Word: eternaã
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...Museum of Eterna??s Novel’ is a meta-novel that goes so deep into the swirl of metas that it loses itself, its characters, and us in the process. And yet it is all about the relationship between reader and author, and what fiction can and cannot do. “The Museum of Eterna??s Novel” is a proverbial Wonderland of wit and explicitly enunciated confusion, where forward leads backwards, and where a word is synonymous with its opposite. As the novel progresses, Fernández constantly shifts voice and tone...
...Reader take charge of my agitation and trust in my promise of a forthcoming goodbad novel, firstlast in its genre, in which the best of the bad of ‘Adriana Buenos Aires’ and the best of the good of ‘Eterna??s Novel’ will be allied, and in which I will recollect the experience gained in my efforts to convince myself that something good was bad, and vice versa, because I needed it to finish a chapter of one or the other...” He then mentions that...
Fernández, born in Buenos Aires in 1874, worked on this novel between 1925 and 1938. A philosopher, humorist, writer and poet, he started “The Museum of Eterna??s Novel” when he was about fifty and rewrote it five times before his death. Fernández was very concerned about writing, but not nearly as concerned about publishing his own work...
...draws the analogy that in his conversations with Fernández he was like Plato who listened to and transcribed the ideas of Socrates. The ideas of the latter were later used to form a new Argentinean literary movement. This new translation of “The Museum of Eterna??s Novel” marks the first opportunity for English speakers to read Fernández and encounter one of Latin America’s most influential writers...
...plays with form and layers of meaning, Fernández generates utter chaos within his novel, but it is a kind of creative chaos. “The Museum of Eterna??s Novel” is a dismissal of the novel, but also a dismissal of the notion of being. It leaves things open and unfinished, because the claim that anything can be definite does not seem feasible. Yet at the same time as Fernández pushes and questions the limits, he shows that there are none. Out of non-sense, sense is born...