Content area
Full Text
Acknowledgements
This book would not exist without the guidance and encouragement of many people. My warmest thanks go to Abigail Lee Six, whose diligent nature, insights and unwavering support have been crucial in the process. I am forever indebted to Alexis Grohmann and Federico Bonaddio; their extremely useful comments and advice proved instrumental in producing this monograph. I also owe my gratitude to Maarten Steenmeijer for his careful revision and perceptive observations of the manuscript, which have undoubtedly made this a better book.
I am extremely thankful to Olivia Vázquez-Medina and Arantza Mayo for being both wonderful friends and mentors. Charlotte Fereday's unconditional support was key during the most challenging moments. Other friends have contributed in several ways to the making of this book: Nacho García Peña, Alex Hibbett, Guy Kiddey and María Seguín; I am most grateful for their suggestions, comments and help.
Needless to say this project would not have existed without the brilliant works of Javier Marías; I owe him my deepest thanks for answering all my queries and because his work has been defining for my own outlook on fiction, language and the uncertainty of life.
I would also like to thank my family: my parents, Pepa and Valentín, for being most caring and inspiring and for going above and beyond to support me; Laura and Kike for the enthusiasm they have always shown for my ideas; and Gavin Russell, whose unremitting support and belief in me have been more than decisive in the completion of this book.
Introduction
Despite his many other achievements (recognised translator, public intellectual, columnist, publisher, king of a unique literary monarchy), Javier Marías (Madrid, 1951) is primarily a novelist. 'Un escritor fuera de lo común: un caso extremo de una escrupulosa conciencia literaria',1 Marías's literary style is indeed 'inconfundible, pero casi imposible de describir', as Eduardo Mendoza put it.2 An attempt to describe it, however, would highlight his digressive reflections as well as his allusions to a number of literary works he incorporates into his novels. His prose is known for its exquisite rhythm, which he has rightly compared to that of music and poetry.3 His plots, in turn, are notorious for being shaped around the narrators' philosophical musings, who obsessively reflect upon issues of language,...