Download Cuentos completos by Herman Melville PDF

By Herman Melville

«Pero no es los angeles forma o los aspectos estilísticos lo verdaderamente importante de estas narraciones, sino los angeles sobrecogedora capacidad de Melville para armonizar situación y personaje hasta el punto de resultar imposible discernir lo uno de lo otro.» José Antonio Gurpegui, El Cultural de El Mundo

Muchos de los héroes melvilleanos temen y sufren «la deriva common de l. a. masa de l. a. humanidad hacia el más completo de los olvidos» de los angeles misma angustiosa manera que tratan de oponerse a ella. los angeles propia deriva de Melville en su tiempo, incomprendido y escasamente valorado por el público y los angeles sociedad literaria, no auguraba el reconocimiento que le reservaría l. a. posteridad. Desplazados, retirados, víctimas de grandes mudanzas, sus personajes tratan de encontrar un sentido a los angeles soledad que finalmente ha caído sobre sus vidas: a veces lo encuentran, sí, y entonces alguno de ellos, «con genio y sin fama, es más feliz que un rey»; otros se aferran obsesivamente a una obra que les identifica, como puede ser un campanario, un «Gran Aparato Hidrostático» o una chimenea, y en esa identificación hallan l. a. muerte, un fracaso investido de dignidad o, al contrario, el valor de una insobornable resistencia; algunos, como el protagonista de «La veranda», persiguen quimeras sólo para descubrir que ellos mismos son los angeles quimera de otros menos afortunados; y otros, en fin, como el marino Daniel Orme, se llevan a los angeles tumba el secreto de su hosquedad y su silencio.

En este volumen se recogen los Cuentos completos de Melville y el lector tendrá ocasión de descubrir en él no sólo las claves de una literatura inspiradísima, extemporánea y visionaria, sino también los angeles apreciable deuda que l. a. posteridad ha contraído, y quizá no saldado, con su autor, sin duda uno de los mayores precursores de las corrientes literarias del siglo XX.

Herman Melville nació en Nueva York en 1819, hijo de un comerciante. Muerto el padre en los angeles ruina en 1832, tuvo que dejar l. a. escuela y trabajar en los más diversos empleos. En 1839 se embarcó en un buque mercante, y en 1841 en un ballenero, que abandonó junto con un compañero en las Islas Marquesas, donde vivieron con una tribu caníbal. De allí fue rescatado por un ballenero australiano, del que desertó tras un motín. Después de una temporada en Honolulu, se enroló en los angeles fragata usa y volvió a Estados Unidos en 1844. De todos estos viajes surgieron las novelas que publicaría a lo largo de los siete años siguientes: Taipí (1846) y Omú (1847; ALBA CLÁSICA núm. XXXI), ambientadas en los Mares del Sur; Mardi (1849), una fantasía alegórica; Redburn (1849), sobre su primer viaje; Chaqueta Blanca</i< (1850, ALBA CLÁSICA núm. XXIV), sobre l. a. travesía a bordo del usa; y Moby Dick (1851), que, pese a su real celebridad, pasó casi inadvertida.

Su obra posterior tampoco contó con las simpatías del público: Pierre o las ambigüedades (1852), Israel Potter (1855), The Piazza stories (1856) y The Confidence-Man (1857) no le permitieron seguir viviendo de los angeles literatura. En 1866 consiguió un empleo de inspector de aduanas en el puerto de Nueva York. En esa ciudad murió veinticinco años después, en 1891.

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These are the strange silences that Toni Morrison notices elsewhere in Huck: He loves Jim too much to make a speech about it. Like a true bluesman, Huck舗s art is magnificently understated and full of stark but meaningful moments when there is nothing for words to say. His answer to Jim舗s rebuke about Huck舗s tricking of Jim after the storm had separated them is not direct; we only know that he was ashamed and that he crept back to apologize. S. borders parallels the journeys of slaves and ex-slaves, and their children, toward the broader freedom and multiplied sense of possibility associated not only with the North but with the Western frontier and, more generally, with the uncharted frontiers of the future.

Confused by the swirling current and blinded by the fog, Huck hears calls in front of him and calls behind him, and finds himself in the territory of the blues. 舠I couldn舗t tell nothing about voices in a fog, for nothing don舗t look natural nor sound natural in a fog舡 (p. 77). Huck keeps still and quiet, listening and waiting. 舠If you think it ain舗t dismal and lonesome out in a fog that way, by yourself, in the night, you try it once舒you舗ll see舡 (p. 77). The hard truth is that in the storm and fog they have passed Cairo, the port leading to the North.

J But given the real distance between blacks and whites in America, Morrison says, so extreme today and infinitely more so a hundred-plus years ago, this wonderful friendship is doomed, and as savvy southerners, Jim and Huck know in advance that it is doomed. Morrison says that this inevitable split between the two friends, the novel舗s underlying tragedy, helps explain why Twain presented Jim in such exaggeratedly outsized stereotyped terms舒lest Huck or the reader get too close to him. 舠Anticipating this loss may have led Twain to the over-the-top minstrelization of Jim,舡 writes Morrison.

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