Soñar no es de locos: Mi pequeño recorrido (Volumen independiente) (Spanish Edition)

En realidad, el cobre aporta suavidad a nuestros licores al quitar impurezas. Meticulosamente controlamos la calidad de cada partida para asegurarnos de que usted reciba los mejores licores fuertes que podemos ofrecerle. Los licores innovadores y aventureros de Corsair han ganado 41 medallas en concursos internacionales de licores fuertes. Hecho a mano, artesanal La Dancing Pines Distillery le aporta un significado a estas palabras en el mundo de los licores fuertes. Se utilizan ingredientes naturales, locales y de alta calidad para elaborar deliciosas bebidas a mano.

Todos nuestros licores fuertes son destilados y madurados internamente por nuestro maestro elaborador, destilador y mezclador. Piense en visitarnos y quedarse un rato. No, nuestra historia no es larga. Pero todas las tradiciones tienen un comienzo. Pero no confunda nuestras caras nuevas con falta de compromiso. Estamos comprometidos con nuestro oficio.

Hemos tomado el conocimiento popular sobre destilar y elaborar aguardientes y lo hemos refinado como forma de arte.

En , el Centro de Visitantes fue renovado significativamente. Todo esto se traduce en nuestros productos premiados. Esto representa casi el 17 por ciento del suministro futuro de Bourbon del mundo. Estamos ubicados a exactamente 7. Los pisos originales de madera de arce datan del Utilizamos madera del granero familiar en el centro de Indiana; madera que una vez fue el piso de una escuela del Nuestras botellas son como nuestro edificio: Nuestro primer bourbon fue puesto en barriles en Solo destilamos whisky para nuestra marca y nunca compramos whisky por cantidad de ninguna otra fuente.

Esperamos impacientes a recibirlo. Una oportunidad para crear licores fuertes hechos a mano verdaderamente caseros. Si usted cree en el trabajo duro y honesto y en la integridad de una granja familiar Si usted sabe que el compromiso hacia la calidad lleva tiempo extra Usted ha venido al lugar indicado. Sabemos que la granja familiar es una parte importante de nuestra comunidad y de nuestra cultura. Y creemos en la calidad por sobre todas las cosas.

Esperamos que usted entienda que cada botella firmada a mano representa un gran trabajo. Estamos a corta distancia del encantador Maysville, KY, conocido como la "ciudad natal del bourbon". Sus marcas famosas de bourbons eran W. El padre de Julian, Julian, Jr. En ese momento Julian, Jr. Los suyos son los whiskys mejor valorados disponibles.

Esto es desafortunado para ellos y gracioso para nosotros. El fracaso no nos asusta. Tampoco el status quo. Y somos experimentadores artesanales. Lo invitamos a disfrutar responsablemente de nuestros maravillosas brebajes. Es genial verlo, y lo invitamos a que venga, tome una visita guiada y aprenda de que se trata. Algo que la historia nos cuenta es que los buenos whiskeys comienzan con dos cosas: Excelente whisky, de hecho. Se ofrecen visitas guiadas diariamente. El resultado es una bebida artesanal verdaderamente excepcional. Nuestras selecciones se basan en lo que amamos. No podemos imaginarnos un lugar mejor.

Alltech Lexington Brewing and Distilling Co. Wigle es un emprendimiento familiar. Se ofrecen visitas guiadas diariamente a la hora en punto. Nuestros ingredientes son simples: Nunca se les agrega colorantes ni esencias artificiales a sus licores fuertes. Ofrecen tours y se los puede contactar al Los verdaderos bebedores de whisky son leales a una cierta marca. Estamos redestilando las reglas del whisky para ofrecerle a usted una nueva marca que sea digna de su lealtad.

Una marca que usted considere un amigo. Yahara Bay actualmente produce 16 productos, desde el gin hasta el vodka, desde el bourbon hasta whiskys, hasta una variedad de licores. Skip to main content. Seleccionar idioma Ingles Espanol. New Richmond , WI Fredericksburg , VA Borbones Amador Distillery Bourbon. Jackson , CA Borbones Copper City Bourbon.

Tempe , AZ Buellton , CA Borbones Devil's Share Bourbon. San Diego , CA Barrel House Distilling Co. Lexington , KY Borbones Full Proof. Very Old Barton Proof. Very Old Barton 80 Proof. Very Old Barton 86 Proof. Very Old Barton 90 Proof. Bardstown , KY Sheffield , MA Borbones One Foot Cock Bourbon. Borbones Big Bottom Small Batch. Hillsboro , OR Boathouse Distillery Boathouse Distillery hand crafts Ultra-Premium Bourbon whiskey and other spirits in small batches.

Elizabethtown , KY Breckenridge , CO Eagle Rare 17 year. Frankfort , KY Borbones Bloody Butcher Bourbon. Brooklyn , NY Borbones Most Righteous Bourbon. Bethel , NY Swisher , IA Borbones Wathen's Kentucky Bourbon. Owensboro , KY Borbones Spring Mill Bourbon. Indianapolis , IN Borbones Colorado Gold Bourbon. Cedaredge , CO Cooperstown , NY Lake Zurich , IL Borbones Graniac 9 Grain Bourbon. Bowling Green , KY Garland , TX Dancing Pines Distillery Hecho a mano, artesanal Borbones Dancing Pines Bourbon.

Loveland , CO Borbones Lewis Redmond Bourbon. Greenville , SC Dark Horse Distillery Fundada en Lenexa , KS Borbones Blue Corn Bourbon. Los Alamos , NM Borbones Queen's Share Bourbon. The Saharawi nationalists, united under the Frente Polisario were forced to retreat to refugee camps in Tindouf, Algeria, where they continue to subsist, seeking international recognition and restoration. A young anthropologist, Ignacio Aguirre, is hired to go to the territory and to prepare a history textbook of the Saharawi people for use in the indigenous schools that will come with the anticipated independence.

The territory is administered under strict military rule, even as the process is underway for Saharawi independence in the very near future. Ignacio and his Saharawi collaborators must negotiate diplomatic avenues of official recognition and documentation, at times making concessions to the Western conceptions of validity and bureacracy, all the while working towards an anticipated independence.

The premise of national self-determination is based upon a unique, historical Saharawi identity that ethnically separates the indigenous inhabitants of the territory from their Moroccan and Mauritian neighbors. Scott explains the concept of legibility within diplomacy as one emerging as a central problem in statecraft. The premodern state was, in many crucial respects, partially blind; it knew precious little about its subjects, their wealth, their landholdings and yields, their location, their very identity.

Organization and standardization effectively render a state legible. This theorization is pertinent to the Saharawi example in El imperio desierto in that the Saharawi are only partially sedentarized. The infrastructure present in the Spanish Sahara colony is a Spanish infrastructure, governed by Spaniards. One could potentially use other synonyms such as distinguishable, recognizable, or identifiable in their stead.

Another important hurdle for the Saharawi of El imperio desierto is their historical reliance on the oral transmission of history. The Saharawi cultural history is neither textually documented nor proximately aggregated. Prior to the Spanish decolonization of the territory, the Saharawi had relied on oral transmission of their history, and the documents that were available were dispersed throughout the families of the territory, uncataloged and unorganized.

To accomplish this task, Ignacio forms a team composed of Saharawi men who help him to gather scarce historical documents from families and to document family histories. Ignacio and his colleagues also encounter reluctance from the local Saharawi populace who are hesitant to entrust their important documents to a cultural outsider. The novel is split into five sections, of which Ignacio Aguirre is the primary focus. The first section begins in Madrid with Ignacio as a recently graduated anthropology student; he is contacted by the Spanish government and asked to undertake this project in the Saharan territory.

He is eventually released and returns to Madrid to pass along his findings to the government. The effect of this omission within the text is one of general culpability upon all branches of the Spanish government, instead of any singular agency. He is injured in a bomb blast and later put on a plane out of the country at which point the novel ends.

El imperio desierto ultimately humanizes the Saharawi Other and sympathizes with this Other that is condemned to operate within a cultural paradigm that is not their own. In my analysis of this book, I focus on three ways in which Mayrata represents the Saharawi Other that undermine and depart from traditional Orientalist discourse. These three points are: European Colonial Powers, the praxis of diplomacy, and archival of knowledge dominates all interactions; 2 the ways in which Mayrata humanizes the Saharawi and consciously avoids idolizing his cultural Other, and 3 the narrative attention to the cultural differences that disadvantage the Saharawi in a world that operates according to the Western paradigm.

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His new job is explained to him as such: Ya sabes, por las presiones de la ONU. Una historia del territorio para uso de los nuevos saharianos. The Saharawi are not offered the opportunity to write their own history. Ignacio is privileged over potential Saharawi authors for his status as a Westerner, despite his uninspiring credentials. You know, because of UN pressure.

In an independent country they have to study their own history in the schools. And that is what they want you to do. A history of the territory for the new Saharans. What begins as an educational goal for his project — to create a history textbook for use in independent Saharawi schools — becomes a much higher- stakes game as Morocco and Mauritania threaten invasion and contest the presumed independence of the territory.

Ignacio, therefore, becomes an official representative for the Saharawi before the International Court of Justice and the wider, Western diplomatic community. His position as such highlights the fact that the Saharawi of the novel do not have their own voice; they must find help through their paternalistic colonizers who will accompany them on the pathway to self-determination. Piense que la imprenta ha sido introducida recientemente en el territorio. Naturalmente, carece de archivos organizados y de bibliotecas. Think about the fact that the printed word has only been introduced recently in the territory.

Naturally, they lack organized archives and libraries. Little has been written about this zone of the desert. Tiene que tener un nombre. Todas estas cosas tienen su importancia. In between the lines of this passage is the possibility of a third interpretation: Who could stop you? Ask, go ahead and ask in this entire building who could tell you one single word about the history of the territory!

You have to have a title. We have named you Director of the Commission. All of these things have their importance. En eso consiste nuestra oportunidad, precisamente. Not only does neither he nor the Fourth International have any information about what the actual situation is in the Spanish Sahara much less that there already exists an [he gave himself over passionately to politics.

His militance in the Communist Federation And the Fourth International supports them? They are very far from our positions. But there is not any other organized group in the territory. I suppose that this will be one of those movements for national liberation somewhat vague and confused, that is made up of a little bit of everything. In this is our opportunity, precisely. Estoy seguro de ello. With this scene, Mayrata sidesteps specific political accusations against the left or right, instead insinuating that neither side is without blame.

Ignacio offers a tempered response: If we are able to organize an armed movement in that colony, it would have a propagandistic effect, here, in Spain. We would no longer be a minority group in the group of leftist organizations. I am sure of it. Pero ni siquiera estoy seguro de que el vuestro sea el mejor modo de hacerlo.

Mayrata subtly recognizes the cultural discourse that privileges the West over its Other, regardless of political orientation. Said 40 In the case of the Saharawi and the Spanish Sahara, there is very little knowledge that the Spanish colonizers have gathered or cared to gather.

What before was simple indifference is now [[Jaime: Ignacio shrugged his shoulders. He finds comparisons between Spain and the Saharawi without waxing nostalgic. At the start of his career as an anthropologist, before the Sahara offer, he reflects: He used to read French novels to her: You could still see ancestral forms of living, ones that were reduced to memory in the rest of Europe.

Then she would slowly repeate the words that she had just heard and she deposited them in what was without doubt her greatest treasure: Memory is not valued as a legitimate or a legible documentation source for international mediation purposes. La de los hombres del fusil y la de las gentes de libros. La de la sangre hirviente de los brazos y la de la sangre calma de los corazones. Nosotros la conocemos, porque la hemos escuchado de los labios de nuestros padres y abuelos. Emphasis mine, Ignacio shares an appreciation for the oral tradition from his own grandmother.

Implicit in this excerpt is also his forthcoming documentation of that tradition: That is, the written word is at minimum a marked improvement upon the purely oral communicative format. This man that you see here has come to write our history. The history of the men of guns and the history of the people of books. The history of the boiling blood of the arms and the history of the calm blood of the hearts. We know this history, because we have heard it on the lips of our fathers and our grandfathers.

But there are many peoples that do not know who the Saharawi are, how they have lived up to now and the things they have done. These peoples have disdain for us because of their history.

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When he writes the truth, the whisper of the voice of our ancestors will extend throughout the world like the wind and noone will doubt that we must be an independent nation While this documentary format is not traditionally valued by the Saharawi, Fadel recognizes that they must employ the written word to express the value of their oral history to the West. Ignacio quickly proves himself able to manipulate written language in an effective manner. Basiri was the original founder of the Frente Polisario; he was detained four years earlier — in — by the Spanish legion and no one knows where he is kept or if he is still alive.

Ultimately, the Saharawi are presented as flexible and capable individuals who value their oral tradition but understand the need to cater to the Western values of documentation. It is the West that is unable to understand the African Other or cultural values and conceptualizations that differ from the Western paradigm. While this could be interpreted as Europe articulating the Orient Said 57 , forcing the African Other to conform to standards and practices that are defined by the West, Mayrata instead presents [the Saharawi venerates words and gives them more value than any other precious object.

The cruelty of colonialism is an obvious component of the Spanish control of the territory. However, the Saharawi independence movement is not without its own brutality. At one point, Ignacio is clandestinely taken to meet with Buhe and other members of the Polisario. In a gruesome [The desert is another planet. The cold stoicism of Buhe and his comrades stuns Ignacio. Manuela is studying anthropology in London and attends a conference.

Por fin, a las 8. Me chocaron sus atuendos multicolores entre los que menudeaban las barretinas catalanas, las chilabas, los peinados estilo Nefertiti, los ponchos andinos, las guayaberas, los aros en la nariz, la henna, los turbantes. What is implied is that narrative exaggerations are often employed for their affective power with the reader. Ultimately, the nota bene N. Mayrata also tempers the occasional romantic tendencies of Ignacio by contrasting him with his friend Jaime.

When Ignacio returns to Madrid to present his work to the government officials, he engages in a lengthy conversation with Jaime. Jaime is brutal in his pragmatism, suggesting that the Saharan territory should be handed over to Morocco for control because it contains few resources that would allow it to be a viable independent nation. Jaime warns [Finally, at 8: The public was the cream of the crop of British anthropology. Their multicolor outfits shocked me and among those that wandered about were Catalan barretinas, chilabas, Nefertiti styled hairdos, Andean ponchos, guayaberas, rings in the nose, henna, turbans.

Such varied outfits contrasted with the sober grey suit and the red tie of the speaker, a Ugandan professor of Anthropology, a black man, who had arrived punctually [at 4: But I know that you like exaggerations. You know that a landscape is a historical framework This contrast emphasizes the difficulty of objective narration, admitting the possible faults of a Western author attempting to represent his African Other, while the text is literally about a Westerner writing the history of his African Other. The salient phrase that seeks to overcome the limitations of a textual representation comes from Ignacio: The Other may be different, but that difference should not serve as an impediment to mutual appreciation.

As a final point, Mayrata emphasizes the cultural differences that disadvantage the Saharawi in a world that operates within the Western paradigm. The Saharawi preference for the oral tradition over the written one also marginalizes their voice on the international stage. In addition, the very idea of what constitutes a society, a state, is conceptually different for the Saharawi.

I refer specifically [Only when you are able to enter into a relationship with its inhabitants, does the desert stop being an inhospitable, inhuman place, and converts into the land of some men who, thanks to an adequate culture, have made it miraculously habitable.

Koller, explains to him that: In the Saharan zone, dominated by your compatriots there has never been a city raised. With the exception of Smara. And this dream had to wait until the nineteenth century to become a reality. The cities are actually a colonial creation.

有機・減農薬栽培なら【フローラ】土壌改良で元気な野菜づくり

An illusion sustained by the motherland. But for a European, the absence of signs of the State provokes a sentiment of strangeness and neglect much more acute than that of the absence of vegetation. By implication, the Western models of state infrastructure and organization exclude other historical varieties that should be just as valid, if not more so because they have an earlier historical precedence. This self-reflexive process admits its own flaws and values the differences of the Other it attempts to represent, forcefully rejecting facile stereotypes or Orientalist discourse.

The dreams of the Saharawi are ultimately deferred as Hassan II of Morocco organizes the Green March and effective takeover of the territory while the Spanish simultaneously abandon the Saharawi to fate. In the text and in history, many Saharawi fled to the refugee camps in Algeria to continue their fight for recognition, a fight which continues to this day — over thirty years later. In their final encounter, as Buhe prepares to depart for Algeria, he says to Ignacio: Secondly, it serves as a reminder that, even though cultural differences abound, there is a common humanity that [the stone tunic with which to cover a body that already existed.

I think that I will never forget the time that we spent together, when we the Saharawi could still dream about behaving like human beings. He values the difference of his African Other, humanizes this Other, but ultimately also erodes his own ability to objectively represent this Other. The narrative humility of Mayrata attests to an attempt not to privilege the West over its African Other, but neither does he fall into the trap of over-idealizing the African Other.

Instead it hopes to achieve a vision of coexisting, equally valued differences, and in this sense is a poweful counter-Orientalist work of fiction. The Saharawi are effectively doomed to statelessness because of their difference. As Mayrata engages with this injustice, he actively writes against Oriental discourses of Western superiority by emphasizing the validity of differing cultural ideologies. Ultimately, the Spanish anthropologist or the Saharawi freedom fighter are individual humans, with hopes and flaws, who are forced to navigate the bureaucratic realm of international diplomacy.

In this lies the counter-Orientalist power and value of this work. The specific contexts of war, colonization, and diplomacy offer dynamically unique settings upon which Spanish protagonists confront, coexist with, and interact with their African Others. His work suggests that money, capital, and economic interests are the true divisions among humans, and he discounts an essentialist division based on race or culture. The assumed cultural hierarchy of the West over its African Other is shown to be an essentialized and limiting view; the West holds no For those who are more visual thinkers, if I were an artist I would illustrate this as two opposing sides of Same and Other separated by a parallel line that marks the divide.

In this sense, it is a powerful rejection of the tradition of Orientalism, even while employing some of the same structures of thought that enable its ideological contestant. Therefore, war perhaps serves to undermine and reassess conventional discourse about difference, but at the same time it continues to perpetuate dichotomies of difference, merely reified in novel fashions. For her protagonists, national identity is complicated by affection for a geographically Other territory. As the narrative also emphasizes the common humanity shared between Spaniard and North African, so it invokes the shared history of the two contemporary Others, a history which spans both sides of the Strait.

When characters employ rhetoric of Same versus Other, there is often a responding voice that inserts a qualifying phrase undermining the veracity of the first assertion. Mayrata is very cautious as he treads a line narrating the cultural difference of the Saharawi without either idealizing the African Other, or discounting its value.

Most significantly, where Silva employs the binary structure of Orientalist reasoning as a weapon of critique refocused on a social Other , Mayrata accepts the binary structure as a given and seeks to find a way for Same and Other to coexist and communicate. I have argued in this chapter that each of these authors is actively writing against the prejudicial tradition of Orientalist discourse, and yet the variety represented in these three authors shows that there is not a singular, consolidated approach being employed by contemporary Spanish authors to dismantle Orientalism.

Rather, this analysis signals the multidirectional approach that authors are employing to challenge the legacy of Orientalism. In the first War of Africa he was charged with painting the Spanish campaigns in Morocco. Orientalist Nineteenth Century Paintings While this dynamic may be true, Fortuny does deliberately employ the trope of Oriental sensuality as a marketable quality for a Western audience.

The trope of the veil attempts to represent her as she is, but instead reveals more about the Western narrator mesmerized by her dark and fruit-like skin. Both Aixa and Africa seduce and are seduced by the Western author, and these are tropes that continue to play out in contemporary Spanish literature. If Aixa were a European girl, she would remember me as an idiot; so cowardly, inexpressive and immobile I imagine myself in that moment. I had the great luck that Aixa was not a little girl from high society, accustomed to weighing the timidity of her suitors, rather a morita of barely 15 years… She was unveiled and was like a recently bought sweet that had just been unwrapped from its silk paper.

But the darkness of a peach that is not very ripe, with the soft fuzz that makes the skin of the fruit so similar to that of a woman. While Chapter Two focused on how methods of engagement affect literary representation, here I examine the broader implications that an eroticized literary representation suggests, and in so doing I essentially invert my point of critical observation as I continue to examine how the Orientalist tendency is reflected, maintained or rejected in the Spanish novel. This combined process of examination will contribute to a more complete analysis of the portrayal of Africa in the contemporary Spanish novel.

In the Western tradition, Western culture has been valued over any Other, and this assumed authority has lent itself completely to the colonizing mission.

有機・減農薬栽培なら【フローラ】土壌改良で元気な野菜づくり

One of the relationships that must be considered in this study is how positions of cultural or political superiority and authority have shifted in their literary representations. If there has indeed been a shift in this assumption in the contemporary Spanish novel, then this would be a valuable indication of the need to reevaluate theories of Orientalism to see if they can be applied to the new novel on Africa. An essential component of my analysis of the valorization of the Other will be investigating specifically gendered portrayals of the African Other in this chapter.

Each of these novels contributes a specific angle to the discussion of gender and Africa. These authors represent a variety of viewpoints and approaches to the question and representation of a gendered Africa and its ability to seduce.

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Abumalham, as a female Hispano-Maghrebi author, contributes an Other voice as she draws on Oriental literary traditions and merges them with Spanish ones, creating a work in Spanish with an Othered narrator who seduces through the epistolary genre. They also represent a range of style and target audience. El tiempo entre costuras was a runaway best-seller and along with Guinea these novels are both action-adventure works.

The representation of Africa and the African in these novels is a significant element for their commercial success. In the section on El tiempo entre costuras, I examine the use of Africa as a land of possibility, liberating a young Spanish woman to recreate her life and identity. Africa contributes both cultural and erotic capital to Sira Quiroga as she is literally turned into Arish Agoriuq, International Spy. The final section of this See the beginning of the specific sections on these works for a brief summary of their editorial success. These gendered representations of place highlight underlying conceptions of Same and Other while strengthening paradigms of Western, male power.

The metaphorical gendering of the African geography contributes to the concomitant eroticization of the African. The odalisque, the morita, the harem, and the virile African male are often deeply embedded with sensual connotations in the Western literary tradition. She ravished the Christians The effect of this gendering is most often to perpetuate Orientalist stereotypes and the subtle assumption of Western and masculine dominance. These tropes prove difficult to dislodge and continue to survive in contemporary Spanish letters. They may be more subtle or nuanced, but Africa and the African are still heavily gendered and eroticized in many works, including some of the ones under consideration here.

Juan Goytisolo uses Africa as an eroticized and liberated Other from which to criticize Spanish sexual and political conservatism. For Goytisolo, the eroticization of the African Other serves as a controversial juxtaposition to an impotent and deflated Spanish virility. This contentious provocation is being replaced by new gendered representations in the contemporary Spanish novel.

Each of the authors examined in this chapter represents a unique take on Africa and the African Other that implicates questions of gender and alterity. Ultimately, in this chapter I analyze how gendered portrayals of the Other have contributed to Orientalist stereotypes, or been used to overturn them, and how the contemporary Spanish authors are employing such gendered portrayals with new motives. The ultimate question will be: Do these new representations perpetuate gendered conceptualizations of the Other that maintain Western prominence or do new erotic portrayals of the Other serve distinct functions in the contemporary novel that potentially overturn the traditions of Orientalist discourse on Africa?

Unfortunately, the answers are not all emancipating; it appears that gendering Africa and eroticizing the African Other prove to be the easiest traps for Western writers, the most tempting metaphors and imagery. At the threshold of the twenty-first century, it is necessary to examine the intersections of gender, representation, and Africa in the contemporary Spanish novel so that we can identify and move beyond discursive constructions that privilege one geography or gender over another.

So often we act out the present against the backdrop of the past. I do not doubt that this oversight will be amended soon, due both to the significant commercial success of the novel and also to the literary quality with which it is written. Many consumer reviews of the book applaud its engaging prose and its entertaining story-telling Amazon.

It has also been adapted for a mini-series on Antena 3 which will debut in fall Antena 3. The prose is accessible without diluting the quality of its literary expression. It is an impressive and captivating work for a first novel, developing over pages. The historical setting is what is initially pertinent to this study. Gracias a los recuerdos The Spanish Protectorate of Morocco was officially established in by the Treaty of Fez and ended with the recognition of Moroccan independence in Thus, it is perhaps most appropriate to highlight at this point what the novel accomplishes and what are its limitations as relevant to the examination of Orientalism in the contemporary Spanish novel.

Thanks to the memories charged with nostalgia of all of them, the characters of the novel have been able to travel the streets, the corners and the heartbeat of our colonial past in the north of Africa, a context almost disappeared from our collective memory and hardly ever evoked in the contemporary Spanish narrative. To paraphrase Ana Rueda, rendering the Other discursively invisible effectively mitigates the horrors of colonization, liberating the writer and the Spanish public from the ethical responsibility towards the Other.

If the African is rendered textually invisible, then one must ask the question why Africa? If the primary characters of the story are Portuguese, French, British, or Spanish, why could the novel not have taken place in France, Spain, or Portugal? Therefore, to clarify, even though the protagonist Sira Quiroga is initially a poor and helpless individual, her mere status as a European offers her opportunity not available to the Moroccan colonial population. I will return to these questions below, by examining them more in depth within the text, but my examination of this novel does warrant this initial explanation of the potential shortcomings and choices of the author.

This novel is pertinent to this study not for its representation of the African Other, but for its representation of Africa as a playground for the European colonial powers and the exotic imagery of Africa as a transformative space for the European.

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Africa serves as a stage where Sira is able to rebuild her life after a series of disasters, and when she later returns to Spain under an assumed, Arabized name, the exotic flair that she adopts — effectively a Europeanized Africanness that is palatable to the upper echelons of European society — confers upon her an exotic cultural capital that she is able to convert into literal capital through the success of her haute couture sewing shop. As a theoretical framework to this approach, I will rely on contemporary feminist theory by theorists such as Chandra Mohanty, Linda McDowell and Kristyn Gorton.

Said and the Unsaid to contribute to my analysis of the Orientalism of the novel. The novel is narrated in the first person voice of the protagonist, the singular Sira Quiroga. She tells of her misfortunes and fortunes as she witnesses and participates in some of the most dramatic moments for Spain and Europe in the 20th century. From her youth in Madrid, Sira elopes to Tangier with a charming man who soon leaves her pregnant and robs her of all her money.

As the Civil War breaks out in Spain, the local police commissioner takes her passport and forces her to pay the pending debts of her disappeared lover from Tangier. With the help of friends, she is eventually able to open a high-fashion boutique serving the wealthy expatriates who are trapped in the Moroccan territory due to the war in Spain. She gathers all of the information needed and as she is returning to Madrid by train discovers that a hit squad is after her and on her train.

Marcus Logan shows up and they escape the train and return to Madrid by car. In the epilogue, Sira narrates what became of her many companions throughout the novel. As a novel that reads well — as is obvious from its commercial success and television adaptation — an analysis of the novel highlights its limitations. It is clearly a Euro-centric plot, despite the fact that it develops largely within North Africa.

Questions of European colonialism are ignored. It was only my first and last name in reverse Sira is a successful capitalist; her business flourishes, as she is literally able to profit from the initial investment of capital. Sira begins as an oppressed young woman who is taken advantage of by an older man, and she eventually becomes a mature and forceful woman who consciously decides to control her own future.

This transformation should not be considered in isolation. It is relevant to this project because it occurs in the narrative and historical space of the Spanish Protectorate in Morocco. Therefore, the geographical space of Africa — written as the European Protectorates — contributes to the dynamics at work within the plot. Her position of privilege as a colonizer enables her to re-create herself, or perhaps more appropriately re-fashion herself. The conflux of gender and Africa in this work is only pertinent to this study in what we can analyze as the contemporary representation of Africa in the Spanish novel.

To this end, it is useful to compare analogies of male: But while initially problematic, it is also nuanced and still critically significant. In early thirties Spain, the country is plunged into chaos and Sira is called to come and meet her estranged father for the first time. Sensing the impending fall of the Second Republic and the outbreak of war, he gives to Sira her inheritance and advises: A Marruecos; iros al Protectorado, es un buen sitio para vivir.

Un sitio tranquilo donde, desde el final de la guerra con los moros, nunca pasa nada. The two of you, far away, you have to get as far away from Madrid as possible, the farther the better. Out of Spain if possible. To Europe no, things don't look good there either. Go to America or, if that seems too far, to Africa. A tranquil place where, since the end of the war with the Moors, nothing ever happens. Begin a new life far from this crazy country, because on the least expected day something big is going to explode and no one will be left alive. Y una escuela de artes y oficios tradicionales.

Spain had provided Morocco advances in equipment, health, and infrastructure, and the first steps towards a moderate improvement in agricultural exploitation. And a school of arts and traditional works. And all that the natives were able to obtain as a benefit in the activities destined to satisfy the colonizing population: Spain from Morocco, in material terms, had received very little. Beigbeder explains to Sira: He was brother-in-law to Franco as they both married sisters.

These subtle additions counterbalance the nostalgic idealization of the colonial Protectorates. She has nothing to her name and is alone in an unknown city in a foreign country, unable to return to Madrid because war has broken out. He does not understand the Moroccan public, neither do they care the least about him. Sin una presencia cercana en la que confiar y de la que depender. Sira soon discovers a new self-confidence and a strength that she previously did not possess. She agrees to help, but she also negotiates her own conditions that Logan will also find out some information for her.

I had never done anything without help, I had always had someone to show me the way: I felt useless, inept to face alone life and its stakes. Incapable of surviving without a hand that held me with force, without a head deciding for me. Without a close presence in which to confide and on which to depend. Her closest friend Rosalinda, a British expatriate who is romantically involved with Beigbeder, has also found in the Spanish Protectorate a place to escape from her past and to recreate a new life.

For the wealthy colonials, Morocco offers them everything from their homeland, plus a degree of anonymity Africa reveals its mystique when Sira is contacted by the British Special Intelligence Service to move back to Madrid and open up another shop, with the purpose of spying upon the wealthy and powerful wives. At this point, she is, in effect, a completely distinct person from the young girl who left Madrid several years before.

When she returns to Madrid, she relies on her exotic, Orientalist narrative to find financial success and to stand out. Sira appropriates another culture for her own ends. He not only [In addition to the cloths and the sewing tools, I bought Trays of embossed copper, lamps with crystals of a thousand colors, silver teapots, some pieces of ceramic, and the large Berber rugs.

A small piece of Africa in the center of the map of the exhausted Spain. Arish employs her exotic persona to achieve financial success in her shop and to gain the confidence of the political elite in Madrid. What mattered to them was the structure of their work as an independent, aesthetic, and personal fact, and not the ways by which, if one wanted to, one could effectively dominate or set down the Orient graphically. Their egos never absorbed the Orient, nor totally identified the Orient with documentary and textual knowledge of it with official Orientalism, in short.

He appears to insinuate that it functions on similar principles, but lacks the rigor and force of the academic project of Orientalism. Said essentially gives these authors a pass; their work lacks the political support that undergird Orientalism as a destructive force. It is precisely this tinker-tailor-candlestickmaker hetero-genus-ness in discourse that is obscured in the argument of Orientalism. While Sira is able to parlay debt and ruin in Africa to personal fortune and independence by appropriating a culture that is not her own, the representation of Africa is mired in a tradition of representation that leaves it as a land of possibility for the Westerner, almost devoid of indigenous inhabitants.

Therefore, it is useful to return to my previous suggestion that what may be at work is an analogous relationship of male: It is clear that Sira finds the strength to be independent through Africa, and yet the representation of Africa — even though positive — does not diverge from a narrative of colonial nostalgia.

Within the text Morocco is not a land of Moroccans, but of Europeans. Pero adoro Marruecos… Africa — Morocco — is reduced to little more than an imagined, exotic geographical space. The qualities that do not serve her are discarded: This zone is right now full of foreigners from a thousand different nationalities, but all of them proceed from Europe.

And I lament it; above all if all of the Moroccan women are like yourself. I am an atypical Moroccan because my mother is Spanish. I am not Muslim and my maternal language is not Arabic, but rather Spanish. But I adore Morocco Africa does occupy a favored and favorable position within the text, and so it would be relatively easy to affirm the benign nature of the representation as Said appears to do with Chateaubriand, Lamartine, Renan, and Sacy.

But such a reading would overlook the fact that, while El tiempo entre costuras does not offer a negative representation of Africa, neither does it depart from a pattern of representation that appropriates Africa for Western purposes. El tiempo entre costuras is a novel that — as V. It is, ultimately, ethnocentric and Eurocentric, despite a large portion of the plot developing within the geographical space of Africa.

And while it is perhaps Orientalism-light, it does not depart from the Western paradigm of representation that appropriates Africa for its own ends. Neither is the feminism of this novel particularly contemporary. But this is a Western feminism, anchored in second-wave feminist ideas of financial, professional, and sexual equality for women. Men exploit, women are exploited. Such simplistic formulations are historically reductive; they are also ineffectual in designing strategies to combat oppressions.

All they do is reinforce binary divisions between men and women. Sira is the one who exploits Africa, and I would hold that this ultimate, insidious interpretation suggests that, hidden between the seams of this novel, are surviving remants of Orientalist discourse, alive and well. His personal website lists his travels through Africa and Latin America and his varied jobs as a scuba-diver, Spanish professor, entrepreneur, poker player, and travel guide and his interview in La vanguardia begins with the following introduction: No le hace falta, asegura convencido.

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Fernando Gamboa has received very little i. For some years now, Gamboa has considered himself to be a professional adventurer. That is not to say that his works are without merit; online reviews by bloggers and consumers are generally very positive about the novel. Guinea is an engaging and entertaining adventure novel.

However, for this study and of general interest in the novel, is the fact that Guinea is not just an entertaining read, but also a politically charged narrative. This open letter can be found on J. He recibido un correo con una carta de F. At first I thought Spain controlled it with varying levels of interest from until official decolonization in Since Spanish withdrawal in , Equatorial Guinea has had only two presidents.

Both of their presidencies have been marked by extreme corruption, brutal political oppression, and domestic bloodshed. If you think that this fight makes sense and you want to add your grain of salt, re-send this message to all of your contacts. Through these extra-diegetic writings, Gamboa appears intent on speaking for those who do not have a voice in Equatorial Guinea, the politically marginalized, and yet the narrative of Guinea questions the very methods in which the West writes its Other.

It is a surprisingly effective undermining of Western Orientalist discourse. As Gamboa appears to balance moral imperative with a compelling narrative, Guinea is imbued with subtleties that make it a fascinating text for analysis, especially within this dissertation. Despite the fact that Gamboa insists that his fictional text is based on testimonies and first-hand accounts, it is important to ultimately remember that [t]he things to look at are style, figures of speech, setting, narrative devices, historical and social circumstances, not the correctness of the representation nor its fidelity to some great original.

The exteriority of the representation is always governed by some version of the truism that if the Orient could speak for itself, it would; since it cannot, the representation does the job… there is no such thing as a delivered presence, but a re- presence, or a representation. Guinea presents a riveting and compelling plot set against the current military dictatorship of Teodoro Obiang Nguema in Equatorial Guinea, West Africa. Gabriel helps Blanca make a harrowing escape across Equatorial Guinea and into Cameroon. Blanca makes it home to Spain but returns to rescue Gabriel.

Upon her return the two of them plot together to assassinate the dictator Teodoro Obiang Nguema. Her subsequent failure to assassinate Obiang haunts her as much as her memories of a relationship with a man who never existed. She is in obvious conflict with the corrupt Guinean police force and dictatorship; she is helped along on her flight by the pitiable subjects of the Guinean countryside; she is sheltered by Spanish missionaries and international volunteer doctors, and she becomes romantically involved with Gabriel, her companion.

The revelation of Gabriel as phantasm does change the nature of our consideration, as David Punter notes: Blanca creates in Gabriel an imaginary African Other that accompanies and protects her. But not only is the spectrality of this Other significant; Gabriel is a highly sexualized mental creation. The young white Spanish female protagonist creates a strong and erotic African male to protect and seduce her. As I analyze this novel, my consideration of these characteristics will show that they draw on a history of Orientalist gendering of Africa and the African male, while the use of a spectral incarnation of these characteristics highlights the instability and subjectivity of the same eroticized stereotypes.

My thesis within this particular analysis is that this creation of the Other reflects psychoanalytic concepts of repression and trauma, and hints at an authorial self- conscious presentation of the Other that, while superficially eroticizing and disingenuous, ultimately questions the representation and reception of the Other in fiction. A reading of these themes — the Other, trauma and repression, gender, and the postcolonial — will articulate my thesis: To accomplish this, I focus on three For an insightful collection of essays on memory and trauma, see Trauma: First, the manifestation of the Other as a result of trauma.

Second, of the Other as erotic phantom. And third, a reverse argument, to turn the text on its head and consider the possibility that Gabriel did exist and that the narrator turned him into a specter. An initial consideration must begin with the structure of the text and the authority of the narrator. As noted above, Fernando Gamboa has written a fictional text, and yet seems reluctant to commit his novel completely to fiction. It is a trope at least as old as Cervantes — the original master of meta-fiction. I have come to look for ideas for a good novel] [a good story An incredible odyssey of bravery, love, hate, of Felman also considers the use of testimony as a rhetorical, legal argument in seeking restitution.

The reader is led to believe that the story being told is a realistic, if not a real, story. Said discusses the use of personal testimony and Orientalism in the following manner: Residence in the Orient involves personal experience and personal testimony to a certain extent. Contributions to the library of Orientalism and to its consolidation depend on how experience and testimony get converted from a purely personal document into the enabling codes of Orientalist science. In other words, within a text there has to take place a metamorphosis from personal to official statement That is, the narrative trick that underpins the story undermines its reliability and thereby destabilizes directly the authorial assertion of mimesis.

The other The open letter, which can be found at J. Her psychic creations, and the depictions of the Other within the text rely on established tropes in representations of alterity — she draws from the Orientalist crypt for her narrative. The enduring power of Orientalist discourse can be understood as a haunting that continues to influence Western discourse in subtle and often unconscious ways.

As Anne Whitehead notes: The experience of trauma has not yet been assimilated by the individual and so cannot be possessed in the forms of memory or narrative. On the contrary, trauma assumes a haunting quality, continuing to possess the subject with its insistent repetitions and returns. He is, indeed, an archangel that appears and attends her. Blanca and Gabriel plan to blow up the cathedral where the Guinean president Teodoro Obiang Nguema and other political leaders will be attending the Misa de gallo on Christmas Eve. Gabriel, who had been a comforting presence — an heimlich companion — is converted into and transforms the entire text into something unheimlich.

Fear of him instigates her imagination and later confrontation with him [submerging myself in the darkness] [a strong hand] As articulated by Freud in The Uncanny: He appears when she feels alone, and the text subtly relates this coincidence of his appearance, or apparition, with her solitude. When he does appear, he threatens to leave her if she does not compose herself; his reassurances cause Blanca to reflect: He is Other — racially, sexually, and culturally — yet familiar: Aziz in his essentially servile and accessorial role.

Gabriel appears and accompanies when needed, he conveniently disappears when inconvenient. He is Other, and represented as what Marianna Torgovnick calls primitive — an exotic yet familiar presence. Voiceless, it lets us speak for it. The integrity of her representations of alterity is, therefore, impossible. Within the text, on more than one narrative level, all cultural, African Others are the creations of Western minds. This double bind could be interpreted in at least two manners: As noted above, assertions of verisimilitude and mimesis are undermined by the narrative tricks that engage and entertain.

Second, and conversely, that what is at work is a conscious authorial manipulation of narrative levels that highlight the instability of narration, testimony, and representation, strategically undermining the Orientalist narration that is employed. In drawing on the narrative legacy of Cervantes and by allusions to caricatured representations of colonial literary figures such as Sab, Uncle Tom, Mister Johnson, or Dr.

Aziz, Guinea invokes an intertextuality that subtly subverts its own narrative. For the postcolonial writer… such self- consciousness can make a powerful political point. The ambivalence that the narrative structure creates — examined above — lends itself to more than one possible analysis. Is the Other simply a symptom of trauma, an imaginary creation that serves to guide and help the hapless Westerner?

What active qualities, if any, does the Other have in the text? Any further analysis must, of course, be tied to the initial consideration of the unreliable narrator, and yet in examining her stated motives and actions, in her projections, an alternate impression of the Other — of the African — can be formulated. Therefore, I would like to consider the erotic phantom of the Other and focus on the eroticized representation of this masculine African Other. This interpretation is subtly different from the first — the Other as aide and passive companion — in that the erotic Other seduces.

She begins to flirt with him early on, developing a camaraderie that leads her to eventually ask Gabriel if he is married or if he has a significant other. Eres culto, inteligente, y no te falta atractivo. Even though Gabriel admits his attraction first, he is placed on the defensive — that is, the Other, even when assertive, takes the subservient role. This Other, though secondary to the Westerner, may be passive in expressing emotions, but, in regards to physical seduction, he is active and irresistible.

I mean, you had a good job. Do I give that impression?

While this is a humorous scene, the connection of these two events is worth considering. Blanca compares the passion she feels with Gabriel to the physical power and danger of the charging elephants. In essence, Gabriel and the herd of elephants share the same awe-inspiring qualities. This comparison ties the representation of Gabriel to the primitive, the animal, and also sets him up as an emblem for Africa, much as the jungle elephant is also in the popular imagination.

Primitives are mystics, in tune with nature, part of its harmonies. The ensemble of these tropes — however miscellaneous and contradictory — forms the basic grammar and vocabulary of what I call primitivist discourse, a discourse fundamental to the Western sense of self and Other. Freudian theory can help us understand the illogical congruence between the two idioms, though it does not originate with Freud. That is, Marianna Torgovnick explains how Westerners have traditionally had [t]he tendency to perceive primitive peoples or things through the lens of Western myths…: Malinowski… called his book on Kula exchange Argonauts of the Western Pacific, superimposing Greek myth on his ethnographic findings… Such crossing of Western Myths and primitive peoples or institutions creates a never-never-land of false identities or homologies The tropes and categories through which we view primitive societies draw lines and establish relations of power between us and them, even as they presuppose that they mirror us.

Both Africa and the African male become erotically powerful symbols in this interpretation. At the moment of her imagined? Under this consideration, she is seduced by the idea of Africa not personified in a physical body. Blanca draws on her postcolonial crypt to imagine him; her narrative is even explicitly nostalgic for the colonial era as she relates what an elderly Guinean man told her: Now I was in Africa, in the arms of an African And look at us now Indeed, the fact that Karen Blixen used the pseudonym of Isak Dinesen and Blanca Idoia assumes the alias of Karen Blixen subtly hints at the confusing nexus between fiction and non-fiction.

The historical Karen Blixen both created a fictional persona in Isak Dinesen and is turned into a fictional alias in Guinea. These textual layers draw attention to the narrative and question the veracity of that very narration. As examined above, Gabriel is verbally subservient to Blanca, and yet physically assertive, dominant even.

An admittedly essentialist analogy of verbal: And yet, it must be emphasized that the self-conscious and self-reflexive narrative can also function to destabilize the very stereotypes and discourses that it appears to maintain. Okay, I understand the analogy. In this relationship, real or imagined, between Blanca and Gabriel, there is also the metaphorical relationship of the West to Africa. However, her mental instability undermines her status as the strong partner and the West over East hierarchy is questioned as fictitious.