At times, the ability to weave tales of a critic involves building on the one hand, fantasies real criticism, and Moreover, "amazing" interchangeable compositions based on the book criticized. It is empty of meaning in texts according to their internal ambiguity which can be assigned different meanings depending on the text. It is not really literary criticism but constellations surrounding the book published. A recent example of this trend allegorical critics: the review Pozuelo JM Yvancos dedicated to the latest book by Javier Marias, lovers. I insist: the way Benjamin's allegory-as a way to empty out an object that can mean anything. Pozuelo Yvancos writes: "What first surprise any reader of [this book] is that some of the issues close (envy, wickedness to go unpunished, the exemption from the guilt of a crime by its delegation to intermediaries, the memory that makes the living and death of a loved one), being there always, it seems that when treated Marys, were waiting for him, as if nobody had said before. " The difficulty of establishing a consistent measure of this "waiting" is evident. Wait? How do you expect? Or reading between the lines: the themes are the usual ones, but ... It is true, what is most striking is the idea of \u200b\u200b"waiting" and being "close." The simple idea of \u200b\u200ba writer who is expected by his subjects for these-the usual suspects-makeup again be strange. May actually witnessing a process where the ambiguity rhetorical criticism tends to promote both the critic and the writer who, with the use of these procedures, is now fully enclosed, if not already, in a glass case to test any bullet critical. A writer who await the issues is a writer illogical literary art out of any system. It is not only expected but also is the "first surprise." That is why immediately afterwards, the very critical situation redirects and adds: "Certainly not in the same way." That not in the same way is where the critic stands the possibility of a variance, but this variation is not more than a vague sense, I think, of an attempted transcendence or pseudo-philosophy. Therefore indicates that Mary is always such issues "with that incessant tillage thought is suspended, starts first shy, and will adding to as the novel progresses, until finally offering all its nuances." Let's count: they are always issues, we are treated equally, but as orphaned children are waiting, which involves a surprise to the reader. But not a thought that is suspended [whatever that is], as well as in a procession that these issues always [that are expected but not suspended] timid start to show, finally, all its nuances . The background of these words is not established and exemplified in the criticism. What do you mean? How do you identify this quote? There is really no such criticism but a process of acceptance of the budgets of Marias therefore off criticism as such. Or put another way: what are you talking about? What a thought that is not suspended but was subject to the weight of gravity? What a box full of items waiting? What a novel? Is not it rather a prospectus to a review? But proceed. The following paragraph, which begins under the heading hackneyed "The mirror of the soul", it shows that an allegorical critique interchangeable. He writes: "Started in scherzo, and the reasons that both liked Beethoven to Brahms chamber, and from a faint glimmer of everyday life, is submitting this reason Marys all its variations, to give the end of the novel mirror the human soul in which the reader sees and recognizes. " This excerpt is paradigmatic and password. That is, the issues-as always-are transformed to be again the same as always: (a dubious concept) everyday, mirror of the soul, the reader who looks and recognizes ... If the word "Mary" might be moving to in place any other name of past centuries and different condition and would have another character with similar criticism. [For example: "from a faint glimmer of everyday life, is submitting this reason Corin Tellado all its variations, to deliver at the end of the novel mirror the human soul in which the reader sees and recognizes".] This question of treating otherwise justify it again in the following title: "High doses of intrigue." He writes: "When everything looked like it would be a way you start a big change." Actually this could be an intuitive definition of plot. In this sense, it is compelled to add a high element, high-literary theory to justify the simplicity of the above definition, or rather, to shield any criticism of the author. That "big change" that "plot" starts "as if it were a proverb in a dialogical structure between the voices of piano and violin." Intrigue, but with adages, pianos and violins, and dialogic structures. In this, the narrator and Diaz-Varela-critic-van apostille revealing "the unfathomable folds of crime." But that's not all: "yet another turn give the novel that the reader will forgive me to reveal." Furthermore, another issue to consider in this review of the issues that were-there, at hand, to be cured, is that this novel reads like that all she could not leave her, as a passionate inquiry, with high-dose intrigue, in the recesses of the human soul. " This piece is another example of this rhetorical device: Can not stop reading, passion, investigation, intrigue and soul ... I could be perfectly éste el texto de solapa de una de esas antiguas novelitas de vaqueros o de Danielle Steel? [Unas cuantas veces se repite la expresión “alma humana” en la crítica]. En realidad, quizá, no estamos ante una crítica sino ante el proceder (farmacológico) de una crítica descontextualizada y básicamente inane. Eso lo demuestra el final de la reseña, donde el crítico, tratando de llegar con la lengua fuera en la escritura de una crítica en la que se ha propuesto descriticar o preescribir (y en la que tiene que llegar a un mínimo de caracteres con o sin espacios), concluye: “y todo se hace con un manejo de los condicionales, los subjuntivos, el lujo del idioma en sus tiempos y verbos más rich to the vast literature appears again here with his true face. " Notably tired of this writing (and we presume that the book he is criticizing) warns us of the use of conditional and subjunctive in the book.
Summary of read: The crushes is a novel which deals with issues that are "always there", which is thought so much severe ( (¿?)), not hold in which there is much talk of the human soul (in which one can reflect) and nooks, where there is "unfathomable folds" and passions around to a crime and where manipulating conditional and subjunctive tenses of the book along with a lot of luxury and ostentation, appearing here, since it is "great literature" - "with its true face."
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