“I’m not in prison, I’m standing in front of rows of columbariums in a cemetery by the sea. How different this visit is from previous ones. Today I have another purpose, a date.” The character who says these words at the beginning writing school It stands by the grave of Pat, who was a student at the writing school where he was a teacher. Both build a world of complicity around reading and writing. They have read his poems thousands of times. Charles Baudelaire; now reading chapters To kill a mockingbird next to his grave.
He is also a novelist in the cemetery and knows that “pain is never completely independent of pleasure. Borders are scattered. There are also those who settle in guilt and pain, as in a luxury cruise.” Their thoughts on Pat trigger a Proustian memory of the first book they talked about: Crime and Punishment related to Fyodor Dostoevsky: Sure because there are many types of crimes, but punishments often have the same form.
Waiting for someone to appear in the cemetery. She’s a novelist in fashion my mother’s ashes“Success is a danger to me, too,” he admits, despite being “one of those books that is on its way to becoming one of the literary sensations of the season, one that everyone would want to read.”
From this bare first thread, mercedes abbot (Barcelona, 1961), perhaps not lost in a bottle, but an ego struggle that imaginatively limits the moral realm of their lives, activates a mechanism around certain characters seeking a manuscript that produces actions and reactions: What? a writer? What meaning can we literally ascribe to a dead person’s last words? A copyist, another figure in the literary world?
technically perfect
This is a technically perfect novel thanks to its inner arcs. There is no overly long text between the story and the novel, but it is not this dimension that determines its character. new this book, but what, in his lessons Juan Carlos Onetti, Ricardo Piglia Here he gave his name to the hole or enigma around which the whole plot revolved. It is an enigma that develops like the current of a river that grows in its full breadth and destroys everything, and which, for obvious reasons, I will not explain, but remains in more than one way unsolved when the book is closed.
Guilles Deleuze and Felix Guattari a thousand plateaus They show that in this type of text, the problem grows more around what it is than what it would be. This is the secret key of this book. What happens is the enigma that Pat takes to his grave as if he were the oracle of Delphi, dominating the beginning and the end, leaving doubts in the graveyard’s dead air, as if to indicate that there is no closing. this story or that the circle stands in the metaphor of the wheel of life.
Abad knows how to add great suspense to his book, giving both a hectic rhythm by linking the events of the reader’s past, perceiving them as a reticulated present.
‘writing school’
mercedes abbot
tassels
184 pages
18.50 euros