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The Man of Feeling av Javier Marías
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The Man of Feeling (urspr publ 1986; utgåvan 2007)

av Javier Marías (Författare)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
3401656,585 (3.82)5
Glinting like a moonstone with layers of emotion,The Man of Feeling is a sleek and strange tale of cosmopolitan love. An affair between a married woman and a young man just becoming an opera star (curiously helped along by the husband's factotum) meets with adamant resistance from the implacable husband. Narrated by the young opera singer, the novel opens as he recalls traveling on a train from Milan to Venice, silently absorbed for hours by the woman asleep opposite his seat. In the measured tones of memory, The Man of Feeling revolves on the poles of anticipation and recollection. The peculiar rarified life lived in the world's luxury hotels, a life of rehearsal and performance, the constant travel and ghost-like detachment of our protagonist adds a deeper tone to the novel's weave ofdesire and detachment, of consideration and reconsideration: its epigraph cites William Hazlitt: "I think myself into love,/And I dream myself out of it." As Marías remarks in a brief afterword, this is a love story "in which love is neither seen nor experienced, but announced and remembered." Can love be recalled truly when it no longer exists? That twist will continue to revolve in the reader's mind, conjuring up in its disembodied way Henry James'The Turn of the Screw. Beautifully translated into English for the first time by Margaret Jull Costa, this fascinating and eerie early novel by Javier Marías bears out his reputation for the "dazzling" (TLS) and "startling" (The New York Times).… (mer)
Medlem:MARizzo72
Titel:The Man of Feeling
Författare:Javier Marías (Författare)
Info:New Directions (2007), Edition: Translation, 208 pages
Samlingar:Ditt bibliotek
Betyg:
Taggar:Ingen/inga

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The Man of Feeling av Javier Marías (1986)

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» Se även 5 omnämnanden

Early Marías, but already with most of the characteristic features of his style clearly visible. The classic narrative rhythm, the subversive parentheses, the loops and digressions, the literary sidetracks: all there as we would expect, but on a slightly less monumental scale than in his more recent books.

The narrator is an opera singer, a tenor, who is telling us about a dream he's just had relating to an incident some four years ago when he was in Madrid, appearing as Cassio in Verdi's Otello, and got involved with a woman called Natalia Manur, wife of an important Flemish banker. We soon lose track of how much of what he's telling us is dream and how much really happened, and he doesn't seem to be very clear about it himself, but obviously that shouldn't make any difference to us as readers of a piece of fiction anyway...

As we might expect, there's a female character who has to die prematurely for no good reason other than to advance the plot. But despite the obvious Othello parallels in the plot, it isn't the Desdemona character who gets the chop this time. Moreover, Marías being nothing if not self-aware, it turns out that the narrator has an interesting obsession with the character Liù in Turandot, who has to kill herself so that it's possible for the story to resolve itself.

There are passing mentions of Flaubert, Nabokov, Shakespeare and other usual suspects, as well as "an Austrian writer" (Thomas Bernhard? Robert Musil?). But mostly Marías sticks to the idea that the narrator is not a particularly bookish person, more interested in the oddities of the opera world than in odd corners of world literature. And there are some good opera anecdotes, including the one about the singer who becomes so obsessive about not singing to a house that is less than 100% full that he ends up sitting in an overlooked empty seat himself and having to be removed forcibly by the men in white coats.

Good claustrophobic fun! ( )
  thorold | Apr 5, 2020 |
The Man of Feeling is a reinvention of Othello, one both wicked and wicked-smart. An opera singer reflects on a visit to Madrid to perform in Verdi's Otello. He encounters three people: a married couple and their (paid) companion. The Shakespearean roles are all twisted and dislocated. The matters are more mercenary here than the Bard's tale. Madrid is both home to the itinerant singer as well as some blurred noir, teeming with after-hour temptations and the ubiquity of garbage trucks. Marias offers a duality in the afterward: there are those who accept a fictive purpose and those who aspire to a reality, even if that tangibility destroys. Marias finds favor with the latter, especially those who are consequently consigned to memory's lens.

I fled through this novel, inhaling each sentence and marveling. An entire afternoon slipped between the pages. I find the Marias of this and [b:Tomorrow in the Battle Think on Me|60030|Tomorrow in the Battle Think on Me|Javier Marías|http://d202m5krfqbpi5.cloudfront.net/books/1348254165s/60030.jpg|1281855] to be narcotic. The long form Javier of the trilogy doesn't have quite the same effect. ( )
  jonfaith | Feb 22, 2019 |
Pour ceux qui ne connaissent pas encore Javier Marìas, voici, me semble-t-il, le livre idéal pour découvrir son style et savoir si vous l'aimez. Ce livre est en effet un court roman - et non une longue nouvelle - , ce qui est somme toute rare chez Marìas, et tous les ingrédients chers à l'auteur y sont présents. N'hésitez pas, lancez-vous. Si cela vous plaît, alors jetez-vous sur les autres, vous ne serez pas déçus et sinon, passez votre chemin, c'est que c'est auteur n'est pas votre tasse de thé et il y a suffisamment de choix pour ne pas s'ennuyer.

Personnellement, au cas où vous ne l'auriez pas encore compris, j'adore. Je trouve cela fin, subtil et tellement bien dit. ( )
1 rösta Millepages | Jan 30, 2016 |
An intriguing and haunting meditation on the nature of love, loss and the space between dreams and memories. ( )
  bodachliath | Apr 22, 2015 |
Premetto: parlando di M. non sono persona obiettiva.
---
Non è un libro immortale, ma è *solo* affascinante, intenso, delicato, colto, ricco. Non sarà ai livelli di "Domani nella battaglia..." ma non possono essere tutte opere indimenticabili, quelle di M. Anche se mi vien da pensare che questa ha una, una pagina sola, buttata li' in mezzo alle altre, che rimane brillante di un amore, di un dolore, di una potenza evocativa tale che basta questa a giustificare la lettura di tutto il libro. Solo per arrivare li' è rimanere impietriti. ( )
  bobparr | Dec 14, 2014 |
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Glastra van Loon, AlineÖversättaremedförfattarevissa utgåvorbekräftat
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Glinting like a moonstone with layers of emotion,The Man of Feeling is a sleek and strange tale of cosmopolitan love. An affair between a married woman and a young man just becoming an opera star (curiously helped along by the husband's factotum) meets with adamant resistance from the implacable husband. Narrated by the young opera singer, the novel opens as he recalls traveling on a train from Milan to Venice, silently absorbed for hours by the woman asleep opposite his seat. In the measured tones of memory, The Man of Feeling revolves on the poles of anticipation and recollection. The peculiar rarified life lived in the world's luxury hotels, a life of rehearsal and performance, the constant travel and ghost-like detachment of our protagonist adds a deeper tone to the novel's weave ofdesire and detachment, of consideration and reconsideration: its epigraph cites William Hazlitt: "I think myself into love,/And I dream myself out of it." As Marías remarks in a brief afterword, this is a love story "in which love is neither seen nor experienced, but announced and remembered." Can love be recalled truly when it no longer exists? That twist will continue to revolve in the reader's mind, conjuring up in its disembodied way Henry James'The Turn of the Screw. Beautifully translated into English for the first time by Margaret Jull Costa, this fascinating and eerie early novel by Javier Marías bears out his reputation for the "dazzling" (TLS) and "startling" (The New York Times).

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