Play Pokemon On Your Mac Computer

Last García Márquez, or literature of escape

Preceded by the usual plethora of reviews, subject, here is the new book.
The tam tam was started at least a year before. Were sent on time traveled to Bogota query for "friends and family." Then the book comes out and that same day, or a few days before, the critical consensus, Gabriel García Márquez, "maestro absoluto", "is back to offer another memorable expression of his exceptional gifts of storyteller." Reviewers extol "the supreme objective of the great writer," the power with which you tell the more sinister moments, "that" does not come to overshadow the delicate lyricism, moving. "For them not only" the author's style flames resplendent, as always marked by a radical poetics "but rather, the work is notable for the" visible search for sobriety. "
The review views briefly summarized here is entirely reserved for the corresponding reception Live to tell. Yet it is false. Rather than make up for in pages as they exit the last month, we reported quotes, completely identical, reserved in 1994 the novel Del amor y otros demonios . (Gabriel García Márquez, Del amor y otros demonios , Barcelona, \u200b\u200bMondadori, 1994. Ed it.: Love and other demons , trans. Angelo Morino, Milan, Mondadori, 1994. To do no wrong any Italian reviewer, the source is English: Miguel García-Posada, "Amor y posesiones. La nueva novela de García Márquez y masterly", El País , Madrid, April 23, 1994).
A septuagenarian author short of inspiration begins writing a torrential autobiography. Comes the first volume covering the first thirty years of life. There are nine hundred pages, reduced to a pitiful but luckily enough job of editing a little more than five hundred. In support of the book before its release, leaving a sea of \u200b\u200breviews. Normal.
But the question remains. Why García Márquez's books are - as we read each new issue, invariably, with a formula that is tiresome to quote a title by the same author - 'successes announced'. Why this unanimous apologetics reception, totally unjustified, if you look at the quality of the work. And how can it be that this author is held to the highest in the second half of the twentieth century?
answer the question this way: all the fault or merit of the establishment editorial. The public, the readers, are innocent, or slaves of a game played against them.
First, García Márquez like the 'reviewer normal'. García Márquez does not pose no risk. With him there are no surprises. Are you sure you can do a bit rich, do not shame them, without losing time to read the bloated pages of each new book.
For too many years García Márquez's books are all the same. For his work is the view with which, according to Borges, the critic Paul Groussac welcomed the new editions of the Diccionario de la Real Academia : Everyone does regret the past. In the reader's memory books, mere repetitions of each other, mingle. Each work appearing citation or rimasticatura the previous year. So this review is not a problem. We know what to write.
anyone know baste four sentences talking about the weird and wonderful world of Macondo, which is on the maps Aracataca. It's always nice easy to remember history reviewer's son who learns to telegraph to tell by listening to stories told by her grandmother. The writer who is an inveterate dreamer but that is also politically engaged. From there it's easy to pass to Latin America, the tropics, Cairaibi, the rhythms of bolero and salsa, hot sunshine and sunsets with amazing colors, trains, small cars plunge into the red green colored bus. (In this way, we can even run yet another report, another journey of a journalist in Cartagena and along the Rio Magdalena).
Moreover, the reviewer will feel gratified, by being against being able to handle the same style as the celebrated author of the work it presents. Because the style is coded, well identified, but easy to imitate.
What writes García Márquez is indistinguishable from what they write their reviews, one reviewer writes that this is indistinguishable from what he writes every other reviewer. Read this sentence: Vivir para recount "is a struggle with the nostalgia of the acid and oxide of time, to return in a masterful eight chapters fascinating adventure." I will not tell who wrote the sentence, because it is useless. It is evident that he could write the same García Márquez, who for decades incenses and imitates himself. But he could also write any lofty critic, as well as any journalist. Write a Nobel Prize as the best contemporary author, what satisfaction! And so, therefore, with reviews.
But of course, the incredible success of García Márquez was born not only from the pleasure of the reviewer. There's more.
global agreement for the publishing industry as a whole, García Márquez is, and is continuing, with more brilliance with each new season, the ideal author.
Because no such García Márquez's literary marketplace offers the most easy to sell: the literature of escape. These exotic themes, a world away (no matter if that does not exist) where it's nice to imagine being able to escape. A world that supports and strengthens the market of a package tour: holiday villages, travel easy. But García Márquez offers, and this has no competitors, including avoidance policy. He alone carries with it the imagination of a political era of easy revolutionary utopias, refers to the icon of Che Guevara, he alone is now offering a decent reading of the figure of Fidel Castro.
And again. García Márquez is the ideal author for Behind every book is always in mind the character. A particularly easy sell. Flaunts his leftist ideas, and all Latin American machismo, but we know that there is no reason to fear him. Its contradictions make him a pawn to handle. He had come to Europe in the fifties just because some news reports had made him unpopular with the dictatorship of Rojas Pinilla. In the sixties he left New York, where Castro was on behalf of the agency Prensa Latina, even when it seems that the landing at the Bay of Pigs is a success. Announces solemnly that no longer write a novel until the fall of Pinochet, but then changed his mind and public Love in the Time of Cholera . In the eighties, the rush to leave Colombia because they are afraid of being questioned by police investigating the guerrilla group M-19. And when it is still a sacred monster threat on several occasions to leave their country because of attacks on freedom of thought, rather than attacks that are the size of its copyright.
there is none like him. Only García Márquez rails against the Nobel Prize, branding him "senile bay," however, and the following year, having won it, without shame goes to pick it up.
is convenient to all that this author makes it easy to merchandise, goods more enjoyable to read than that produced by an Allende or Baricco. It is the Maradona of literature; Maradona as virtuous, with a mastery naive, with an innate ability to juggle the language - but a weak man, to blackmail. It is convenient to all this a standard entry in the Third World in Latin America. It suits the character is not worthy of our style and our refinement. While the incense, basically laugh at him. And in doing so we exploit the rich, forcing him into a role, enriching behind him.
Yet we should have more respect for this author. el Hundred Years of Solitude 'Autumn of the Patriarch remain masterpieces. But the masterpieces you save if you avoid the hypocrite, general apology. If the work is separated from the softness and decadence of the character-author. Instead, the publishing industry is pumping the character, any value his work. So we pursued the task of leveling everything down. Order that new books are sold, the imitation of the masterpiece, written in the style of the same Márquez Márquez, must appear to the reader indistinguishable from the texts of Márquez really have value.
There is in addition, of course, another harmful effect. The enormous space given to García Márquez tarnishes the image of the entire English-American literature. Authors of extraordinary importance - Lezama Lima, Rulfo, Onetti, but it's painful having to be limited to name just a few names - are almost forgotten. Interesting young writers are completely ignored. While enjoying some reflected light, and therefore an undeserved credit, the authors in their approach to the stereotype paucity Marquez. This is the case of Luis Sepúlveda

Patty Cake Online Forum

Yellow Mondadori festaggia 80 years

NOVARA, 27 LUG 2009 - 80 years old, the book series that has put his own name to an entire literary genre. Yes, because if in Italy - and only in Italy - referring to a detective story is known as "yellow", you must own this successful series of books by its cover color yellow, which was inaugurated in 1929 by the publisher Mondadori.

The series began on the initiative of Lorenzo Montano and found fertile ground in the entrepreneurial vision of Arnoldo Mondadori, the founder of the publishing house of Segrate, then intends to expand its catalog with a strong injection of foreign authors.

Thus in 1929 came the first volume of the series: it was a novel by SS Van Dine titled "The Strange Death of Mr. Benson." This first set of yellow Mondadori was called "The Yellow Book" and lasted until 1941. After the suspension of publications from Miniculpop decided between 1941 and 1945, the series resumed with renewed momentum in April 1946 under the title "The Yellow Mondadori, which later became" The Yellow Mondadori. The choice of which channel disributivo newsstand, performed immediately after the war, facilitate dissemination to the general public and all levels of society.
Today there are nearly 3000 issues of the series begun in 1946 alone, these should be added the 266 issues published between 1929 and 1941, plus the large number of volumes printed on behalf of the various supplements and necklaces that have taken place in parallel over the years.

The hallmark of all the yellow Mondadori since a number of that back in 1929: the yellow color of the covers. Thanks to it, spread the habit of designating as "yellow" every novel genre. A neologism which soon became common usage.
Agatha Christie became known in Italy by Mondadori in yellow

Agatha Christie became known in Italy by Mondadori in yellow

All the greatest writers of the golden age of the detective genre was launched by the Italian yellow Mondadori by Agatha Christie Ellery Queen, Rex Stout by John Dickson Carr, by Erle Stanley Gardner on Cornell Woolrich, Raymond Chandler, James Hadley Chase, to name a few.

Among the directors of the series, deserve special mention Alberto Tedeschi, the longest, who drove the postwar period in the late seventies, and Oreste del Buono, one of the greatest Italian specialists in the field of popular literature, who directed her in the eighties. Currently, the yellow Mondadori are under the care of a writer-editor the likes of Sergio Altieri.

To properly celebrate the 80 years of the series, the Mondadori publishing house decided to publish in a bookstore, Oscar in the series, some of the titles that have made the history of yellow Mondadori. They are 8 volumes, with the inevitable yellow cover, special edition limited edition on sale 9 euro each.
selected titles and authors are true pillars of genre fiction. Here's the list.
- The 39 STEPS John Buchan (John Buchan)
- Murder on the Orient Express (Agatha Christie)
- The Hound of the Baskervilles (Arthur Conan Doyle)
- THE MALTESE FALCON (Dashiell Hammett)
- THE CAT FROM MANY CODE (Ellery Queen)
- NERO WOLFE AGAINST FBI (Rex Stout)
- THE LAW OF FOUR (Edgar Wallace)
- The Bride Wore Black (Cornell Woolrich)
If you had lost them there is an opportunity to remedy .

Cruising Spot In New Jersey

books burned by Hitler

Everything had to be done quickly, with the wind speed. The peremptory order to burn the writings of Jewish authors "at the shameful smear campaign against Germany's Jewish world," not from Goebbels or Hitler, but the new press and propaganda office of the student in less than German a month, from April 12 to May 10, 1933, energetically and systematically organized the burning of banned books not only in Berlin but in every university town in Germany. Students first had to "cleanse" their shelves, those of relatives and then those of all the possible libraries, public squares on the stake was to be advertised and promoted properly, possibly texts with propaganda "against the destructive Jewish spirit" written by writers compliant. There is even a sort of manifesto with 12 student theses aberrant including one that read: "The jew who wrote in German, mind."
And finally here are the high flames 10, 12 yards on the night of Wednesday, May 10 lit up the Opernplatz in Berlin, crammed with crowds that attended the show. And no one complained. There was Goebbels surrounded by SA in a long overcoat clearly contemplated the fire, and then announced "the end of the period of excessive intellectualism jew." Erich Kaestner saw his books thrown on fire while someone was screaming his name and "against the decline and the moral degradation, "and that since then, from darling of the public became" persona non grata. " Kaestner was one of the few writers who was blacklisted in his homeland as 'reporter', perhaps because he lacked the courage to emigrate. Others took their own lives or were killed in a concentration camp, or went abroad, most often without means and without the possibility to publish their works. And when after the war returned home, they found the first of Germany, no longer feel "at home": the public had them hopelessly forgotten.
Yet the Weimar Republic had all enjoyed a great reputation. Ernst Glaeser, for example, Class 1902, a portrait of his generation still more than enjoyable, had aroused the enthusiasm of Hemingway; Edlef Koeppen had become well known for her novel in '28 Bulletin of war, some had even followed the rebels as anarchists who wrote thousands of Rudolf Geist pages, and eventually went door to door to sell postcards with the poems, there were the Communists 'heart', without the party card, but always with the weak and oppressed as Oskar Maria Graf or Egon Erwin Kisch , an extraordinary reporter and war correspondent who went into exile in Mexico and died in '48, had the high-profile chroniclers of Jewish culture in Germany as Georg Hermann, killed in Auschwitz in '43 and biographers of talent such as Franz Blei, king of the Viennese cafes, author of that Bestiarum Literaricum defined by Kafka, "the world's literature in his underwear."
Their story and that of all 94 German writers whose books were burned 75 years ago, along with those of 37 authors, are recounted in a book valuable, in many ways astonishing: The book of books burnt (Volker Weidermann: Das Buch der verbrannten Buecher, ed. Kiepenheuer & Witsch, pp. 255) Amazing for the passionate and exciting research done by the author of the book on the internet and in libraries led to the discovery of antique works of considerable value since forgotten because of the burning of books. Valuable because it contains the unpublished stories, often tragic and disturbing of all intellectuals persecuted by the Nazis and why does justice to the forgotten or neglected writers who are given much more space than those known. Without this book the aim of the Nazis to erase forever from memory the names of many Jewish authors would have been almost reached, the author of the book rightly points out in his introduction.
"Do not be illusions. Hell is the government, "wrote Joseph Roth back in February '33 that his friend Stefan Zweig could hardly believe that he had become one of the most hated writers in Germany. His books were burned together those of Werfel, of Schnitzel, a Wassermann, Klaus Mann, but he, the writer most widely read German-speaking world, was convinced that he was traded to Arnold Zweig, a communist activist hated by the regime. He tried to compromise, I hope the collective insanity would end quickly. Roth on the contrary he understood immediately that their professional life and the material was destroyed. Eventually both went into exile, and both lost their lives: Roth died in a hospital in Paris in '39, three years after Zweig committed suicide in Brazil.
engaging and extremely interesting are the stories of all writers hitherto forgotten because of the fire: disconcerting to Armin T. Wegner and after the war had been given up for dead and instead lived until 1978 in Positano, where he moved in '36. Author of an adventurous and fascinating travel book, At the crossroads of the worlds in 1930, and moralistic foe of the war, in April '33 wrote an open letter to Hitler in which he explained to the Führer with incredible naivete, as Germany was in need of the Jews and because the Jews loved Germany so much. In reality he had no desire to leave his homeland: "Away with you is like dying," he repeated. But the Gestapo put him in prison, tortured him, sent him in the Oranienburg concentration camp from where he escaped. Positano was every day at the desk in front of a stack of blank paper. He never more to write a line. With the great satirical novel
Solneman the invisible, 1914, cherished by Thomas Mann, the writer Alexander Moritz Frey received his first big success was to his misfortune, however, is another admirer, Adolf Hitler, his fellow regiment in the First World War. The future Führer showed much interest in his works and tried in vain to get in touch with him, but Frey carefully avoided him: he was strictly against any racial hatred, against fanaticism, against the military. "I want to, I want to tell the truth, I mean the military and war are the most ridiculous, outrageous, stupid, evil in the world," says at the end of the story of his war experiences, which came out in '29 and judged by the critics even more than the west famous Remarque's nothing new. In '33 the SA Frey's destroyed house and left Germany without money, without the possibility of publishing his work, without citizenship in Switzerland found the support and the help of Thomas Mann. He died in Basel in 1957, poor and forgotten.
certainly the most fortunate of all was Erich Maria Remarque. The night of the fire him, that he was safe in Ticino, heard on radio, with the writer Emil Ludwig, the crackle of flames and exalted speeches of Nazi leaders. He was one of the first to emigrate: January 29, the eve of the takeover of Hitler, had been running non-stop, on board his Lancia, from Berlin in Porto Ronco. He knew well that the number one enemy of the Nazis because of his famous novel, which promised "the truth about the war." To the west is nothing new - the most successful German book of the twentieth century, 20 million copies sold, which drew the film - after having given rise to a series of heated debate, was boycotted by the Nazis in every way : he spoke of endless misery, boredom, lack of sense of the First World War, very little of the heroic death of soldiers. A book rather than a threat to the followers of Hitler which failed to prevent the runaway success.
Remarque chose silence, declared foreign policy, but he continued to write on the fate of the emigrants and concentration camps during his legendary stay in the United States where he became one of the most beloved writers and writers from the Americans. Despite this, those who read his diaries reveals a man hopelessly depressed and fearful. Fear of the desk, work, loneliness.

Wedding Dance Mount And Blade Mod

The Art of War

What you see on the left is not the book I read, but the true original book on the leaves of bamboo. I read the book instead, and as reprinted in 2009 and it is not written on the plants. The book in question is was written about 2500 years ago by an emperor lived in China between the sixth and fifth centuries BC. So we can say that this is a book older than Dante and the Bible even. It is not exciting? He begins to talk about Sun Tzu and the Cold War. Like me, I have asked this question definitely me ponerete you too. If the book was written before Christ never speaks of the Gurra cold? Some things are applied at the time. Some of the greatest generals such as Napoleon Bonaparte, Mao Zedong and Douglas MarcArtur took inspiration from this book to fight. Frankly, the third general statement that I've never heard of until recently. This book contains sixty seventy pages introduction and then begins the real book. The book is nothing more than commandments. Totally useless to write it because in the end would be like to do a simple copy. To be honest I read them but, in passing. I was disappointed by this book simply because I expected a real war instead of just a Sorman regulations. Read how I taught my teacher is never useless. But in this case I controbbattere. I chose a book that I do not culturally much higher. I discovered one thing: that the same rules of Sun Tzu can be applied in enterprises, leadership in psychology. In a nutshell, the seventy pages I've read, we can say that the author of this book could be compared to our Pico Della Mirandola. He was an intellectual era. We say that Sun Tzu is first and then Pico. The sources of news related to the alleged offender is scarce and unreliable, with the exception of brief biographical incident reported around the second century by the historian Sima Quiana citing Sunz as general lived in the state of Wu in the sixth and then a contemporary of Confucius and other prominent intellectuals. There would be other details to say but, in the context is futile. According to me, now I do not need to learn this kind of commandments. As soon as I graduate and decide to open my company I reread the book in question and try to apply them as possible in order to go ahead and maybe become a great leader in my profession.