If La sombra del viento is both memory text and gothic text, then there would seem to be an irresolvable tension at the heart of its representations of, and attitudes to, the historical past. The task in the gothic text is to attempt to exorcise the past which is omnipresent, rather than to reclaim a buried past through the recuperative gestures of memory. If the memory text focuses upon the need to recover a forgotten or silenced past, the gothic text rather focuses on the continuing presence of that past, on its continuing power and threat. Un amanecer de 1945, un muchacho es conducido por su padre a un misterioso lugar oculto en el corazón de la ciudad vieja: el Cementerio de los Libros Olvidados. While sharing this concern, however, the gothic and the memory text approach that past in quite distinct ways. El verdadero amor por los libros y lo que puedes hacer por ellos, puedes encontrarlo en La Sombra del Viento. Carlos Ruz Zafn me emocion hasta la ltima pgina. Although these two modes may seem to have little in common, there is one important point at which they converge: their concern with the historical past. 'La lectura de este libro me ha salvado, es maravilloso como puedes enamorarte de sus protagonistas. De hacer que cuando pasen unos años y se recuerde la novela se sienta una nostalgia impregnada de los sentimientos que nos trasmitió la lectura. No todos los libros que un lector lee son capaces de marcar, de hechizar, de hacer de los lugares, personajes y tramas de la historia suyos. Abstract : This article looks at La sombra del viento as a highly self-conscious gothic text in light of the recent critical debate about the novel's contribution to the growing tradition of the 'memory text'. La Sombra del Viento, de Carlos Ruiz Zafón.
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