Dear Readers:
As I informed you yesterday, I decided on the basis of the observed dynamics, change the operation of the blog. From now on, comments on the books will be made to posterity by reading and meeting, but starting at the time we started reading. Thus, trust to revive the blog with the active participation of readers who may be sending their comments and observations as they read the corresponding work. Only
will write a brief introduction and some suggestions based on the PAL (Literary Analysis Protocol) to start the debate on line. At the same time, I hope that this new formula will help us to achieve greater depth of analysis and commentary of the work on the day of the meeting.
said, included the comments in this post for the last two books: I, King (August) and Madame Bovary (September).
The unreality of the dissatisfied.
While most readers agreed in pointing out the undeniable feeling that Madame Bovary is a novel that has aged, it would still be legitimate to consider the first contemporary novel, according to the achievements formal and narrative that Flaubert settled, as the foundation of all subsequent literature.
Eduardo and fellow put his finger on the head when he noted the changes in perspective of the narrative, which begins with the first person plural (we do not know if Emma, \u200b\u200bor is the collective voice of the class entering school in Charles Bovary, Emma's future husband) and that changes to the third person singular, in the voice of an omniscient narrator who moves his eye from character to character, flailing his inner life with full omniscience. At the same time, there is a distancing of the narrator to the characters, so that was not involved with any of them, and the reader feel sympathy or antipathy for each character throughout the book as the situation described.
is also true that language, to this day, we find it a bit archaic, not only by the large number of words that have disappeared from common speech (objects or names already extinct), but for the same recreation descriptions that slow and desperate action and bore the reader. We make an effort to contextualize and think that this whole phenomenon must be for the readers of the time enjoyment recración capacity scenarios Flaubert, almost like the setting of scenes from a film or special effects.
Regarding the issue, sympathy and antipathy was Madame Bovary is dealt, a sign of the universality of a character who reaches the rank of archetype (as a Don Quixote or Sancho Panza or Mc Beth). We face the being that lives inside a dream world inspired by the literature (where applicable), longing to live the same situations you have read in all those romance novels that attacks against Flaubert (as Cervantes did against books of chivalry). Emma Bovary, naive, ambitious, unconscious, lives trapped in a real world that disappoints and pursuing a dream world mentally awake, and when successful, becomes a reality equally disappointing that the other reality, or worse. Addiction is
keyword here: addiction to romantic novel, to live in a love scene frozen in the image and likeness of which Emma has recorded in his mind of naive dreamer. And in his journey toward his dream, he meets the cynical use it and throws like a kleenex (Rodolfo), and then with her "soul mate" Lion, which, after the experience with Rodolfo Bovary, seems to live up to it, which has achieved a certain range of seductive (in the sense of speaking Baudrillard in his book De la seduction ), which throws it back to the unhappiness, the desaasosiego of who is sentenced to not tune between reality and unreality interior. Also increased suffering, is the suffering of those around her and they want it, and that leads to his despair in the departure of suicide. He had other options, in effect, and Emma Bovary could have faced reality and fought. To do so would have been humble enough to recognize their problem and seek help. But his selfishness is stronger, and despair, allied with that, choose the arsenic as an escape. This gave rise to the question of whether suicide is an act of cowardice or courage needed, and Juan Antonio lucidly dismantled as simplistic. Our new partner, professional psychiatry, gave us an objective fact: 90% of suicides are due to mental illness, the rest is unknown. One might speak here of Arthur Koestler, Hungarian writer nationalized English, one of the champions of EXIT movement, demanding the right to freely leave the life of their own accord, in full possession of mental faculties, as an act of individual liberties.
It is fair to say that this situation today, it would not end well. So rigid values \u200b\u200bof the society in which the novel takes place, not without its significance. But even in a society of a first world country, where rights and freedom seem to be guaranteed, and gender equality is accepted or institutionally imposed (whether we like even in some cases), Madame Bovary is not extinct , quite the opposite. More are on this planet, more people yearning to live in that tinsel, this luxury, the glamor of Paris that is now the media and immaterial world of advertising, media images, called artificial paradises luxury estates, resorts, spa, etc., etc. And this is to denote that this disease called "bovarysmo" is not exclusive to women, but also occurs among men. And what Flaubert himself said: "We are all Madame Bovary."
PSYCHIATRY AND HISTORY, literature.
I, King is a book that lets us know the personality of Joseph Bonaparte beyond the minimum topics through which we have known. In this sense it is a remarkable work of psychiatry or psychology, which is not free the author's profession known. Vallejo Nagera has been a psychiatrist, painter naif and writer.
is also remarkable work of historical documentation, which is reflected in the book in the reproduction of many letters between Joseph and his brother Napoleon. At times, it seems we read epistolary genre, in others, we read a book on the history, the history of the arrival of Joseph Bonaparte to Madrid from Bayonne, where his brother was forced to occupy the throne of Spain.
Apart from discussions on whether Joseph Bonaparte is more Pepe Botella we met at school, or the noble and generous character that Vallejo-Nagera us, we are interested in the debate that arises from historical knowledge of local circumstances, socio-political of time. This key event in the history of a Spain that comes from being the great superpower of the moment and whose decline is embodied in a half-consensual invasion. And this latter is important, half because, as noted Eduardo on May 2 began the two Spains an interesting thesis which gave rise to one of the juiciest debates of the last meetings of the Reading Club and, personally, I wish I had then.
Indeed, everything revolved around the characters (Joseph, Napoleon, Josephine, Godoy, etc.) And historical situations, some more anecdotal than others. Perhaps That was a sign that this book has a remarkable value in these areas, compared to literary values \u200b\u200bbut not least they are right, they are the most enhanced, perhaps by the author's interest in boosting the rest.
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