Thursday, March 17, 2011

Marlboro Inflatable Canoe


I ended YOUR FACE TOMORROW. Three librazos. A soap opera.

acknowledge that POISON AND SHADOW AND GOODBYE I felt that it falls a bit short compared to the high quality of FEVER AND LAUNCHES and DANCE AND DREAM. Starts great, with the same style as the other two, and at the same point in history where the previous ended. Then, a long jump back in time to return to the start of the second volume. But as POISON AND SHADOW AND GOODBYE progresses, you also need to advance the action: it is nearing the end of history and things must pass. And that's where the book limps a little, in my opinion, the technique of Javier Marías does not work all the digressions and clarifications and explanations, both synonymous and stirred so much back and cut too much what is happening the action takes place slowly, a little jerky, and it creates no tension (perhaps not so intended, that's the truth) throughout the protagonist's stay in Madrid this particular accused. The final story-not, of course, without being spectacular is more than enough. By the way, speaking of the end say that I had a sense of full circle, parallel-final principle: without going into details, the story begins and ends with Peter Wheeler Peter Wheeler.

I never want to emphasize how he writes Mary because I said a lot in previous entries. Only, to add something specific I found this third volume, indicated that there is a little courtesy in POISON AND SHADOW AND GOODBYE: MARÍAS says a photo-very expressive, of course-and three paintings from the Prado Museum. Also included, as it did in the first volume, some images that give credence to all that is going to count.

An interesting book YOUR FACE TOMORROW, somewhat singular, that I liked it and recommend it to anyone (with time ahead, of course) but I'm not sure everyone likes.


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