La Gozadora Del Dolor

作者:Garbalosa, Graziella/ Vallejo, Catharina (EDT)

页数:184

出版时间:2007-8

价格:$ 31.41

isbn号码:9789871136698

具体描述

Because of her social and literary avant-garde activities during the first thirty years of the twentieth century, Graziella Garbalosa (La Habana, 1896-1977) -actress, singer, prolific poet and prose-writer- is an extraordinary figure in the Cuban artistic world. In spite of this strong presence in that nation's cultural environment, but perhaps because of her continuous travels, there are few references to her in Cuban literary histories. Her works show a great awareness of narrative experiments (very much of the avant-garde period and notable in a woman writer), in which she explores the textualization -and hence the appropriation- of the female body. Her writing is all the more daring when placed in the context of her times, when 'honorable' women were not considered to have erotic feelings. In 1920, married and with a daughter, she published a volume of poetry "La juguetera de amor." Her first novel, "La gozadora del dolor" (Havana, 1922), issued when she had separated from her husband, corresponds to the melodramas typical of the era: strongly emotional, with conflicting moral codes and an intense and exaggerated plot. The work exhibits a rhetoric of extremes, and there are scenes of graphic sensuality, as well as powerful realism, which together act to establish the author's thesis on erotic pleasure as a material act which leads to pain, horror and, finally, the ultimate tragedy. Shortly after the publication of Garbalosa's second novel, "El relicario. Novela de costumbres cubanas" in 1923, her involvement in political protest force her into exile in Mexico, where she publishes another novel, "Una mujer que sabe mirar," in 1927. Upon her return to Cuba in 1928 she publishes "Ms arriba est el sol." From then on she divides her residence between Cuba and Mexico, presents her scenic recitals through the United States and Europe (including Holland, Belgium, France and Spain), and continues to publish, mainly in Mexico: various literary volumes of stories and theater, such as the beautifully illustrated "Narkis. Diez leyendas y cuentos, antiguos y modernos en versos clsicos y libres" (1948), "Los momentos de la Reina Vida, tragicomedia en tres actos y un prlogo" (1955), and "Charlas en el penthouse" (1955), among others. During her lifetime she publishes articles, poems and chronicles on a wide variety of cultural and political topics in major newspapers and magazines in Mexico and Cuba ("El Diario de la Marina, Bohemia," "Social, "Carteles"), and maintains friendship with many important artistic and literary figures of her times, such as Ernest Hemingway, Juan Antonio Mella, Rubn Martnez Villena, Diego Rivera, Gerardo Murillo, Tina Modotti and Jos Carlos Maritegui. After the 1959 revolution in Cuba, she maintained her residence there until her death in 1977. This edition of "La gozadora del dolor," with an introductory study and notes by Catharina Vallejo, constitutes excellent material for the study of Spanish-American narrative of the early twentieth century; it should also be of interest to those who study the evolution of the status of women in that time-period in Spanish-speaking areas. Through its portrait of the artistic environment of the Cuban avant-garde, and its mention of numerous Western European writers -both male and female- the novel also relates to studies in comparative literature. Its connection to the erotic-naturalist novel of Spain in the early twentieth century -and especially given the relationship between Cuba and the metropolis at that time- also situates it in the field of transatlantic studies.

用户评价

这部书简直是一场文字的盛宴，阅读体验如同置身于一个精心编织的迷宫，每走一步都能发现新的惊喜与不期而遇的震撼。作者对人性的幽微之处有着近乎病态的洞察力，笔下的人物并非脸谱化的符号，而是鲜活得让人心惊的矛盾综合体。他们的挣扎、他们的欲望，被描绘得淋漓尽致，仿佛能透过纸张感受到皮肤上传来的那种微妙的张力。尤其欣赏作者叙事节奏的掌控，时而如山洪暴发，情感的洪流裹挟着读者直冲谷底；时而又变得极其缓慢，用细腻到近乎残酷的笔触，剖析每一个细微的心理波动。这种张弛有度的叙事，使得整本书的阅读过程充满了期待感，你永远不知道下一页会掀起怎样的波澜，但你又深信，无论怎样的风暴，作者都能驾驭得游刃有余。那些对场景和氛围的营造更是达到了出神入化的地步，闭上眼睛，我仿佛真的闻到了故事发生地特有的气味，听到了背景声中那些微弱却关键的声响。这不仅仅是一个故事，更像是一次对人类情感光谱的深度潜水，让人在震撼之余，对自身也产生了更深层次的审视。

初翻开这本作品时，我本以为会是一次轻松的阅读，结果完全出乎意料，它更像是一场智力上的角力，作者设置了层层叠叠的悬念和误导，让人沉浸其中，不断地修正自己的判断。书中对复杂社会结构的描写尤为精妙，那些看似松散的支线情节，最终都会汇集成一股强大的暗流，揭示出宏大主题的冰山一角。我特别佩服作者在处理多重叙事视角时的功力，不同的“声音”有着截然不同的语态和世界观，读者需要不断地切换思维模式去适应，这极大地锻炼了阅读的专注度和理解力。每一次以为自己抓住了真相，下一章又会有新的证据出现，推翻之前的结论。这种“狼来了”式的叙事手法，让我在深夜里都忍不住翻页，生怕错过任何一个细微的暗示。它不是那种提供标准答案的作品，它更像是一个开放式的邀请，邀请读者成为共同的解谜者。读完之后，那种意犹未尽的感觉非常强烈，迫不及待地想要回头重读，去捕捉那些第一次阅读时可能因为过于激动而忽略掉的伏笔。

这部作品在结构上展现了惊人的艺术野心。它仿佛是一部立体雕塑，从不同的光线下观看，会呈现出截然不同的轮廓和细节。作者在时间线上玩出了花样，过去、现在、甚至是对未来的一种模糊预设，都被巧妙地编织在一起，形成了一种非线性的叙事体验。这种结构上的复杂性，非但没有让故事变得晦涩难懂，反而增强了其宿命感和史诗气质。每一章的结尾都像是一个高质量的定格画面，充满了张力和暗示，让人忍不住想知道，在下一个时间切面上，这些人物的命运又将如何被重塑。我特别喜欢作者对场景转换的处理，那种如同电影蒙太奇般的剪辑手法，让不同地点的故事线索以一种看似随机实则必然的方式交汇。这使得整部书的格局非常开阔，既有对个体心灵的微观审视，也有对宏大背景下个体命运的无力感叹。读完后，有种完成了一场漫长而艰苦的旅程的满足感。

我必须承认，一开始被这本书的深沉和略显晦涩的开场劝退了片刻，但一旦跨过了那道门槛，我发现自己被一种强大而古老的力量所吸引。它探讨的主题非常宏大，涉及了权力、遗忘、以及时间如何腐蚀记忆这些永恒的母题，但作者处理它们的方式却异常的新颖和富有诗意。书中的某些段落，简直可以单独摘出来作为文学典范来研究，那种对词语的精准选择和排列，创造出了一种近乎音乐性的韵律感。这不是那种情节驱动的小说，它的核心在于氛围和哲学思辨的沉淀。它要求读者慢下来，去品味那些被精心放置的象征符号和重复出现的意象。读完之后，我感受到的不是故事的结束，而是另一种更深层次的沉思的开始。这部作品的价值不在于它告诉了你什么，而在于它在你心中激起了多少思考的回音。它绝对是那种，每隔几年重读，都会有新的体悟的经典之作。

坦白说，这本书的语言风格非常具有侵略性，它不温和，不迎合，直击人心最柔软却又最坚硬的部分。作者的文字如同经过千锤百炼的利刃，精准地切开了那些我们通常用日常语言掩盖的虚伪和矫饰。我欣赏的是它毫不妥协的真实感，它描绘的困境和人性的灰色地带，是如此的赤裸裸，让人在感到不适的同时，又油然而生一种敬意——敬佩作者敢于直视这些阴影的勇气。阅读过程中，我几次停下来，不是因为累了，而是需要时间去消化那种扑面而来的冲击力。它对道德边界的模糊处理尤其出色，让你在为书中某些角色的行为感到发指的同时，又不得不承认，在特定的情境下，自己的选择可能也相差无几。这种深刻的代入感和道德上的拷问，是许多畅销书难以企及的高度。它不是用来消遣的，它是用来“洗礼”的，读完后，感觉对世界的理解又深了一层，尽管这份理解带着一丝沉重的苦涩。