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Tristana (NYRB Classics)
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Review
"Told in sophisticated yet enveloping prose, Tristana is a treasure that should not be overlooked. Pérez Galdós barely breaks a sweat as he weaves a tale of intelligence and emotional richness comparable to the works of Charles Dickens and Gustave Flaubert. And while the pace of the story is expertly controlled, there is an urgency to each sentence, paragraph, page. At its heart, it's about how we should hurry up and become who we are. Or else." —Juan Vidal, NPR“Tristana is a peach. An utterly delicious novel, even better than the Buñuel film.” —Phillip Lopate“Galdós was the great novelist of Madrid, chronicling bourgeois, urban manners with a clarity and understanding critics have found comparable to that of Dickens, Balzac and Flaubert.” —Raymund A. Paredes, Los Angeles Times“Pérez Galdós is one of the treasures of 19th-century Spanish fiction.” —William Ferguson, The New York Times"Perez Galdos is the supreme Spanish novelist of the 19th century. His scores of novels are rightly compared with the work of Balzac and Dickens who were his masters, and even with Tolsoy's…. The secret of the gift of Galdos lies, I think, in his timing, his leisurely precision and above all in his ear for dialogue…" —V.S. Pritchett“[Pérez Galdós’s] prophetic gift for singling out those issues that were bound to transcend and outlast his own milieu was equaled only by his knack for keeping them controversial and alive in his fiction by refusing to take a clear-cut position on them.” —Hispanic Review “Galdós immersed himself in the realities of his day and recorded them accurately.” —Symposium Magazine“Tristana is a late Shakespearean romance gone delightfully sour: here the supernatural comes to the ironic rescue of restless characters who can’t leave the prison house of the self: dreams of freedom from convention and nature turn out to be self-defeating illusions, escape attempts that Galdós treats with a sort of antic sympathy. This is Ibsen’s Doll’s House played as a gaunt farce, a vision of feminism as icy egotism rather than individual liberation….A crepuscular vision that see-saws between the old and the new.” —Bill Marx, Arts Fuse“This 166-page gem is frequently modern in its frank, earthy style as it cynically submits love and desire to merciless analysis, picking apart romantic delusions with scientific glee…Uncomfortable moral complexity is Galdós's specialty, and the novel is a carefully constructed trap that springs shut on the reader in the last 30 pages. The ending of Galdós's tale is utterly believable, completely original and unforgettable.” —Nick DiMartino, Shelf Awareness
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About the Author
Benito Pérez Galdós (1843–1920) was born into a middle-class family in Las Palmas in the Canary Islands. When he was nineteen, he was sent to Madrid to study law. Once there, however, he neglected his studies and plunged into the ordinary life of the capital, an experience that both developed his social and political conscience and confirmed him in his vocation as a writer. He became an assiduous theater- and concert-goer and a visitor to galleries and museums, and began publishing articles on literature, art, music, and politics. Galdós was the first to translate The Pickwick Papers into Spanish, and on a visit to Paris, discovered the works of Balzac. His first novel, La fontana de oro, was published privately and initially met with little interest. It wasn’t long, though, before critics were hailing it as a new beginning for the Spanish novel. In a career that spanned more than forty years, Galdós wrote nearly eighty novels and some twenty plays. He also managed to find time to travel widely, in Spain and abroad, and to conduct a series of discreet affairs—one of them with fellow novelist Emilia Pardo Bazán. Perhaps his most ambitious literary project, entitled Episodios nacionales, comprised forty-six books, each chronicling a different episode in Spanish history from the Battle of Trafalgar onward. He continued to write until his death at the age of seventy-six, dictating his novels to an amanuensis when blindness overtook him. Galdós provides his readers with an extraordinarily vivid picture of life in nineteenth-century Spain; his novels teem with fascinating characters from all social classes. His masterpiece is generally considered to be the vast and wonderful Fortunata and Jacinta, but equally impressive are such works as Doña Perfecta, Misericordia, La de Bringas, and Miau. Luis Buñuel based three of his movies—Viridiana, Nazarín, and Tristana—on three Galdós novels, perhaps recognizing in Galdós a fellow subversive.Margaret Jull Costa has been a translator of Spanish and Portuguese literature for nearly thirty years. Among the authors she has translated are José Saramago, Javier Marías, and Eça de Queiroz. She has won many prizes, including the PEN Translation Prize. In 2013 she was invited to become a Fellow of the Royal Society of Literature, and in 2014 she was awarded an OBE for her services to literature. She lives in the United Kingdom.Jeremy Treglown is a writer and literary critic known most recently for his work on Spanish culture, film, and literature. His books include several biographies, including V. S. Pritchett, which was short-listed for the Whitbread Award for Biography, and most recently Franco’s Crypt: Spanish Culture and Memory Since 1936. He was the editor of The Times Literary Supplement for almost a decade and is currently the Donald C. Gallup Fellow in American Literature at the Beinecke Library at Yale. He lives in the United Kingdom.
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Product details
Series: NYRB Classics
Paperback: 192 pages
Publisher: NYRB Classics; Translation edition (December 2, 2014)
Language: English
ISBN-10: 1590177657
ISBN-13: 978-1590177655
Product Dimensions:
5 x 0.4 x 8 inches
Shipping Weight: 7.8 ounces (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
10 customer reviews
Amazon Best Sellers Rank:
#898,167 in Books (See Top 100 in Books)
Benito Pérez Galdós is a relatively new name to me. I was persuaded to read a novel of his after reading that he was the greatest Spanish novelist of the nineteenth century and something to the effect that he was one of the leading nineteenth-century writers of "realism". I made TRISTANA my initial foray into Galdós by happenstance. Perhaps it was not a good choice. It is a mildly enjoyable novel, with two strong, memorable central characters, but it is something less than great.The time is the 1880's. The setting is the outskirts of Madrid. The eponymous Tristana is a vibrant, striking young woman, twenty-one at the beginning of the novel. Her parents, however, had recently died and she was taken in by her father's good friend, Don Lope Garrido, a 57-year-old Don Juan. Don Lope "was a skilled strategist in the war of love and prided himself on having stormed more bastions of virtue and captured more strongholds of chastity than he had hairs on his head." While his code of conduct ruled out the courting of the wife or mistress of a close friend, that prohibition did not extend to the daughter of such a friend, especially a friend who was dead. Within two months, Don Lope had added Tristana "to his very long list of victories over innocence."Not surprisingly, Tristana soon bridles against the imposition and domination of this aging roué, no matter how charming he might be. In the streets while shopping she sees a young man who makes her heart skip a beat. They eventually meet; Horacio Diaz is a painter and almost as polished a gentleman as Don Lope; and they fall in love. Don Lope, of course, is jealous. The bulk of the novel concerns the working out of this entanglement.It is a fairly conventional plot. What distinguishes it is Tristana. While she loves Don Horacio, she doesn't want to marry him. She doesn't want to be any sort of a kept woman; she wants to pursue her own life (she takes up painting and music and she also dreams of becoming an actress); her motto is "Freedom with honor". As she explains in a letter to Horacio: "My ambition is to not have to depend on anyone, not even on the man I adore. I don't want to be his mistress * * * or a woman maintained by a few men purely for their amusement, like a hunting dog; nor do I want the man of my dreams to become a husband. I see no happiness in marriage. * * * I want to be married to myself and to be my own head of the household. * * * I feel like protesting against men, who have appropriated the whole world for themselves and left us women only the narrowest of paths to take, the ones that were too narrow for them to walk along."Quite a manifesto of women's liberation . . . in a novel published in 1892. Alas, Tristana doesn't achieve her goals. Life intervenes.Galdós writes with panache, admirably captured in translation by Margaret Jull Costa. He generates numerous good lines. (For example, when Tristana debates whether to give her body to Horacio, "she was assailed by the bitter fear that he might then love her less, rather as one loses interest in a hieroglyph once it has been deciphered.") The tone is playful, mildly mocking and ironic. But for me the prose is a little too flamboyant, the letters that dominate the middle of the novel become tiresome, and there are a few awkward transitions. Somehow, for all the modernity of its ideas, the novel is a little fusty. It reminds me somewhat of the fiction of Galdós's Portuguese contemporary, Eça de Quierós (they were born two years apart), although from what I have read I prefer Eça. Still, I am tempted to try at least one more Galdós novel.
It was the character of the aging and manipulative lothario Don Lope who held my interest in this novel more so than Tristana the main character.Don Lope of the lofty ideals who would give the shirt off his back to friends in need but at the same time had few qualms about seducing a beautiful and naive young woman placed in his care.At times I felt very little empathy for the characters, sometimes I felt downright contempt but such was the author's skill that I did come to appreciate them with all their foibles.In some aspects I found this a bittersweet read. Tristana was a tragic character, a product of time and circumstance who was ill equipped to deal with what life dealt her.The story did flow due to the wonderful translation and I really enjoyed the inclusion well known poetry/novels in some passages.I don't think that this would be a novel that would appeal to every reader but on reflection can appreciate why it has been included in the New York Review Classics List.
Good novel. The main character changes. At first I liked her for becoming more independent but then she starts to get annoying. Portrays the idea of new woman in Spain.
I just started reading this edition of the book and I noticed that it has many editing errors. It would've been nice to include a brief introduction to the book but there isn't one on this edition.
Great writer. This is not his best
This book gave a fascinating insight into the values of the time and place in which it was written.
“Young, pretty, and slender, and her skin was the almost implausible white of pure alabaster; she had the palest of cheeks and dark eyes more notable for their vivacity and brightness than for their size; her remarkable eyebrows looked as if they had been drawn with the tip of the very finest of brushes; her delicate mouth, with its rather plump, round lips, was so red it seemed to contain all the blood that her face lacked; her small teeth were like pieces of concentrated crystal; her hair, caught up in a graceful tangle on the top of her head, was brown and very fine, and had the sheen of plaited silk. This singular creature’s most marked characteristic, however, was her ermine-white purity and cleanliness.â€From the above quote, you would think Spanish novelist Benito Pérez Galdós was describing Parmigianino's 1525 painting Portrait of a Young Woman; but, alas, he is not writing about a wealthy sixteenth century aristocrat but a poor nineteenth century orphan by the name of Tristana, who, at age nineteen, is placed in the care (and clutches) of one Don Lope Garrido.Make no mistake, this is a tale of fire and passion –I can vividly picture all the señoritas in the author's day relishing every page of Tristina, a romantic Spanish female heart on fire, yearning for love, for artistic expression and, above all else, yearning for freedom. True, at age nineteen Tristana comes to live with Don Lope Garrido, a seasoned Don Juan who uses all his stock repertoire of sweet words and caresses to seduce his young charge but then at age twenty-one it happens - Tristana awakens to how her womanhood has been violated and thus her rebellion against what she now regards as an evil, lecherous tyrant.But this novel is much more than unadorned melodrama, for Benito Pérez Galdós is a true literary master, creating complex, rounded characters, as when he writes of Don Lope being a generous, noble gentleman, a throwback to the courageous knights of yore, an expert in all affairs of honor, ready to make every sacrifice in the name of duty and friendship, as when he rescued his dear friend, Don Antinio Reluz, Tristana’s father, from financial ruin, and later after Reluz’s death, making sacrifice after sacrifice, even selling his treasured weapons collection, to fund Tristana’s mother in her continuous insane moving from lodging to lodging right up until the day of her death. Is Don Lope a good, even saintly man, or is he a bad, evil man? Given the author's ample information and many examples, a sound case could be made for either or both together.No sooner does Tristana leave the rapidly aging fifty-six-year-old Don Lope at home to join maid Saturna on afternoon walks out in the countryside and around town, then the plot thickens: Tristana meets and falls in love with Horacio, a handsome young painter. Of course, finding her beauty irresistible, Horacio, in his turn, falls in love with Tristana. The two lovers take their romantic afternoon walks together; they share both their tragic backgrounds and romantic dreams of life and art. However, there is one thing they will never share - Tristana boldly proclaims to Horacio that under not circumstance will she ever surrender her freedom and be bound to a man as his wife.This New York Review Books (NYRB) edition features the author’s fluid prose rendered into clear, elegant English by translator Margaret Jull Costa. A real joy to read. And I must say, this novel brings to the fore two sets of pressing philosophical questions. Firstly, since Tristan’s life and dreams are so entwined with art, music and literature (as the story progresses, we discover she is exceptionally gifted in both language and music) how far can the arts go in transforming a woman in Trastana's position? Drawing, foreign languages and letter writing each serve Tristana as a catalyst in propelling and expanding her sense of freedom but, ultimately, other forces are in play.Secondly, we have the issue of feminism. Saturna tells Tristana that in this society of ours women have but three alternatives – to be wives, to be actresses or to be something too low to be mentioned in polite society. Tristana will have none of it - by turns she envisions herself as a painter, an author, an actress, even a political leader; not to mention she argues with Horacio in a decidedly modern way how, if she has a child and lives as a single mother, she has more rights to her child than the father. One can easily imagine men - journalists, politicians, heads of households - who looked askance at Benito Pérez Galdós putting such scandalous ideas into the heads of women.These philosophical questions move into yet again another dimension. In speaking of Don Lope’s sense of morality, Benito Pérez Galdó writes: “Despite being very much his own, was also quite widespread, the abundant fruit of the times we live in; a morality which, although it seemed to have sprung solely from him, was, in fact, an amalgamation in his mind of the ideas floating around in the metaphysical atmosphere of the age, like the invisible bacteria that inhabit the physical atmosphere.†With these words we hear echoes of the fatalism and social and cultural pressures molding men and women articulated by such as Émile Zola and his literary school of naturalism. So, it’s Tristana versus her society, culture and fate. What a riveting story. Highly recommended.
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