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Your Face Tomorrow, Volume 3: Poison, Shadow and Farewell (Penguin Modern Classics) (English Edition) Kindle-editie
Over de auteur
MARGARET JULL COSTA is a three-time winner of the Oxford-Weidenfeld Translation Prize. For New Directions, she has translated works by Rafael Chirbes, Javier Marías, Fernando Pessoa, Eça de Queirós, and Enrique Vila-Matas. --Deze tekst verwijst naar een alternatieve kindle_edition editie.
A seriousness of purpose, an eagerness to engage with ... metaphysical questions and to incorporate them into a gripping story.--Tess Lewis
A literary tour de force ... as much about the past from which we are made as the present we have become.
The strange mixture of high cultural references and Jaques' essentially thriller-like story line, make for a reading experience like no other.
Here's the wonderfully parenthetical operations of a human mind in the 21st century.--Mauro Javier Cardenas
He mediates thriller or noir scenarios through a formidably erudite and elegant and sophisticated consciousness.--Mark Ford
This deeply strange creation...may very well be the first authentic literary masterpiece of the 21st century.--James Lasdun
Quite unlike anything else today.... One of the finest novels of modern times.--Tim Martin
The conclusion...is to be reminded of the intricacy with which he has fitted his pieces into the larger part.--Colin Torre
This brilliant trilogy must be one of the greatest novels of our age.--Antony Beevor ""Books of the Year" " --Deze tekst verwijst naar een alternatieve kindle_edition editie.
- ASIN : B075RR3VF7
- Uitgever : Penguin (1 maart 2018)
- Taal : Engels
- Bestandsgrootte : 15541 KB
- Tekst-naar-spraak : Ingeschakeld
- Schermlezer : Ondersteund
- Verbeterd lettertype : Ingeschakeld
- X-Ray : Niet ingeschakeld
- Word Wise : Ingeschakeld
- Printlengte : 542 pagina's
- Aantal pagina's van bron-ISBN : 0811218120
Beste recensies uit andere landen
In Volume Three, the first-person narrator, Jaime (or Jacobo or Jacques or Iago) Deza continues his story of working in London for an unnamed section of British intelligence (MI6 or SIS). The group is engaged in "interpreting" people - observing or spying on them, often from behind one-way mirrors or by watching videotapes, and then analyzing their character and personality and predicting how they would (or will) act in certain situations in the future. (What will be thy face tomorrow?) It fits nicely with Deza's voyeuristic tendencies as he passively floats through life, and although unusual it seems to be a fairly innocuous way of making a comfortable living. In the middle of Volume Three, Deza returns to his native Madrid for a two-week visit to his estranged wife Luisa, his two children, and his elderly father. Once there, Deza, to protect his wife and children (as he sees matters), is roused from his passive mode of existence and spurred to take action of a violent form. He then returns to London to find out that one of his seemingly innocuous interpretations (of a pop/rock star!) has had violent, lethal consequences. The synchronicity of these events raises all sorts of questions about whether it is possible to chart a moral course of conduct through life. (Or, is it better, in the words of the very first sentence of Volume One of the novel, to "never tell anyone anything or give information or pass on stories"?) These questions become even more thorny when Deza learns about clandestine activities ("black propaganda") during WWII in a final farewell conversation with his mentor Sir Peter Wheeler (who is modeled very closely after the real-life Sir Peter Russell, to whom YFT is dedicated). In the last 25 pages, the life of Jaime Deza - though now diminished by the deaths of two figures for whom there can be no replacement - settles into an uneasy stasis of sorts.
Volume Three is better than Volume Two, if not quite as satisfying or intellectually thrilling as Volume One. The predominant themes include secrets, treachery and betrayal, counterfeiting and forgeries (and thus, by implication, authenticity and the truth), war (and its invariable handmaiden, deceit), time and memory and personal identity, and love and separation. The book is rich with cultural references, both high- and low-brow, including Jayne Mansfield and "her triumphant, intimidating, transatlantic décolletage", Ian Fleming and the James Bond films, Robert Louis Stevenson, hip-hop and rap ("that witless, worthless drivel"), several paintings in the Prado, the film "The Godfather", and literary quotations from Shakespeare, Cervantes, St. Augustine, Ecclesiastes, and Eliot. Touchingly, and appropriately, the novel ends with a line from "The Streets of Laredo".
Throughout YFT, but probably more so in Volume Three than in the two earlier volumes, Marías reprises characters, events, and verbatim extracts from his earlier fiction. (The fellow who becomes Deza's nemesis was a relatively minor character in "A Heart So White".) Recognizing these references can be fun for a reader of the earlier works. In addition, many of the themes are the same, or are variations on or developments of themes from the earlier works. And the convoluted, obsessively meditative writing style is the same.
For me, the lesson of YFT is that speaking, or loving, or even living in this world entails risks of moral compromise. But an odd, and naggingly dissatisfying, thing about the novel is that for Marías "this world" is essentially a solipsistic world.
My conclusion: In YFT, Javier Marías bit off somewhat more than he could chew. It is a very ambitious work that does not altogether succeed. I want to emphasize that there are many brilliant passages and several memorable scenes. But there also is too much dead wood. The narrative often is rococo in nature, and at times it is disingenuous and redundant. There is too much authorial showing-off (or self-indulgence). I believe that the novel could have been pruned by at least a third without significant loss - and therefore should have been pruned. (Much of that lopping off would come from Volume Two.) Furthermore, the novel, as a whole, does not hang together; there are too many loose ends (for example, whatever happened with Incompara?).
YFT is very worthwhile fiction, but it is not great literature. It does not measure up to two previous novels by Marías - "Tomorrow in the Battle Think on Me" and "A Heart So White" - nor does it measure up to his "The Dark Back of Time". Those three works, to my mind, are great literature, and I recommend them highly to one and all. YFT, on the other hand, gets a qualified recommendation to those who already are Javier Marías enthusiasts. No doubt YFT would be richer upon re-reading, but I am pretty sure that I will never get around to doing so.