Word: novelã
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Twain’s problematic use of comedic flexibility culminates in the novel??s controversial final scene. At the end of the novel, Jim is recaptured after a failed escape attempt and appears to be on the brink of being sold back into slavery. Miraculously, Jim is saved when Tom reveals that the whole escape plan was an elaborate game—Jim was already freed by his mistress on her deathbed. Some critics have criticized this ending as an evasion that allows Twain to avoid dealing with the evils of slavery, while others have defended the scene...
Humor transforms Jason from a cruel antagonist into the tragic yet triumphant epicenter of the novel. In the novel??s appendix Faulkner writes that Jason “assumed the entire burden of the rotting family in the rotting house” before he “was able to free himself forever [from] the idiot brother and the house.” Faulkner reveals that Jason sells the Compson estate and puts his brother in an insane asylum—effectively dismantling his family’s history. Some might view this ending as tragic...
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...
...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...