EL BONSAI ALEJANDRO ZAMBRA PDF

There is this wonderful Spanish verb used, follar, and I wonder if the translator has indeed translated it correctly. I looked again at this short story and the scales fell from my eyes and Zambfa could finally understand this sparkling diamond of a book. There is a smiling bonsai somewhere tucked in the corner here, perhaps. What starts off as a simplistic love story gets an intricate and real-life treatment of pining, longing, misguided machinations of affections and passion. It is the story of two young lovers, lovers of one another and literature, and what happens to them once they part. A bnsai that starts with a seed and grows into miniature version of a giant tree — an apt metaphor for the content Zambra put in this tiny novella that many authors take volumes to express.

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El recipiente es normalmente una maceta o bloque de roca interesante. La palabra ya incluye al elemento vivo. Julio y Emilia. Al final Emilia muere y Julio no muere. El resto es literatura: La primera noche que durmieron juntos fue por accidente. Como por ejemplo, las caminatas por el parque y las conversaciones entre Julio y Emilia; o bien, las escenas en que aparecen en tocatas, Julio andando en bicicleta o la existencia de la abuela de Julio.

Ve sus zapatos, sus sandalias. Parece que ninguna calza, dice en voz muy alta, mientras mira de reojo, y algo alcanza a ver. Lo que importa es que al final, Julio vive y Emilia no vive. Emilia muere y Julio no muere.

Posteriormente a esto, nosotros como espectadores nos percatamos que la novela que estamos leyendo es la que escribe el mismo personaje a medida que se conforma el relato, volviendo nuevamente al inicio. La jirafa, Borges, Jorge Luis. Historia de la eternidad. Madrid: Alianza, Barcelona: Paidos, Kant, Immanuel. Buenos Aires: Losada, Sartre, Jean-Paul.

Stam, Robert. Zambra, Alejandro. Barcelona: Anagrama,

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Still, each of these volumes should be considered a marvel of book design and production since in interviews the author has let slip that his original text ran only to forty sheets. Emilia had sweetly reciprocated the lie. Lies speed love, Bonsai seems to say, and corrode it. Zambra uses synecdoche and symbol to marvelous effect. Like a modern Henry Fielding, Zambra makes no effort to disguise his literary devices; rather, he highlights them at every turn. In the end Emilia dies and Julio does not die.

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