By Iris Murdoch
Al tiempo que huye de una tormentosa vida sentimental, el hombre se empeña en revivir su primera pasión amorosa por una mujer que l. a. vida ha convertido en un ama de casa escuálida, mientras l. a. presencia insomne del mar le devuelve todas sus obsesiones, los espectros del pasado, los fantasmas de sus errores y l. a. angustia de un futuro cansado.
Merecedor en 1978 del Booker Prize, El mar, el mar constituye un punto álgido de los angeles madurez narrativa de su autora, cuya prosa hipnótica nos envuelve aquí en un incesante torrente de imágenes, historias, personajes y reflexiones que resuenan en los angeles mente del lector como el rumor del oleaje al anochecer.
"Peregrinos de los angeles lectura, perdidos en el árido desierto de las malas novelas: venid a Iris Murdoch."
ANDRÉS IBÁÑEZ, ABC Cultural
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19 The women’s talk takes an unexpected turn when they discuss unwise engagements, and Anne ﬁnds herself once more physically overcome, so much so that attending to the rest of their conversation becomes impossible. She hears “nothing distinctly; it was only a buzz of words in her ear, her mind was in confusion” (II, 11, 251). Once again, Anne hears material that comes home to her, that seems to externalize issues of her own internal life. And on this occasion she sees that Wentworth is listening too.
Elton, which is presented in the familiar bare mode—without any indication of how and where it takes place—and Mrs. Elton (hardly “of such true gentility”) is thus in the background of the reader’s as well as Emma’s mind in this passage. Mrs. Elton then comes to the fore, without a break in the paragraph, in the famous passage about strawberry picking. There then follows one of Jane Austen’s very few genuine descriptive paragraphs, and not a very successful one at that, the description of the gardens of Donwell Abbey, and the lime walk, culminating in the “favourably placed and sheltered” Abbey-Mill farm.
During the later eighteenth and early nineteenth centuries a series of scientiﬁc inventions transformed both the availability and the quality of man-made light. These new technologies of light presented challenges as well as opportunities for visual artists and writers. Paradoxically, the new currency of light invested darkness with new signiﬁcance, a signiﬁcance bound up with the cultural phenomenon we know as Romanticism. At this moment when light was ceasing to be a precious, fugitive and friendly thing, and becoming instead a taken-for-granted aspect of modernity, Jane Austen was writing her novels.