By Manuel Alberca
Los angeles obra de Ramón del Valle-Inclán (1866-1936) ocupa un lugar preeminente e inagotable en los angeles literatura española, y su brillante y contradictoria personalidad sigue concitando hoy l. a. curiosidad del público. los angeles grandeza del hombre y los angeles importancia de su obra (que va desde el decadentismo inicial de las sonatas hasta el teatro del esperpento en los años finales) merecían esta biografía, documentada, exhaustiva y rigurosa, que, además, aporta una interpretación crítica de l. a. idiosincrasia y del comportamiento del escritor a través de un relato solvente, útil y ameno.
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Extra info for La espada y la palabra: Vida de Valle-Inclán
Kafka and Ernst Weiss on the beach at Marielyst, Denmark, in 1914. is illustrated with a picture of a man tied by his hands and feet to two poles which are being moved so as to tear him apart. If for Kafka the body is capable of redemption through healthy living, it is also the supreme site of punishment. Gregor’s transformation into an insect drastically expresses Kafka’s ambivalence towards his body and towards the body in general. His 50 transformation and his failure to notice it convey the degree to which Gregor is alienated from his own body.
The reality of passions needs Expressionist images of power and conﬂict. ’ when Georg rushes downstairs on his way to execute himself. But the religious element in the story is not expressed in any coherent way. A mode of writing that coherently relates earthly events to the timeless realities of 30 religion is called allegory. But Kafka does not write allegory. It would be impossible, for example, to read The Judgement as an allegory in which Georg stands for Jesus. Yet even if literature no longer has any coherent way of representing such realities, that does not mean that they no longer exist or no longer have any claim on our attention.
His obsession with his job reveals the self-estrangement imposed on him by its demands. ‘That boy thinks of nothing but his work,’ his mother assures the chief clerk of Gregor’s ﬁrm, who, exercising an implausibly but alarmingly thorough surveillance, has come to see why he wasn’t at the station. Even so, mind and body are linked by the language of the unconscious, which can involuntarily reveal the truth. Still lying in bed, Gregor reﬂects that one of his colleagues is ‘a mere creature [Kreatur] of the chief, spineless and stupid’.