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(68 reviews)
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ISBN : B00EF5G5GO
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From the award-winning Spanish writer Javier Mar?as comes an extraordinary new book that has been a literary sensation around the world: an immersive, provocative novel propelled by a seemingly random murder that we come to understand - or do we? - through one woman's ever-unfurling imagination and infatuations.
At the Madrid caf? where she stops for breakfast each day before work, Mar?a Dolz finds herself drawn to a couple who is also there every morning. Though she can hardly explain it, observing what she imagines to be their "unblemished" life lifts her out of the doldrums of her own existence. But what begins as mere observation turns into an increasingly complicated entanglement when the man is fatally stabbed in the street. Mar?a approaches the widow to offer her condolences, and at the couple's home she meets - and falls in love with - another man who sheds disturbing new light on the crime. As Mar?a recounts this story, we are given a murder mystery brilliantly reimagined as metaphysical enquiry, a novel that grapples with questions of love and death, guilt and obsession, chance and coincidence, how we are haunted by our losses, and above all, the slippery essence of the truth and how it is told.
Download latest books on mediafire and other links compilation Epub The Infatuations [Unabridged] [Audible Audio Edition]
- Audible Audio Edition
- Listening Length: 10 hours and 35 minutes
- Program Type: Audiobook
- Version: Unabridged
- Publisher: Random House Audio
- Audible.com Release Date: August 13, 2013
- Whispersync for Voice: Ready
- Language: English
- ASIN: B00EF5G5GO
Epub The Infatuations
Fairly early in this substantial novel, the central character/narrator comments "it's very risky imagining yourself into someone else's mind, it's sometimes hard to leave, I suppose that's why so few people do it and why almost everyone avoids it," and only a few pages later, the woman the narrator is talking with comments "the reason why it happened is utterly incomprehensible and exists only inside that sick, crazed mind into which I prefer not to venture." The "it" that happened was the murder of the woman's husband by a mentally deranged man who attacked the husband with a knife, stabbing him sixteen times, when he stepped out of his car. At this point in the narrative, the narrator is having a sympathetic visit with the wife, whom she hardly knew before this visit, and is trying to manage her own feelings about the murderous event, and the visit is interrupted by a ringing doorbell.
Much later in the novel, the same narrator is in conversation with the man who interrupted that conversation, with whom the narrator has had a subsequent love affair. The narrator, as is always the case, is carefully observing his reactions to herself while constructing in her own mind her "understanding" of what he is doing as he talks with her: "regardless of what I knew or didn't know, I was entirely dependent on him now, as one always is on the person doing the telling, for he is the one who decides where to begin and where to end, what to reveal and suggest and keep silent about, when to tell the truth and when to lie or whether to combine the two so that neither is recognizable, or whether to deceive with the truth, as I had initially suspected he was trying to do with me.
The reviews here thus far are, as I suspected, and as is to be expected from Vine reviewers, penned by those unfamiliar with Javier Marías and his corpus of work. Briefly, to right this wrong, his great works are meditations upon what - as purely faute de mieux - I should term the interstices of our consciousness, what is lost, what can never quite be understood, which turns out to be most things in our swift transit on this planet, as seen through the eyes of great literature, almost always Shakespeare, and others. The works which I consider Marías's greatest achievements: Tomorrow in the Battle Think on Me (Vintage International), A Heart So White and, now, this work as well are all, save this one, titled with a Shakespearean quote; There is a death or a murder at the beginning, followed by a lengthy, serpentine meditation expressed in Marías's sumptuous, seductive prose style on the death and how it came about but which, almost from the off, turns into a sweeping lucubration on death in general, love, and the kaleidoscopic prism through which, well, the two main characters view it, the great love: literature. Need I say this style isn't for everyone? But for those of us who are totally immersed in the reality and consequences of the notion that, as Proust has it, "the only life in consequence which can be said to be really lived - is literature," is through the likes of Shakespeare, Dumas, Balzac (all mentioned repeatedly herein), Marías's works are wonders to behold.
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