Among the most intriguing secrets are those surrounding the Spanish Civil War (and Wheeler's role there), a long-past conflict that, like World War II, still overshadows the present of these characters.

In the past he has studied literature and taught Spanish literature at Oxford, and his contemporary peers have been Professors of Spanish or English Literature there (Peter Wheeler and Toby Rylands, the latter now deceased). Spybrary's man in Station L (Northern Sector) author Andy Onyx slipped us this brush pass review of Javier Marias‘s thriller Your Face Tomorrow: Fever And Spear bir kitap düşünün james bond hikayesi kadar aksiyonu varmış gibi yapıp size olup olmadığını anlatıcının dahi bilmediği şeyler(neyler) üzerinden bir şeyler anlatıyor olsun. kitapta aksiyon olmamasına rağmen kitabı soluksuz okutuyor, what kind of sorcery is this?!! Once narrator Dezas starts his person-interpreting intelligence work in earnest the reader is confronted by a number of seemingly random descriptions of various persons unconnected to the larger narrative. The story is more about the little intelligence unit's ability to manufacture those profiles. It’s more about what the profiles say about the profilers. I believe the psychological term here is called “projection,” Freudian lingo that Marías never mentions. What are we led to think about the profilers by what they see in others? Remember, their work is all intuitive. They base their assumptions on nothing factual except the roughest biographical data. It’s a fascinating idea and it works though it makes for dense narrative. A beach read this is not. Recounting seems a means for him to try, again, to understand some puzzling things, a way of trying to work things out.A lengthy section late in the novel focusses on the campaign in the Second World War against "careless talk" in Britain, where everyone was warned against revealing any information that might be of use to the enemy -- because you never knew who might be the enemy. Do you agree, or disagree with Andy? Come and let us know your thoughts on the Spybrary fans community. Your Face Tomorrow Fever And Spear by Javier Marias Ve benim de şaşırma sebebim tam da bu yokluk. Sadece uzun gözlemler – anlık çıkarımlar – söz sanatları ve karakterin gözleri olabilmek yetiyor bu eseri sevebilmek için. İlk sayfadan son sayfaya dek bir örgütün farkında oluyorsunuz, merakla bekliyorsunuz. Bu merak sizi sarıp sarmalıyor. Marias okurunu avucunun içine alıyor..

BOMB Magazine has been publishing conversations between artists of all disciplines since 1981. BOMB’s founders—New York City artists and writers—decided to publish dialogues that reflected the way practitioners spoke about their work among themselves . Today, BOMB is a nonprofit, multi-platform publishing house that creates, disseminates, and preserves artist-generated content from interviews to artists’ essays to new literature. BOMB includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward. From that kind of remark we are led into Jaime's world-view, and it is a passionate one: passionate for ages of finer feeling, nostalgic for the 1950s of his childhood, lived as it was during the Franco nightmare. Jaime is an idealist, albeit an idealist who can't travel anywhere without the music of Henry Mancini, of all people. Jaime has been hired to work in a "building with no name" for his ability not only to interpret between Spanish, Italian and English, but to interpret whole people and lives, even to the point of telling stories that have yet to happen. Far from being psychic, it becomes apparent as you read these books that Jaime's facility is precisely that of the novelist. On one of its many fabulous levels, Your Face Tomorrow is a wistful exploration of what the future of the writer's consciousness may be in the world. The message isn't that writers will be usurped by governments for their sordid purposes, but that any literary mind will be uncontainable, will always rise and continue to provide the world with what it has always needed from the art of fiction: a dialogue between the living and the dead. Por aquel entonces ya había comenzado a “cambiar de registro”, descubriendo nuevos tipos de literatura (nuevos para mí, quiero decir). En cierto modo era una especie de rebeldía adolescente, una forma de renegar de mis orígenes, aunque para ello tuviera que “traicionar” a mi autor más querido. Pero uno siempre vuelve a sus raíces y, tras leer recientemente Berta Isla y Así empieza lo malo, era el momento de sumergirme de nuevo en la inmensa Tu rostro mañana. Fever and Spear is a meditative novel, with Deza (and also Wheeler) extemporising at considerable length on matters such as trust and silence and the dangers of any communication. The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.

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La forma es, como suele ser habitual en él, la confidencia, sin apremios que la constriñan, sin trama que la encorsete, y ante la que uno no osa interrumpir por no romper el ritmo, por no quebrar la atmósfera reveladora y así disfrutar del autor que Marías siempre ha ambicionado ser, ese que ya es para mí pues indiferente es de lo que me hable, sólo quiero que siga hablando. “Él tenía mucho que contar y que argumentar siempre…; su conversación me enseñaba, me instruía y me deslizaba ideas o me las renovaba, por no decir que me cautivaba.”Una verdad exagerada, es cierto, pues sugerentes y provocadoras son las muchas ideas que contienen estas páginas. La primera de ellas se encuentra ya en el párrafo que inicia la novela y en el que nos advierte de los peligros del contar, y quién mejor que un escritor que del contar ha hecho su vida, del impudor su oficio, para prevenirnos de ese deseo constante e insaciable del ser humano. “Contar es casi siempre un regalo, incluso cuando lleva e inyecta veneno el cuento, también es un vínculo y otorgar confianza, y rara es la confianza que antes o después no se traiciona, raro el vínculo que no se enreda o anuda, y así acaba apretando y hay que tirar de navaja o filo para cortarlo.”Contar es problemático porque no siempre se sabe cómo, no siempre es explicable lo importante, demasiados factores confluyen, no siempre es claro el orden de causalidad de esos factores o no siempre somos conocedores de todos los factores e incluso no sería raro que esos factores se hayan ido transformando en nuestra memoria hasta trastocar significados. Y por si esto no fuera suficiente razón para elegir el silencio, es de todos sabido que lo dicho se presta siempre a la tergiversación, a ser utilizado en nuestra contra. Lo dicho puede ser motivo de traición, de denuncia, de venta. Lo dicho nos debilita, nos sitúa en una situación de dependencia ante el que sabe, de fragilidad ante el que ha descubierto el modo de influirnos, de persuadirnos, de manipularnos. “Borrar, suprimir, cancelar, y haber callado ya antes, esa es la aspiración del mundo.”Pero tan imposible es borrar lo dicho, pretender que “lo que fue no haya sido”, como callar. Estamos impelidos a hablar, a relatar, a argumentar y a refutar, a exponer y a exponernos. Nos queman los secretos, nos repugna el olvido y la ignorancia por parte de los otros de lo que sabemos, de lo que hemos vivido y de lo que hemos pensado o solo soñado, no soportamos que desaparezca nuestra huella, nos pesa en el alma no liberar de nuestra alma tanto lo horroroso e inconfesable como la alegría, la esperanza y el amor. An individual's consciousness seems to be made of words (from which they suffer), as a result of which Jacques concludes, "I am myself my own fever and pain." The narrator readily admits that he does not know much of what is going on. His is a process of continual discovery and analysis. Marías thereby embraces here that singular strength of the first-person narrator, unreliability. Though in Jacobo’s case it does not seem willful. In fact, there seems to be a forthright attempt to piece together what little he knows into a coherent whole. I found it enormous fun to follow his ideas as he stumbles on some dissonant fact or other and tries to reconsider how it might fit into the overarching puzzle before him. But the novel always remains just that: a fragment. This partial knowledge of course sets him up very neatly to be blindsided at some point further on. Keeping silent, erasing, suppressing, cancelling and having, in the past, remained silent too: that is the world's great, unachievable ambition

That is what Javier Marías (September 20, 1951–September 11, 2022) explores in some stunning passages from his 2002 novel Your Face Tomorrow ( public library). Art by Olivier Tallec from Big Wolf & Little Wolf Doğrudan ya da simgeler yoluyla çok fazla edebiyatçıya gönderme var. Bunlardan Katalonya'ya Selam, James Bond: Rusya'dan Sevgilerle, The Trials of Persiles and Sigismunda: A Northern Story öne çekip okumak istediklerim oldu.

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Beneath Dance and Dream, one feels, is a medieval view of the world being subtly urged upon us, though it is in no sense religious. There remains in Jaime, right beside his taste for the lingerie of the 50s, a longing for courtliness, which, observed today, might save us from some of the worst aspects of ourselves. On the other hand, a knowledge of history makes Jaime grimly aware of the venality and violence rising to the surface of our lives now. And in this most beautifully tapped ancient vein of horror, Marías scales another peak, that of a deep, almost shamefully exciting lyricism of threat. Keeping an eye on that arch-enemy of his, who is about to snort coke in the "cripples' toilet" of a London nightclub, a place where violence of the fist or the gun might be expected, a sword, a huge menacing sword of the past, is produced: "It is the sword that caused most deaths throughout most centuries - it has killed at close quarters ... face to face with the person killed, without the murderer or the avenger or the avenged detaching himself from the sword while he wreaks his havoc and plunges it in and cuts and slices, all with the same blade which he never discards, but holds on to and grips even harder while he pierces, mutilates, skewers and even dismembers ... unlike something that can be thrown or hurled, the sword can strike again and stab repeatedly, over and over, again and again, each strike more vicious than the last ..."