Ficción moderna y contemporanea

Trepidante viaje desde el pasado hacia el más surrealista futuro a través de la ruta de la Seda. Una historia de descubrimiento, amor y amistad. Asistimos en la India a una boda Sij y en la luna de miel se nos va desvelando este misterioso subcontinente bajo los ojos enamorados. Rezamos junto a los Bahais en su templo, visitamos junto a los parsis las Torres del Silencio, descubrimos Cachemira, viajamos por la India de las aldeas de Gandhi, recorremos plantaciones de té o traspasamos absurdas fronteras que aún siguen sangrando. Y de allí nos internamos en la mítica Ruta de la Seda buscando los afamados caballos de Dawan que galopaban como el viento y sudaban sangre, esos caballos que salvaron a China del ataque de los Hunos cambiando su historia y también la nuestra. Seguimos las huellas de ese legendario pueblo guía de las caravanas que hizo de bisagra entre Oriente y Occidente, y uniendo pasado y futuro compartimos un proyecto apasionante que une arqueología y tecnología. Tras atravesar las más altas cumbres, las más profundas depresiones y los más temidos desiertos, cruzamos la puerta de Jade e imaginamos al antiguo dragón de piedra junto a cuyos muros iban pegadas las caravanas convertirse en un inmenso dragón de acero que serpentea silbando por montañas y desiertos. Y oímos en vez del peculiar tintineo delas campanas de los camellos, el traqueteo del tren sobre los rieles y el zumbido de la locomotora cortando el aire como un cuchillo. Un sueño de progreso y paz que está muy próximo a hacerse realidad, tan solo hace falta derribar la última frontera, la de nuestra mente.

Alan Burns was an important voice in a group of experimental writers who came to the fore in Great Britain in the post-World War II era. He worked in multiple genres—essays, interviews, drama, non-fiction, and short fiction—however, his reputation is based primarily on his eight novels, the first four of which are collected in this volume. In Buster, Burns recounts the childhood and maturation of Dan Graveson, a middle-class boy who experiences the death of his mother and older brother at a young age and who wanders from one undertaking and profession to another. Europe After the Rain moves into a surrealist aesthetic, one in which non sequiturs, the absence of rational motivation, and surprising juxtapositions predominate. Celebrations is the first of the “cut-up” novels: Burns visited used bookstores, purchased “good junk fiction,” searched for clichés and folded the pages or cut trenchant phrases and sentences out and reassembled them on a drafting table. The result, he commented, “was a wonderful fragmentation, a chaos of language in which I can find new connections and images of language”. In Babel, this technique is taken to an extreme: the novel has no continuous narrative thread and no chapters; pages are arranged in blocks of text separated by white space, and in some cases the text appears to be arranged in newspaper columns or like a concrete poem, with lines that can be read horizontally or vertically. These four novels showcase the inventive and exciting prose innovations of one of Britain’s most daring novelists.INTRODUCTION BY DAVID W. MADDEN. CONTAINS BUSTER, EUROPE AFTER THE RAIN, CELEBRATIONS, BABEL, AND THE STORY 'WONDERLAND'.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Jordi Sarsanedas va néixer a Barcelona el 1924. D'aleshores ençà hi ha viscut, llevat d'uns quants anys que va passar a França, Escòcia i Itàlia. A Catalunya feia de professor de llengua i literatura franceses i també de traductor. Fou actiu dins l'Ag

Trying to make sense of it all, Mary stared at the ceiling. Outside, she heard crickets chirping and smiled a little thinking about Doc calling her "Trichet". For all I know, I imagined that, too. Unable to sleep, she sat up in bed and looked out the window. She made a wish on a star that she would see her friend again someday. She also wished that her brother was dead.

Dreams.They're the hope when all hope is lost. When nothing is as it should be and life no longer feels worth living, they give us the will to carry forward. Succeed and walk the path to happiness.  Fail and find yourself wandering down a path to despair.Here we follow seven people as they chase their dreams. They dream of home, of purpose, of friendship, of revenge, of freedom, of security, and of peace.In a world that is not known for being kind to dreamers. . .



Elm and North explores the life of Morris Proot, a school bus driver who is slowly turning to bone. With his girlfriend gone and his best friend dead, Proot sinks into isolation after a fight on his school bus forces him into a mind-numbing job as a crossing guard. Seeking comfort, he reaches out to an enigmatic University of Pennsylvania genetics professor, the foremost researcher of his disease. But when Proot's attempts at communication go unanswered, he downspirals into frustration and wretchedness. In an act of final despair, he travels to Philadelphia for a face-to-face confrontation with the one man he feels owes him answers, solace, and maybe even a little hope. The story of a lonely man's battle against a horrific disease, Elm and North is of course a comedy. The disease at the heart of Elm and North—fibrodysplasia ossificans progressiva (FOP)—results from a rare genetic mutation that causes the body to replace injured soft tissue with bone. As time and excess bone accumulate, victims of FOP can transform into living statues, rigid to the point of complete immobility yet with fully functioning minds. Robbed of his ability to speak coherently, the only authentic voice left to Proot is a written one. Elm and North transpires before smartphones and tablet computers existed. Consequently, in face-to-face interactions, Proot must communicate by scribbling short notes on a portable whiteboard. Only at home, seated before his typewriter, can he "speak" at length and in depth, revealing his character along the way. His predicament mines a rich vein of irony. Morris Proot: inwardly so fluent, outwardly all but voiceless. Elm and North distinguishes itself by externalizing a disease-inspired interiority and does not rest content with the externalization inherent in Proot's letters. Elm and North steals the aesthetic of those letters and expands it to unify the novel as a whole. Proot's epistolary voice—sometimes acid, sometimes humorous, sometimes elegiac—establishes the emotional intensity that suffuses the novel's alternating points-of-view and blends them to produce a consistent effect.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

L'amiga amb qui ballava a la festa major, l'escenari del primer recital, el seu vaixell i els companys de navegació, la casa de Porrera... Aquest llibre és una invitació de Lluís Llach per conèixer els paisatges i les persones més importants de la seva vi

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.