In La función delta (1981), the second novel of the best-selling Spanish author Rosa Montero, the real world is as unmapped and treacherous as ever for her countrywomen, but more universal concerns impinge. Translated into English by Kari Easton and Yolanda Molina Gavilán, The Delta Function explores a woman's fears of being abandoned, of being alone, and of dying. A unique double narrative structure throws into relief time's effect on her self-identity, sexuality, and relations with others. Readers will be inspired to confront and rethink their own version of the world around them.
A sad and alcoholic man in search of "a woman to live and to die with, to love and to grow old with," and her, a girl who feels invaded by "the other one," the new woman in her father's life: an ugly woman who finds any means to feel beautiful. Once again, Rosa Montero shows the luminous and selfish side of the soul through stories with a common ground: the complexity of human relationships. Those who have had lovers and/or enemies will identify with these stories, which are not only for enjoying but also to reflect upon.
A collective biography of some truly extraordinary women who led original, creative, or adventurous lives features the stories of such women as artist Frida Kahlo, philosopher Simone de Beauvoir, and the literary Brontë sisters. (Biography)
This novel, essay and/or autobiography is a journey through the mystery of fantasies, of artistic creation and Montero's most secret memories. She undertakes a trip to her inner self in a narrative game full of surprises. It is a magician's hat from which she reveals amazing and unexpected events. In this book, she mixes literature and life in an aphrodisiacal cocktail of other people's biographies and a semi-fictional autobiography. This is, above all, a torrid story of love and salvation between her and her imagination.
La autora emprende un viaje al interior en un juego narrativo lleno de sorpresas. En él se mezclan literatura y vida en un cóctel afrodisíaco de biografías ajenas y autobiografía novelada"--Forro.
Rosa Chacel belongs to that brilliant generation of artists that moved to the cultural vanguard in the 1920s and 1930s: García Lorca, Buñuel, Dali, Alberti, Guillén, Aleixandre. As a young artist—a sculptor and writer—she participated in the intellectual ferment of Madrid during those decades. But the victory of fascism in the late thirties erased Chacel's works and the works of other women from the cultural memory until recently. In the interim Chacel was exiled in Brazil and Argentina. At last her work has returned to light. So has Chacel herself. The Maravillas District (Barrio de maravillas, 1976) is the first novel in an autobiographical trilogy and the finest of Chacel's works to date. Proustian in its use of memory (yet unique in style), it traces two girls' discovery of their artistic and intellectual vocations, focusing less on the social and cultural obstacles to women's self-realization--though these are present—than on the invicible impulses of imagination and intellect in these girls' lives and on the enabling power of their mutual support. In its English translation it will rank alongside Virginia Woolf's and Sylvia Plath's autobiographical works depicting the woman artist's experience.
The memoir of a precocious Spanish girl. Atthe age of 11, a woman-friend of her father is so charmedby her, she suggests her husband tutor the girl. Whereupon the girl seduces the husband. The book waspublished in 1945 in Spain and this is its first appearancein English.
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