Has de tener presente que la mayoría de la gente es tonta. Tonta y frívola y crédula, no sabes hasta qué punto, una permanente hoja en blanco sin la menor huella ni resistencia, por mucho que te parezca saberlo no puedes saberlo bien, hasta qué punto, tú no has vivido guerras, espero que no te toquen. Al mismo tiempo, contrapesándose el uno al otro, el padre y el amigo representan los dos extremos del mismo espectro. En un libro que gravita alrededor de la idea de la traición y la imposibilidad (o la habilidad) de anticiparla, de conocer el rostro mañana de aquellos en los que confiamos, estos dos personajes adoptan —porque no deja de ser una decisión consciente— posturas opuestas. The title comes from a comment half-way through made by Deza in an attempt to explain his father's betrayal. "How can I not know today your face tomorrow...?" he says. In other words: Isn't the real character of a person obvious long before he acts? Shouldn't one be able to see betrayal before any overt act to betray? One might assume therefore that this is the central theme that brings the four complex threads together. This last question is especially relevant, when you recognise that, even within the first part, there are different styles and subject matter. Javier Marias ile böyle görkemli bir tanışmayı hayal etmiyordum. Evet seveceğimden emindim ancak bu denlisini beklemiyordum. Öncelikle söylenmesi gereken şey şu: Bir başlangıç, bir son, bol olay var sanıyorsanız; yanılıyorsunuz.

linguistiğe karşı ilgisi olan okurlar bu kitaba bayılacaklar(misal ben, Sine, Yazgülü). çünkü anlatıcı anlattıklarını ingilizce ve ispanyolca dil karşılaştırmalarıyla beraber aktarıyor. ve siz çok şanslı bir türk okuyucu olarak her iki dile olağanüstü hakim olan ve mükemmel çeviri yapan Roza Hakmen kaleminden okuyorsunuz bu kitabı. kitabı türkçe'ye Roza Hakmen'den başka biri çevirmiş olsaydı eminim bütün kitap boyunca keşke Roza Hakmen çevirseydi diye ağlayarak okurdum, teşekkürler Metis. Borges mantenía que lo mejor de leer un libro es que nos permite releerlo más adelante. “Yo he tratado más de releer que de leer, creo que releer es más importante que leer”, afirmaba el argentino, “salvo que para releer, se necesita haber leído.” Cómo puedo no conocer hoy Tu rostro mañana, el que ya está o se fragua bajo la cara que enseñas o bajo la careta que llevas, y que me mostrarás tan sólo cuando no lo espere? Its humour, too; aside from being one of the most poised and cultivated of fictional narrators, Jacques Deza is also one of the most amusing. His defiantly snobbish asides on the trashiness of our times are priceless, while the situations he finds himself in, however unpleasant, almost always have something farcical about them that keeps laughter in play along with horror. 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.It’s all in the voice, and if its peculiar intellectual negligees don’t draw you deeper into Marias’ cranial boudoir (for rather traditional pleasures after all is said and done), then you’re left out in the cold, a cold many readers would probably rather be in anyway, and that’s understandable. It’s all in the voice, and its saturating verbal power is reminiscent of Sebald, like an endless stream of voice straight into your ear, or in your face. And as with Sebald this voice is so seemingly natural and so personalized that fiction has the illusion (or is it?) of blending into nonfiction. But unlike Sebald Marias is a game player, a bit of a prankster, though that quality of his is at the service of an urgency in this book, the pranksterism manifesting in a rarefied detachment within some self-absorbed inner cosmos and an insistence on exhausting every topic raised, almost every seed of every idea planted in every statement, like the author had given himself a challenge; it’s almost Oulipian!

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. The third story is a mystery involving the disappearance of a (real) Spanish Communist and the assassination of Deza's uncle during the Spanish Civil War. These events are also linked to the unexplained betrayal of his father in Franco Spain. Much is made of the connection with the James Bond figure of Ian Fleming's From Russia With Love, in which book there appear to be significant references to at least the first event. Indeed, remarkably little actually happens in Fever and Spear -- but Marías cloaks enough in mystery to make for a sense of suspense throughout. 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.This is one of those books that makes me confused about my own literary tastes, which is something that I certainly appreciate. I think of myself as a girl who needs robust narrative and appreciates a certain down-to-earthiness in my novels, but I guess I'm not, or I wouldn't get into shit like this. Also at the dinner is Bertram Tupra, for whom Deza eventually goes to work (having passed the test). Unlike The Man of Feeling the novel is lengthy and so Marias’s complex prose which often turns in on itself does cross over into being unreadable. 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.

Marías operated a small publishing house under the name of Reino de Redonda. He also wrote a weekly column in El País. An English version of his column "La Zona Fantasma" is published in the monthly magazine The Believer. The title of the trilogy comes from Deza's own special ability -- and his frustration at the unknowable and uncertain, and untrustworthy: As a result it was I think only on my 4th attempt that I did not abandon this book part way through - something that I almost never do with the 100 or so books I read a year. With a gauntlet thrown at the reductionist bias of the Western mind and its hasty dismissal of such uncomputable forms of knowledge, he adds:These sentences started to flow, and just kept on flowing, until, like a river (perhaps the River Cherwell in Oxford, which joins the Thames), they stopped or reached the ocean. They started in the highlands of abstraction, where they gradually built up a mass that soon overflowed and fell, like a waterfall, to another, lower, empiric height, from which they rolled and tumbled through the landscape, all the time heading downwards, towards sea level, or the level of an intervening lake, pond or estuary. But telling is also a matter of trust, and he has his doubts that anyone can be trusted: confidences are almost inevitably betrayed. ha bir de, nuh nebiden kalma ispanyolca sözlüğümü raftan indirdim bu kitap için. öyle bir kitap. dil öğrenme şevkinizi tetikliyor. hani bazen, "iyi ki bu yazarı türkçe okuyabiliyorum" filan deriz ya; bu kitapta iki "iyi ki"m vardı: birincisi, iyi ki anadilim ingilizce değil. zira kitabın büyük bir kısmı ingilizce'ye çeviriyle ilgili. ikincisi, iyi ki, iyi ki, iyi ki roza hakmen gibi bir çevirmenimiz var ve bu kitabı o çevirmiş. ne büyük şans bizim için.

This has nothing to do with premonitions, there is nothing supernatural or mysterious about it, what’s mysterious is that we pay no heed to it. And the explanation must be a simple one, since it is something shared by so many: it is simply that we know, but hate knowing; we cannot bear to see. There is always more to come,...there is always a little more, one minute, the spear, one second, fever, another second, sleep and dreams - spear, fever, my pain, words, sleep and dreams - and then, of course, there is interminable time that does not even pause or slow its pace after our final end, but continues to make additions and to speak, to murmur, to ask questions and to tell tales, even though we can no longer hear and have fallen silent." The book also suffers from the Spanish literary conceit that ageing academics and writers are irresistible to young women, and generally its female characters are rare, and clichéd and its male figures snobbish. I can’t believe I’m talking about Marias like this. If you are a true Friend you will stop me. Right?Life is not recountable", Wheeler tells Deza, but the book focusses on these attempts to get at the crux of lives and people (something Deza appears to have a talent for).