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In what would be a sort of anti-prologue (by the apocryphal quotations, as the author himself responsible for it, among other reasons) his beautiful and intricate epistolary novel, the lensbury The Island of cut hyacinths (I always liked the caption, Love letter with magical tweens, because all the work is a letter that lists devotions that interweaves events), Gonzalo Torrente Ballester performs two processes, one more formal and a more visceral. On the one hand, highlights the content of the novel, its theme, magical realism that gives it to her from the first sentence. On the other hand, writes about the final. Write about your disbelief in the word "final". Ballester playing with synonyms. Like any writer, trying to find the perfect one that fits their beliefs. Therefore, the final term in quotation marks to emphasize the arbitrary and can be attributed another connotation: the unreality. "It says 'form' they say 'order'; says 'final' who says 'rounding'. Virtually every narrative can be infinite, like amorphous, like life. Send an end, give a way, is the clearest proof of its unreality. So why entangle more musings? As unreal you the offer, which is what I was trying to reach. You'll see. " Of course, the way we choose to oppose the way is what makes her a purely formal writing, the lensbury because then pulling with gender, in its drive to oppose the world literature to finish merging ("My Eyes say that I am a poor search engine the lensbury in the world, I do not understand anything the lensbury about my fate or that of others, I have experienced nothing without understanding "is another symptom of his narrative self-consciousness passage because advances the spirit of what will then ) and the constant reaffirmation of the text as a strictly testimonial process (because the writer makes it on par with other activity: leaving a testimony to their existence at that moment), Ballester are choosing a style, it is revealing, is is taking care of him. Gustaeso I discuss the concept of "final", but in turn I think many give closure to the situation so that the head is rearrange what happened and suits the future. However, this infinite Ballester always referred to our heels. Exhausted, we have no choice but to reopen late (if only in our own privacy, if only with our own thoughts), sometimes because the stories do not end and no other because it is necessary to think in absolute (things weigh less if they are thinking the lensbury with more flexibility). The way you write about the final Ballester could apply to another term: the word "never." the lensbury Say it becomes a reflex of self-preservation, 'but that "never" has endless variables. In The Goodbye Girl - adaptation of the brilliant work of Neil Simon - even with all the cliches of the genre (the meet-cute initial exasperation that becomes a naive love) and still being anchored in a model of romantic movie well representative of his time (the performance of Marsha Mason is on the same channel as that of Diane Keaton in Annie Hall), is crossed from its title to its end-to-no-end-is the idea of appealing goodbyes. Paula (Mason) lets in her life to Elliot (a huge Richard Dreyfuss), and refuses to fall for fear of return to leave without notice. Herbert Ross's film begins and ends with the concept of "goodbye" as something unreal (identical to that posed Ballester) as if it were a manifesto against the definitions. Elliot tells him "good night" to Paula, as she always says goodbye with "goodbye." Until everything changes. Until no longer imperative to a conclusion that perhaps infinite (with changes) the lensbury even more plausible. It all depends on who gets to hit the target. It all depends on what you have to offer. As stated the lensbury in the preface, to make known what we can give, the unreality of what we can give, with its multiplicity of changes, it is a genuine act that almost always requires a response. Although this response is a farewell. Better not fear them. What would be the point? You can not be afraid of that which replicate in the future. Best live with the memory to fight it. Ballester (talking to someone, always talking to someone) to live with that described what longer seven words "lie down on my forgetfulness and lives there." Rarely farewell (as in the novel and film as Ross) could represent such a poetic image as it is promising to defy oblivion.
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