Bouvard y Pécuchet (Penguin Clásicos) by Gustave Flaubert

By Gustave Flaubert

Los mejores libros jamás escritos.
Verdadera enciclopedia de l. a. estupidez humana y retrato sangrante y bilioso de l. a. burguesía en estado puro, Bouvard y Pécuchet inaugura de algún modo l. a. literatura del siglo XX.
La más entretenida e hilarante farsa filosófica de los angeles historia, novela póstuma (1881) y quijotesco testamento de Gustave Flaubert, nos cuenta las andanzas de Bouvard y Pécuchet, dos almas gemelas reunidas por el azar. Una herencia y el sueño de un retiro contemplativo donde cultivar los angeles sabiduría harán que se abismen en todas las áreas del conocimiento humano #de l. a. jardinería al teatro, de los angeles medicina a l. a. religión#, para encontrar en todas ellas solo escepticismo y desazón.
Firma l. a. espléndida introducción Jordi Llovet, sutil conocedor de todo lo que rodea al ermitaño de Croisset, y también reúne aquí, dándole a su edición un carácter único, los materiales que preparó el propio Flaubert para los angeles segunda parte (inacabada) de los angeles novela: el «Estupidiario», el «Diccionario de principles corrientes» o los angeles imposible colección de citas, entre otros textos.
«¡Pensándolo bien, es una buena notion! ¡Dios mío, pues sí! ¿Por qué no?»
Raymond Queneau dijo...
«Bouvard y Pécuchet es una odisea. los angeles literatura profana, es decir, los angeles verdadera, empieza con Homero, y cualquier gran obra es una Ilíada o una Odisea [...] Satiricón, laDivina Comedia,Pantagruel, elQuijote y, cómo no, elUlises (donde se reconoce los angeles influencia directa deBouvard y Pécuchet) son odiseas, esto es, relatos de tiempo cerrado. Lasilíadas, por el contrario, van en busca del tiempo perdido: ante Troya, en una isla desierta o en casa de losGuermantes.»

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Extra info for Bouvard y Pécuchet (Penguin Clásicos)

Example text

He must come to see life, at least in part, as Juana does. Narratively, Steinbeck complicates the parable of the pearl of great price when he adds the vulnerability of the baby, first introducing the child’s helplessness in the scorpion scene. No matter how attentive his parents are, no matter that both are within arm’s reach of the child, they cannot prevent the insect’s biting him. Once bitten, the child becomes the object of attention, an icon to test people’s values. The villagers know his worth to Kino and Juana; they understand Juana’s desire that he receive formal medical treatment, and they follow the young family to the house of the doctor.

Richard Astro. Minneapolis: University of Minnesota Press, 1973. Timmerman, John H. ” In Benson, The Short Novels ofJohn Steinbeck, pp. 143–161. The Pearl “In the town they tell the story of the great pearl” how it was found and how it was lost again. They tell of Kino, the fisherman, and of his wife, Juana, and of the baby, Coyotito. And because the story has been told so often, it has taken root in every man’s mind. And, as with all retold tales that are in people’s hearts, there are only good and bad things and black and white things and good and evil things and no in-between anywhere.

Kino’s hand went forward very slowly, very smoothly. The thorned tail jerked upright. And at that moment the laughing Coyotito shook the rope and the scorpion fell. Kino’s hand leaped to catch it, but it fell past his fingers, fell on the baby’s shoulder, landed and struck. Then, snarling, Kino had it, had it in his fingers, rubbing it to a paste in his hands. He threw it down and beat it into the earth floor with his fist, and Coyotito screamed with pain in his box. But Kino beat and stamped the enemy until it was only a fragment and a moist place in the dirt.

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