TU ROSTRO MAÑANA 2, BAILE Y SUEÑO, de JAVIER MARÍAS 
The second part of Your Face Tomorrow is a continuation of the first in all senses everything said in commenting on the first volume (Fever and Spear) it could say DANCE AND DREAM. Everything.
is true that the main action is not a dinner, the night and the next morning, but another dinner a bit of disco, and a good beating. But beyond that, the scheme is modeled. Or rather, is the novel itself: just the first with a mysterious woman following the lead, and started the second with the same woman knocking on the door of your portal. And from there, digressions, advances and retreats in time, memories, conversations with his wife, civil war, his father ... everything. Even as Fever and Spear ended leaving us in an action and no outcome, DANCE AND DREAM does the same.
strongly as an area to the entire text of the action occurs over time: the present and the manipulation of the past, the past and forgetting (" what is not has not been," "What was and was not" because you're not, you've never been "), the foreseeable future and YOUR FACE TOMORROW.
To point out something, I would say that Mary insists on the theme of salvation: do this "and save me"; do that "and then save yourself", "save you any risk and save it," "is not only silent about what saving "," and that may be enough to save. " Specifically, the phrase "shut up and then save yourself " I have indicated at least three times in the text. What do you mean? For now, I can not decipher ...
I was also struck by the number of triples used. Long jingles synonyms or verbs that express a similar action there are many, but often refers to the three by three, causing a slight internal rhythm, " a hypermarket or supermarket or pseudomercado", "would not argue with anything, to contradict, nor to alienate me ";" just weed or sand or swamp, "" at the foot of the chestnut horse and pseudonegra mouth of the wolf and to the pit of crocodiles "," large melon overalls and a cake, "" by a narrow and tight and adjusted the skirt, "" not divided or distinguished or distance. " And so many more examples you can copy.
I liked the pedal of doom, and I was tired a little cycling on the blood stain ...
And all this when commenting on the first volume (Fever and Spear) is that I DANCE AND DREAM, also say that this second volume of Your Face Tomorrow I liked so much, or nearly so, as the first.
RUBENS en el MUSEO DEL PRADO 
I've long without commenting on the presentations I see. It is true that the last weeks / months I'm short on time, I have not gotten to see everything I would have liked, and I've lost something I wanted ... yes
summing up of what is seen, say that disappointed me MADE IN USA RECOLETOS MAPFRE whereas, however, I thought it was great and was very interested AMERICAN LANDSCAPES OF ASHER B. DURAND at the Juan March Foundation (and over), that RENOIR in the MNP was a must and is adjusted precisely what I expected: an artist of quality, small exhibit, and images too corny for my stomach (I said RENOIR somewhere that is not my cup of tea, and that certainly says less about me than him, but that's stuff), that Impressionist Gardens in CAJAMADRID-JEWELRY THYSSEN and I thought it was achieved though a little empachante: all too well (yes, the three paintings by Gustav KLIMT, spectacular) that I have half PAINTING OF THE KINGDOMS , yet still see the exposed section in the Royal Palace.
special signal so RUBENS sample because I was shocked, I loved it-the disposition of the paintings, the concept / installation of the exhibition which in itself has some character artwork. Artwork made from works of art. Very nearly a facility built paintings from the great RUBENS. A success that is worth visiting. For those who want to know more, here is the very complete explanation that makes the Museum .
EL PÁJARO ESPECTADOR, de WALLACE STEGNER 
'm amazed by Wallace Stegner: IN A SAFE PLACE and REST ANGLE were undoubtedly the best-even the best of all, I read in 2010, and THE SPECTATOR BIRD has been a sensational start to 2011.
had very good references from THE SPECTATOR BIRD, I liked the great input devotes ISI, and the other two titles had set the bar very high. So take me in danger of another disappointment, as I did with THE DAUGHTER OF ROBERT POST . But no I was not disappointed at all. On the contrary, often novel piece!: I found superb.
To relate the plot of THE SPECTATOR BIRD I turn back to the back of the book, which on this occasion itself adequately sums:
Joe Allston is a retired literary agent who lives far away in California with his wife, Ruth, without ancestors or descendants (his parents and his only son died some time ago), it feels like a spectator who attends at the end of his life. The arrival of the postcard of an old friend of hers forced to revisit the diaries he wrote twenty years ago when, for a few months, he traveled with his wife in Denmark to see the country from which his family had originated. Ruth convinces her husband every night to read an excerpt from the diaries, and so are reliving what happened during that trip, especially the marriage relationship with the mysterious Danish aristocrat Astrid Wredel-Krarup, who was his host in Copenhagen. The memory of that time awakens in them feelings and long-neglected questions and leads them to reflect on transcendental aspects of their lives. As in previous novels, Stegner manages to accurately portray the multiplicity of sensations and feelings that crowd at maturity. The spectator bird won the National Book Award in 1977. Wallace Stegner
again creates characters of flesh and blood absolutely, the frame fits into a completely believable, and makes you feel like meeting you, chatting with them, be part of your group of friends. Some real characters, religion (to me this much hooked me: educated people who read that quote, he meets interesting characters ... really), witty, with heart, with virtues and defects.
The author draws back the memories-in this case as a daily-mixed with the present. The story of Joe and Ruth in the present talks the fear of aging and the inevitable reality of aging, I think it is fully achieved. Past history tells us the weeks they spent in Denmark with the Countess Astrid Wredel-Krarup, is more puzzling, because as the plot progresses, it novelero , a little melodrama, and Stegner force to bring the reader a way that, at least to me, I was real little surprising for, how does that fit with the other?, I was wondering ... Until the end everything is put in place, no strange things, without double somersault with twist and also a way and with a depth that I found very successful.
To cite some details, there are over text a cameo Karen Blixen which is great. And Danish dating that I found disconcerting, for incomprehensible, but I guess that does not translate these phrases Stegner's novel, and the translator into Castilian, with good reason, neither does.
is not easy to count over SPECTATOR BIRD without gutting the story, so I will not comment further, but of course I found quite round. It is obvious that I'm a redneck Wallace Stegner (as I said at the start), and therefore my opinion may be biased. Perhaps some SPECTATOR BIRD it does not appear so bad, but it is a book I recommend to anyone all (And three cheers for ASTEROID BOOKS!).
TEA, TENERIFE ESPACIO DE LAS ARTES, de HERZOG & DE MEURON ARQUITECTOS, en SANTA CRUZ DE TENERIFE 
the middle of last month I had to make a trip to the Canaries. A quick thing: a day in Tenerife and one in Gran Canaria. Tenerife work took me all morning and noon-meal-a Friday, and before getting to the airport to jump to another island, I was more or less time and a half in Santa Cruz, I took time to visit TEA, TENERIFE Art Space, Cultural Centre designed and built by Swiss architects Jacques Herzog and Pierre de Meuron . On a previous trip had seen in works and was eager to visit him over.
The TEA is situated next to the Barranco de Santos in the bottom of Santa Cruz, and adjacent to the MUSEUM OF NATURE AND OF MAN. It is a long building, parallel to the ravine, which is adapted to the terrain that falls into the sea. Although the building once thought is relatively simple, the first impression is of considerable complexity.
The overall volume is made up of two distinct parts, one triangular and one irregular, which covers almost touching, almost rub-on only two points between the two parts to configure a courtyard, also triangular. Precisely at the contact points are access covers the whole, for which we are allowed to pass from the outside. Open a permanent step: actually tour inside the TEA is a communication between two parts of the city, a city tour always accessible to the city, across the TEA as one travels down the street when going to work or strolling through the park when you sober up.
The exterior is very tight, Really large mass (of a material that seemed concrete with a striped finish I do not know precisely what it is, but might refer to volcanic rock dark gray) that is drilled into small holes to form geometric but irregular, like Tetris pieces, which resemble pixelation of an image. Those little holes density varies depending on the rooms that contain: more in some places and too few in others. And look also vary depending on time of day when we see them: while it is light outside, the glare of the Canary Islands "are small pieces of mirrors ruts or city light and at night, instead are loopholes by which face hundreds of yellow lights that pierce the dark wall.
walk that walk inside When we talked about above, which is enter the TEA but not yet entered the , all change: we access the triangular plaza (unfortunately with canopy cover, although I suppose necessarily covered to prevent excessive heat and light) and found a totally opposite, permeable, which covers much of interior space , although we can not understand it at all ...
If we agree within itself, the tours are still a strong point of TEA, the building requires us to reach the deep end of the hall, where we expect the stairs, and from there raised or lowered to retrace our steps, although at a different level, one floor above if you want to go to the hall or a below if we want to get to the library. It is compulsory to quote now the upstairs hallway that ends in the ceiling, and required him to understand it (the picture not clarified the matter, in any case, leave thousands here.) I had no time-or time-to see the exhibition halls, but the wonderful library, a space that seemed conseguidísimo divided into three parts: two side pieces with a high ceiling-high, which are those that look over the sides of triangular square that we have already spoken, and a central, lower the ceiling of which is precisely the floor of the plaza ... One side is open to a patio with plants and a mural that can not appreciate quiet, and the other opens onto the cliff by the vast array of "hollow" pixel "diversísimos shapes and sizes. And from here we went back to Santa Cruz.
I said earlier that the TEA is relatively simple but the first impression is of considerable complexity: the very complexity that has to tell how the building. I suspect that my description is somewhat / very confusing (and I've just spoken of the spaces, continuous and rich, or materials), plus I have not been able to find drawings (plants and, especially, sections) that illustrate the input. On the one hand I feel this confusion, because I found a part of a quality that I am capable of transmitting these buildings is to see and, above all, go, but on the other hand, however, do not feel almost anything, because the difficulty to describe the TEA responds directly a conceptual and spatial richness that has: a building without being the ultimate is really achieved.
