hernández
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Lands of Memory presents a half-dozen wonderful works by Felisberto Hernández, "a writer like no other," Italo Calvino declared, "like no European or Latin American. He is an 'irregular,' who eludes all classifications and labellings--yet he is unmistakable on any page to which one might randomly open one of his books." Named a Guardian Best Book of the Year by Alfred Brendel and a TLS Best Book of the Year by Michael Hofmann (who calls Felisberto "a loopier, vegetarian Kafka, inhabiting his mazy personal baroque"),Lands of Memory collects four astonishing stories and the two dreamlike novellas "Around the Time of Clemente Colling" and "Lands of Memory." No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)863.62Literature Spanish and Portuguese Spanish fiction 20th Century 1900-1945Clasificación de la Biblioteca del CongresoValoraciónPromedio:
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When I talk with short story writers--I knew quite a few back in the day--they would always critique each other's work by saying how "there's a story here", or "there's no story here" as if excavating bones from an archeological site. But if a story has no story in it, what's left? I often find myself loving just this unnameable thing that's left, which you have written many. I like them because there is none of that anxiety that comes with the form. One of my favorite filmmakers, Abbas Kiarostami, once said that he disliked most contemporary movies because they "take the viewer hostage". They don't allow any room for daydreaming, reflection, even deep sleep. I feel that you and Kiarostami would agree on many things. Reading your stories is like admiring the shadows of tree branches on the ground as a storm brews, the light and shade moving in the mind of the story beating out a singular path from image to image. The sentences each crystal clear, but without any higher understanding or purpose. Despite this lack, perhaps because of it, there is a higher enjoyment. Not only are your stories unsolveable, there is nothing there to solve, so one must take them as they are.
The nonstory of yours that I loved the most from this book was 'Mistaken Hands'. In it, you talk about the unknown. But that's exactly what this story is to me, a complete unknown. I have no idea why I am so attracted to it, but I feel I can return to it again and again. It is like a pebble that I've mistaken for hard candy, and I have it in my mouth right now, and it will never dissolve. PS - I hope you will forgive me for addressing you so directly, and rousing you from your peaceful state. But your stories, in their immense privacy, seem to call for such direct addresses. In the foreword that Esther Allen has written, there is an excerpt by Cortazar where he has also written to you directly. I think it's a testament to the extreme intimacy you're able to form with the reader... ( )