Visión del ahogado (Spanish Edition)

What is more, al- astating, and that may even be quite prom- though the narrator presents adequation as ising. The non-representationality, and even violence, absence of direct political meaning does not while inadequation may signify, if not ex- preclude its indirect presence, quite the con- actly the opposite, something like an op- trary. In a certain sense, adequation func- The democratic opportunity that I tions as a democratic concept, bespeaking find in and around inadequation is not easy equality, equivalence, and equalization Lat.

In a certain sense: These opportunities and pos- nified. Of course, if adequation can bespeak sibilities, admittedly beyond the novel, are a totalitarian equalization, inadequation, not of my imagination alone.

Gianni once put into play sociopolitically, does not Vattimo sees in the dissolution of strong necessarily bespeak inequality or the non- metaphysical concepts—and adequation is viability of democratic representation. Ad- surely among them—an occasion for a equation and inadequation are thus not re- resignified reality whose values are not domi- lated in a stable, mutually opposing man- nation, homogeneity, and centrality.

In a rhetorical flour- Octubre. Insofar as relations of ity, for a radically democratic society of equivalence or interchangeability are here diversity and plurality. Lest this all seem too theoretical and self. The existence of GAL points to the inopportune, we might recall that civil continuity of totalitarian tactics in demo- strife and totalitarian control—operant cratic times and thus casts doubt on the terms in any modern society—are espe- difference between one system and the other.

Vision del ahogado by Juan José Millás

Associated at the most against the state is, there are obviously other extreme with an expansive terrorism and modes of violence as well. One of the reasons it is treacherous to Another is the violence of the home, the take one thing as the measure of another is family, a violence of privacy and domestic- that it can entail a violent denial of differ- ity that is often, but certainly not always, ence. Truth, after all, has long been reasoned sexual in scope. Turning something less than gentle. Spun a bit now to the literary text, we may turn, if only sharply, if the fit is not easy, it can be forced.

Published in the wake of Franco, it makes The disenchantment or el desencan- no mention of the dictator except through to—with the definite article in Spanish as topographical allusion: Published, some respects strangely comforting.

En- moreover, in the year of peaceful general chantment, that is, is saved even as it is ne- elections and the Law of Political Reform, gated, consigned to a time when change for it does not narrate the struggle for political the better was still thought to be possible. In that sense, Francoism or the intricacies of the transi- the enchanted time, as a sort of lost tion to democracy. Instead, it centers on anteriority, is also profoundly false: In- or a lie.

So while the disenchantment ap- deed, the smallness of the narrative is rein- peals to a chronology of change it also sig- forced by the vagueness of the temporal nals a diffuse continuity—or as Spires calls markers. As Spires tions by Gonzalo Sobejano and Robert so discerningly observes: Spires , that it takes place in the last the strategy to blur temporal bound- years of Francoism, sometime between aries suggests that the imprint of a and Through a careful reconstruction watchtower system is as much in evi- and reordering of the temporal markers—a dence in the infancy of the Spanish reference to a political assassination, the av- democracy as it was during the ma- erage age of students, vividly vague memo- turity of the Franco dictatorship.

Published in a time petty thieves, or the magic of debased lov- that many consider momentous, and nar- ers. And it is certainly not about the la- rating a time that is necessarily before the tent heroism of the common citizen. Indeed what it is about, if anything, or history, that depends on neatly definable is the debilitation of humanism, disruptions: This might suggest that something serious and profound.

He goes on to say that he has attempted suffering, and fear; language and con- to diminish reflection in subsequent texts, sciousness; aging and death. If lack grand style. And the problems of telling a the passages of reflective grandeur may be- story, whatever the author states, are not lim- little rather than elevate the few precise his- ited to the presence or absence of reflection torical and political events present in the alone.

As I have sug- of grand reflection. After having robbed a phar- estrangement. Soaked with trangement of human consciousness In the meantime, as Luis truth, if for no other reason than that truth shivers with fever, in the apartment above is here the uncanny effect of the persistence him Julia and Jorge go hot and cold, talk- and return of something familiar, yet par- ing, avoiding talking, and having violent sex.

Villar does relate some strangely familiar things. Luis, babbling incoherently in a cor- discipline, and punishment that may im- ner of the womb-like room in which he has ply the return, or persistence, in a time of hidden, is also found by the police. Julia, transition, of the norms of social control. Jorge, how- sexier projections of Spain that accompany ever, is absent, having left Julia, Luis, and the move to democracy; it does not bring the entire situation in a final act of frustra- to mind the Movida or the Destape; it does tion and failure.

Instead, it stays with tells. It does not, in itself, seem especially what has not quite changed: Of course, as I have suggested, daily work, the presence of the police, the the semblance of insignificance may be pre- eyes and ears of others. This is not to say cisely the point.

Free Online Book Free Download Vision De Ahogado Spanish Edition Djvu 846632271x

Sobejano, in contrast, underscores the an armored police jeep: More devastatingly, each charac- el conjunto recordaba sin esfuerzo a ter watches, almost blindly, him or herself. Yet, it is while the meaning of the crowd is incom- the evocation of the everyday and, more ex- prehensible, the meaning of the police is reinforced. Even more, it shows how vigilance viejo sin hacerse mejor. The inadequacy that follows. Historical movement is recalls a keyhole. The surface of reflection— similarly implicated, textualized in terms of so important to, but also against, narra- decay, decline, and degeneration.

The lat- tion—is chipped in a way that calls forth ter is an especially intriguing term, one that an illusory depth and opacity, at once titil- reverberates in a variety of ways. Degenera- lating and threatening. For she is seen. Violence, sadness, melancholy, de- sociedad en la que ha crecido.

Sadness, violence, and so on , emphasis original.

Take, for example, the and, what is more, a man who grows weaker previously noted sadness and suffering of without losing power. Inasmuch as the date of the nar- ration approximates the date of Sadness may have been a sin in the Middle its composition and publication , the Ages, but in the Modern age it has become present to which Sobejano refers is far from a tremulous virtue, a sign that the subject is stable. It is also, one might think, far from in tune with the sad truth of reality. And yet, if the ex- Adorno, and, however differently, Benet, perience of adolescence is any indication, and that suggests that to know reality is to the upshot of so much possibility and op- know sadness, suffering, and pain.

And yet, portunity is failure and frustration, disen- the text also indicates that the truth-value chantment. The however, fear is the emotional mark of narrator ponders: Francoism, of a time apparently before. At the same time, fear is a function no sooner does it assert the inoperability of of the past as it passes into something else, the relation between the quotidian and the a function, that is, of oblivion and loss.

Fear mythic as in allegory than it asserts that is a function both of continuity and change, this assertion is itself ancillary, like wonder- permanence and impermanence. This spins ing, after the fact, about the efficacy of sui- a number of ways: The last remark is not a throwaway. A things, and relations do not change; that the principle of adequation, founded on sad- truth of reality is sadly the same as it ever ness, suffering, and pain, is not replaced was; that the transition from dictatorship with a principle of efficiency, but endures— to democracy is more rhetorical than real.

In a short book dictatorship to democracy has rendered the on the Transition published in , Juan dream of a better society a frustrating fail- ure. It is not enough to seek a devastation to match the devastating truth of reality; nor is it enough to accept Men have always fought their misery with dreams. Although dreams were once pow- inadequacy as adequate to a negative erful, they have been made puerile by the authenticity: Among destruction, willful though it may be, has many betrayals, this one is the worst.

Part of the problem with self-destruc- It is tempting to say that the only ad- tion, at least as it is presented here, is that it equate relation is one that recognizes its in- refuses to relinquish a sense of redemption adequacy. Tempting, it is also too easy; for and, more intricately, a sense of the self. For example, translated lines close to the truth of reality, it stresses that from a song by Simon and Garfunkel are he is still very far away. The following is incorporated into the body of the narra- illustrative: Memory, far from providing access to ex- intenta protegerse a cualquier precio perience, is instead a substitute or de la realidad.

What is worse, experi- ahora le impide aceptar como pro- ence itself is unreliable, its immediacy spu- pia la actual experiencia le conduce rious, its intimacy fraudulent. Las frases so, however, and also incapable of accept- hechas le rodean y desprestigian su ing his present experience as his own. Unwilling to be like thing thought, everything felt. Jorge, in the very name by which he is known.

So stifling is this lack of originality that nicknames become des- Seguramente Jorge ignoraba que quien perately feeble attempts to give the name no se deja motejar hace de su propio an elusive body and to rescue the authen- nombre el peor de los motes, por cuan- ticity of the sign.

For with the physical force that it is missing. And part of their deceptive- name and body. For in all cases, the physi- ness, a critical part, is violence. Again, even cality signified by these nicknames is itself at its most reflective, the text does not ex- defective or damaged and signals, in turn, pound on peace and violence in some the impossibility of a perfect adequation grandly historical sense, but remains focused between word and thing, name and body. Theirs is the peace and vio- perfect body: Jorge is not alone.

The most out- high school—fantasizes about hitting his wardly violent character, the one whose ag- wife in the face with an ashtray. The outward violence is here Haunted by the past and rocked with domestic violence, the violence that lies yearning, both men end up leaving the behind the mediocre peace that lies, in same woman; but only Jorge is depicted turn, behind so many seemingly fine as doing so after engaging her repeat- proper names.

Domestic violence has only edly in violently abusive sex.

• Vision del Ahogado (English, Spanish, Paperback, 7th);
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The differ- recently been recognized in Spain as a le- ence is significant, though in both cases gitimate social and political problem. As the sexual relation seems, as Lacan might Anny Brooksbank Jones notes, it is not put it, impossible. Of goes for the social relation, in part because course, the social order that so smoothly sexual relations are social relations.

But the functions is one founded, as Jones implies, difference between one man and another on force.

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This is so largely because it der is adduced as being either too violent is actually an attempt not to accept impos- or, indeed, not violent enough. For what Jorge at- tempts is to overcome inadequacy and im- possibility, not simply by accepting or The specter of such material consumption, denying them, but by mastering them, the vision of the rotten remnants of a once willing and guaranteeing them. It is he, full flesh, stands in stark contrast to the more than anyone else in the story, who promise of longevity, youth, beauty, and tries to make things fit by force.

It also stands in contrast, sexual violence. When Jorge bility and inadequacy to be and as yet hits and penetrates Julia, he is striking out another attempt to save the distance be- at an image of his own inadequacy. The text indicates as much, but give up the ghost of adequation can be- it also indicates that Jorge is not exactly come ghastly. In a state of generalized inadequacy direct, non-mediated experience. With and inadequation, then, Jorge strikes out, food for experience as well as for thought attempting to make Julia lie in for a truth alienated and mass-produced, the subject that has lost both grounds and objects.

Un esquema sin cuerpo. Brad Epps 41 tranquilamente instalada en una espe- cie de debilidad que la exime de in- mocionar un suavizante para el cabe- tentar cualquier iniciativa. Aunque por llo o un abrillantador de dientes. As Jorge and, perhaps, the as an utterly abstract notion: Reified intimacy, like banal originality, Jorge, por el contrario, se encuentra marks Julia as a thoroughly modern sometido a una gran actividad inte- woman, one about whom there is little to rior. Moved by an- cido por parte de Julia. And Like Jorge, Julia understands that she is yet, early in the narrative, the feminine full- prompted to act in a text not of her own ness for which Jorge yearns is presented as a making.

There is, of course, an authorial fantastic sham. Or at least truth even more incisive: Nathan rated it liked it Mar 06, Silvia rated it it was ok Mar 01, J a i m e rated it it was amazing May 26, Daniela Fergadis rated it it was ok Dec 17, Laberinto rated it liked it Apr 02, Sergio rated it really liked it Sep 18, Eli rated it it was ok Mar 22, Laura rated it liked it Feb 06, Di Ana rated it really liked it Aug 17, Sasha Nuriel rated it it was ok Aug 26, Nanav rated it liked it Nov 12, Fernando rated it it was ok Mar 25, Kasper rated it liked it Sep 01, There are no discussion topics on this book yet.

He was born in Valencia and has spent most of his life in Madrid where he studied Philosophy and Literature at the Universidad Complutense. But his most popular novel was Papel mojado , an assignment for a publisher of young adult literature that was a commercial success and continues to sell well. Simultaneously, he began to publish articles in the Spanish press with great success, so he left the employment of the Iberian press and now makes a living as a journalist and author. In his numerous works, which are mostly psychological and introspective, any daily fact can become a fantastic event.

He created his own personal literary genre, the articuento, in which an everyday story is transformed into a fantasy that allows the reader to see reality more critically. On the program La Ventana, on the channel Ser, he has a time slot Fridays at 4: Currently, he is constructing a glossary, within which these accounts have a large role. His works have been translated into 23 languages, among them: In his novel, titled Laura y Julio, we find his principal obsessions expressed: No trivia or quizzes yet.

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