NOVELA Y CINE NEGRO EN LA EUROPA ACTUAL (1990-2010) (OTRAS EUTOPÍAS) (Spanish Edition)


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A Visit from the Goon Squad. Shadow Stories and Frank, Joseph. The New Calinescu eds. Accessed Nov Hoffmann, Gerhard. From Modernism to 8, Concepts and Strategies of Self, John.

The Guardian March The Telegraph May Shields, David. How to Be Both. Space, Time and Markson, David. Structure in the Modern Novel. The Lemon, Lee T. New Yorker March University of Nebraska Press: This collection is a composite of nine stories alternately focalised by different characters, posed in an interstitial position between the polyphonic novel and short story cycle. Such a conflation at a complex cultural crossroads favours no inspiring encounters, but rather fuels feelings of frustration, a profound sense of displacement and a tantalising incapability of solving conflicts.

Monica Ali, Alentejo Blue, short story cycle, tourism, writing practice. Monica Ali, Alentejo Blue, ciclo de relatos, turismo, escritura. Alentejo Blue is a collection of nine vignettes set in fictional Mamarrosa, a village in the Portuguese rural region of Alentejo, a place which functions as a crossroads for expatriates, ex-centric villagers and odd tourists. However, and as will be argued in what follows, such a distinction is culturally constructed, and it brings about an ideological assessment of place, people and culture which ultimately pertain to notions of identity, nationhood and to a sense of belonging.

Novels and Short Stories As stated above, Alentejo Blue is a composite of nine vignettes posed in a liminal position in terms of genre classification between the polyphonic novel and the short story cycle. I will argue, however, that Alentejo Blue sits more comfortably in the short story tradition: But the book is structurally more akin to the linked short-story collections recently in vogue than a fully-fledged novel. Each set piece on different denizens of Mamarrosa has its merits, and many of these chapters could stand on their own as stories; strung together, they fail to form the arc that makes the form of the novel so rewarding.

Furthermore, and as will be discussed, the short story cycle offers the possibility of giving expression to a particular community due to its polyphonic nature and multiplicity of perspectives. I resisted for a while. I never really bought the idea that the material chooses you rather than you choosing it, but it turns out that it does. This was presenting itself to me, and the obvious thing was to go ahead and write it. Mudge Ali, who owns a house in the region of the Alentejo, has often explained how the place not only works as an organising strategy to unify disparate experiences, but also emerges as the real protagonist of the book: Significantly, one of the most celebrated cultural practices in the Alentejo is a certain type of polyphonic music, Cante Alentejano, a two-part singing performed by amateur choral groups which encompasses a strong sense of identity and belonging.

Ali playfully recalls this in the choral structure of her collection, as well as in its title, which combines musical expression with an intense feeling of human loneliness, which all characters partake of. The choral range of diverse experiences which make up the collection appears in tune with one of the characteristics which Paul March-Russell has attributed to postmodern short stories: Taking my first steps as a writer, I could argue, has involved the inverse process: Integration and fragmentation, globalization and territorialisation are mutually complementary processes; more precisely still, two sides of the same process: It is for this reason that […] it is advisable to speak of glocalization rather than globalization, of a process inside which the coincidence and intertwining of synthesis and dissipation, integration and decomposition are anything but accidental and even less are rectifiable.

Anyway, she was going to London […] What was the point, though, really? Why was she going there? Those children with their Indian headdresses and their thoughtless expectation of love. Who would she be in London, and who would be there to see? They come here and I go there. In Alentejo Blue, both locals and tourists suspiciously gaze at each other, blocking any possible enabling of inspiring cultural encounters: All the characters physically gather together in the final section of the narrative, a multifocal story that works as a corollary of previously introduced themes and characters.

The narratives are set in the autumn of during the invasion of Iraq, which is tangentially referred to by a number of characters in the stories: Of course the Iraq invasion brings to the fore issues pertaining to colonisation, violence and fear of the racial Other, as Vasco implies: United States of America will not be threatened. It dawned on Stanton that he was laughing. The struggle was worthwhile! Fifty years ago men died 80 for the right to say so. Even those who remained alive died a little.

What did the young ones think? What did they think when they looked at Rui, his squashed nose, his whiskery ears, the humble bend in his back? So I have been told. Tourists in Mamarrosa fall under the romanticised appeal of the idyllic countryside, warm weather and nice food. The Fact of Difference: On several occasions Ali herself has explained how Alentejo Blue entails a reassessment of place —and of the often romanticised expectations which such a place may convey in prior conceptions of it.

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However, as Urry further explains, the fact of difference can be enlightening and help discern the elements of the wider society with which that society is constructed In what follows I will be examining the particular perception of place and culture as perceived through the eyes of an outsider, the English writer Harry Stanton in the second story. Not only do his views of the Alentejo reveal a colonial vision which pertains to power relations and superiority, but they also lay bare his own preconceptions and shortcomings, which tellingly also provide a commentary on his position as an outsider in his own society.

In fact, the tourists in Mamarrosa project their own fantasies, desires and concerns in their construction of the place, and actually see what they choose to see, the 82 focus of their gaze thus becoming revealing of their own anxieties, desires and frustrations. As the narrative progresses, the reader learns that the couple have actually travelled to Portugal in order to have a break from the tensions which the organisation of their wedding entailed.

Their experience of place, and most notably, the choice of their tourist gaze, will reveal what they dare not tell each other: Looking at an elderly couple of local peasants, Huw realises that he is unable to imagine a whole lifetime with Sophie: He thought about the old couple at the side of the road and how their expressions had not changed, unaltered, it seemed, through the centuries.

In their sturdy boots and frayed sweaters, they worked side by side, and he imagined the understanding between them ran deeper than the well. He tried to swap places with them, he and Sophie forever in the field and the others passing through, but he could not.

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An interest in the fragmentation of literary works has also been displayed by several scholars associated with phenomenology, narratology and cognitive criticism. In the section considered above, as well as in the remaining parts of the novel, Offill skilfully interweaves bound and free motifs —narrative elements that enable the progression of the marriage crisis plot and the meditative, contextual or explanatory titbits of erudition. They inevitably bear the inscriptions of their cultural production —socially determined markers of gender, race, sexuality and class that profoundly influence the ways in which they are read by witnesses, police, detectives and readers. In this sense di Prima joined life and art by practicing an experimental approach to poetry and femaleness. As Carolyn Burke let us know in her famous biography of the author, Loy left London early in her life to study art in Munich and Paris, where she became a popular painter, later moving to Florence where she joined the expatriate artistic 39 community.

There was a hollow cave in her stomach. She wanted to curl around a pillow and never get out of bed. It will pass, she told herself […] When she was twenty-one, after she had graduated, she spent some time in the hospital. There was no reason for it. It was just a chemical imbalance. Nothing happened to make her depressed, no crisis apart from the inability to get out of bed. She spent a lot of time crying.

But crying was something to do, a kind of achievement, and she noticed her mother preferred it to when she sat and stared into space. All these migratory fluxes signal the nature of the increasingly mobile society of postmodern times moved by the horror of being bound and fixed Bauman My muse, thought Stanton, stabbed through with resentment. What brought any of us here? However, Stanton is having serious difficulties in finding the required concentration to do so, which makes him sink into a deep state of frustration which he partially relieves by turning to heavy drinking: He would go back, tussle briefly with the computer, develop a fever, prescribe an afternoon of research, spend a listless couple of hours with his books, go for a walk to clear his head, and return in time for sundowners.

Each stage would develop inevitably into the next, all with equal futility. Stanton has chosen the rural landscape of the Alentejo as his destination in pursuit of an aesthetic parallel to the Romantic sublime, thus expecting to establish a poetic bond between his subjectivity and what he construes as a remote natural spot. It was possibly the worst book he had ever tried to read. He decided this and instantly felt bloated with research. He was like a sumo wrestler stepping into ballet shoes and hoping to pirouette. What more, in any case, could he learn about Blake? If he knew less about him, it would be easier to write the novel.

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Hell, he might even be able to make some things up. In this sense, wild, remote natural spots are often tamed by the tourist industry in order to offer the contemporary consumer an unspoiled and authentic experience of nature and its joys. However, and unlike Blake in the Sussex countryside, Stanton is unable to find in the Alentejo the inspiring vision which had triggered the publication of his first novel nearly twenty years ago, Paradigms in Eight Tongues: The tourists want to immerse themselves in the strange and bizarre element a pleasant feeling, a tickling and rejuvenating feeling, like letting oneself be buffeted by sea waves — on condition, though, that it will not stick to the skin and thus can be shaken off whenever they wish.

He hardly communicates with the locals towards whom he shows an arrogant attitude of superiority: Even the best-looking ones had something wrong, some fatal flaw: Shortly after his arrival Stanton meets his compatriots, the Potts, a dysfunctional family who live close to his cottage. Stanton starts an affair with Chrissie only because his sexual excitement brings about periods of relative productivity in his writing practice. After having made love to Chrissie, Stanton returns to his cottage and, for the first time in weeks, is able to write: Here it was, on the fourteenth page: In this way, Stanton eventually exhausts his relationship with both the environment and human beings.

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He rather fancied a road trip. The movements of the vagabond are unpredictable; unlike the pilgrim the vagabond has not set destination. You do not know where he will move to next, because he himself does not know or care much. Vagabondage has no advance itinerary —its trajectory is patched together bit by bit, one bit at a time.

Each place is for the vagabond a stop-over, but he never knows how long he will stay in any of them; this will depend on the generosity and patience of the residents, but also on news of other places arousing new hopes. The English writer does not perceive the Alentejo with an open mind, but invests the place with his own fantasies and attempts to commune with a mental projection that turns out to be unsuccessful and fruitless.

In a sense, all characters in Alentejo Blue share this nomadic quality: Despite their similarities concerning a nomadic subjectivity, the characters in the collection both tourists and locals fail to bridge their cultural gap by providing a discourse to empathise with a gaze different from their own. As Marino suggests And Portugal is actually a country where these two notions sit uncomfortably: Alentejo Blue presents a collective experience of place structured in terms of identification and difference which is, as a result, conflicting and contradictory.

Most notably, the collection emphasises a general sense of displacement and frustration which all characters 88 share and which the heterogeneous quality of the narrative itself mirrors. However, Stanton fails to establish a satisfactory relationship either with the Alentejo or with the local community, since the real place and its inhabitants resist and deviate from his own cultural and ideological construction of it. Works Cited 89 Ali, Monica. The Short Story theguardian. A Genre Companion and Reference artsfeatures.

Accessed October 7, A li , Monica. Segregated Bodies and Bauman, Zygmunt.

In Beilharz, Peter ed. The Bauman Place in Contemporary Culture. B erger , John. Accessed Gender and Narrative in the Postcolonial October 7, Representative Short Craik, Jennifer. Story Cycles of the Twentieth Century. Touring in a Literary Genre. Transformations of Travel and Kennedy, Gerald ed. The and Fictive Communities. The Short Story Cycle in York: Journal of and Studies 28 1: In Lohafer, Susan October, Cross-cultural Encounters in www. Accessed 7 October, Urry, John and Chris Rojek eds. The Guardian May In Rojek, Chris and John Urry eds.

Transformations of Travel and Cycle: Short Story 17 2: In Patea, Viorica ed. A Twenty-first Century Perspective. The success of this book which rapidly went through several editions and translations was mostly due to its coincidence, both in aim and content, with early seventeenth century English colonial ambitions —especially as devised by Oliver Cromwell in his so-called Western Design of — to which it actively contributed.

It can be best described as an autobiographical and retrospective anti-Spanish travel narrative of a propagandistic nature. The book had the implicit purpose of establishing new links between Gage and Puritan Cromwellian England, and cancelling old Catholic, pro-Spanish ones. This subgenre was popularized by Lewis Lewkenor who, still in the late sixteenth century, wrote A Discourse of the Usage of the English Fugitiues, by the Spaniard Why a Dominican priest in America should be interested in observations such as the nature and strength of Spanish military fortifications and defenses, possible lines of supply and composition of standing regiments, neither Gage himself nor the book ever explained.

In this article I will examine both texts by Gage, i. More than sixty years later, in his dedication of the English-American to the Lord General of the Parliamentarian army Sir Thomas Fairfax, Thomas Gage shows that this issue was still present in English political, social, economic and cultural preoccupations. This semi-fictional space, according to these authors, was there for the taking, since it was only thinly populated by inefficacious and morally deficient Indians, Spaniards and Portuguese. Eventually, it is not what it promises to be, just like Spanish Catholics.

To provide his unlikely comparison with additional authority Gage tells a probably apocryphal anecdote attributed to Queen Elizabeth in which the Queen emphasizes a metaphorical relation between food and morals: Which I have heard reported much among the Spaniards to have beene the answer of our Queene Elizabeth of England to some that presented unto her of the fruits of America, that surely where those fruits grew, the women were light, and all the people hollow and false hearted. Both also shared a strong anti-Catholic and anti-Spanish Protestant or Puritan religious zeal Williamson He belongs with Raleigh, Gilbert and Hakluyt.

George Bauer also held the same view: For Williamson, Cromwell was a progressive thinker genuinely concerned with liberating and protecting the Amerindians from Iberian i. Portuguese and Spanish mistreatment; he was —Williamson claims— earnestly committed to freeing the world from Habsburg tyranny in order to replace it not with an alternative empire but with the global expansion of free trade and free thinking But although based on the English- American, the memorial is a very different text.

Unlike his travel narrative, this much shorter text mostly concentrates on the reasons why England could and should replace Spain in the New World colonies, highlighting the moral justification for such a move. As it seems, it arrived in the nick of time, since Cromwell was then projecting his Western Design, the military plans to oust the Spaniards from America and replace them there: Muddiford concerning the West Indies. Modyford, who had been asked for advice on account of his experience in the Caribbean, devised a different approach i.

In very general terms, early mercantilists were bullionists, i. Cromwell also criticized the activity of unscrupulous merchants and usurers who were believed to have devalued the currency merely for personal gain. Furthermore, the British Republic developed a project in which the decline of the crown seemed to be linked to the creation of a new global power based on what aspired to be a coherent colonial policy. Whether Oliver aspired to become the Emperor of the West Indies or not, his Western Design certainly was an attempt to build a British Puritan commonwealth Williamson For all these ambitious projects, ousting protectionist Spaniards from the Indies seemed to be a conditio sine qua non.

After a very revealing preliminary clarification I will return to this Gage starts, significantly, by stating what is in this for England: Prefatory poem However, even Chaloner himself seems to realize that some moral justification is needed: Indeed, Gage, both in his report to Cromwell and in his travel narrative, tries to fashion an alternative explanation for this action, basing the moral justification for this unmotivated attack on a, so far, friendly nation.

Thus, he argues in the memorial that: Finally, Gage gives precise details a summarized version of his detailed explanations in the English-American of where, when and how to attack the West Indies But, like Gage and Chaloner, Cromwell himself also seems to need some form of moral or ethical dressing for this expedition: The Spaniards, Cromwell explains in his Commission to Venables, hath not only exercised inhuman cruelties upon the natives […] [Spaniards] hath, contrary to the laws of all nations, by force of arms, expelled the people of these islands from several places in America, whereof they were the rightful possessors, destroying, and murdering many of their men, and leading others into captivity; and doth still continue all manner of acts of hostility upon us, and the people aforesaid in those parts, as against open and professed enemies.

Yet, Gage translates moral and ethical concerns into political and military expediency: It is difficult to know whether Gage actually believed this himself, but —whatever the case— it seems he was mostly interested in fashioning a consistent narrative that would convince Cromwell Thompson Gage, as could be expected, often alludes to this idea For Gage, the English-American is his best chance to make a name for himself as the best-informed man in England on Spanish America. Consequently, he introduces a number of reflections warnings, simple descriptions, or criticism on a diversity of topics ranging from the serious and deep: This is not sustained by the text alone: It seems that his behavior did not pass unnoticed: Interestingly, Gage does not comment on this assumption, which he glosses over.

Eric Thompson, dismisses the idea as far-fetched It may also be that Gage had become a self-employed spy once in Guatemala: Gage artfully fashioned a personal narrative notably through his English-American in order to justify to an English and Puritan readership an unacceptable past as a Catholic priest that he all the same managed to turn to his own advantage. Gage and his adventures is thus a representative of what might be called ideological and geographical mobility.

Gage, who had already re-fashioned his own life narrative in order to accommodate it to various personal peripeteias, produced a text which was intended to work as an ultimate confessional testimony in which his Catholicism was presented as a past mistake already atoned for. But, whether he wanted it or not, Gage always retained some markers of his past allegiances.

When narrating his conversion to Puritanism, Gage admits how his past life had always been based on some form of self- fashioning, which he metaphorically links to the Dominican habit. It is ironical, as Campos has argued, that Gage should eventually identify himself as a Protestant by his Dominican alb. But I applying the Allegory of this black and white habit otherwise unto my selfe, and in the outward black part of it seeing the foulenesse and filthinesse of my life and Idolatrous Preisthood […]; and in the white inward habit considering yet the purity, and integrity of those intentions and thoughts of my inward heart, in pursuance whereof I had left what formerly I have noted, yea all America, which, had I continued in it, might have been to mee a Mine of wealth, riches and treasure; I resolved here therefore to cast off that hypocriticall cloak and habit, and to put on such Apparell whereby I might no more appeare a Wolfe in sheepskin, but might goe boldly to my Country of England.

Gage recants Catholicism and leaves America, he claims, despite the Catholic promise of immense wealth should he stay in the New World. To be sure, negative references to the accumulation and the use of money, and more specifically to greed as a typically Catholic sin, frame the English-American. From here, it follows logically that he closes his narrative with a reference to the economic balance obtained, i.

I offered in lieu of those former offerings my will unto my Lord Gods will, desiring him to grant mee patience to bear that great losse. Without it he could not be born again to his new faith stemming given the material evidence of his Catholic perversion. In other words, all throughout his narrative, self-fashioning processes have to be combined with constant self-cancellation, and both acts constitute the bulk of his fictional character.

This character, which we can only partially retrieve from a historical point of view, cannot be understood outside the urge to build a succession of various public identities, and the subsequent need to escape from them. This is why the English-American has this hybrid, confusing look of travel narrative, spiritual autobiography, and politico-military report.

Research for this article was par- riage to Philip II of Spain. Copleys were another notorious recusant Surrey family. Both John Gage and his wife 2. The Gages were an old family of suffered several imprisonments and came committed Catholics from Surrey and Sus- close to being executed on account of their sex.

For reasons unclear, he Cotton, and Roger Williams, the Reformed eventually abandoned the Jesuits and joined theologian. Both shared with Cromwell a the Dominicans, a decision for which his fa- strong belief that the Spaniards had to be driven from America for political and reli- ther disowned him. In he left Valladolid gious reasons Strong This internal evidence involves, minican mission to the Philippines.

Also, sons, he turned to Protestantism, preaching the abrupt beginning of the memorial sug- his sermon of recantation in Aguilar gests that it was intended as a reply to Crom- Finally although this is off Like Gage, Lewis Lewkenor was Gage, the memorial cannot have been sent in a Catholic from Sussex who eventually be- December, when most arrangements had al- came a Protestant in exchange for informa- ready been made.

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As several authors have argued in the past decades, the Black Legend is It must be emphasized that the 6. Gage, who had been given a Republic Strong Rectory at Deal in as a reward for his re- cantation and services to the Puritans, was Newton also notes that Gage sent as Chaplain to the expedition. It must be noted that, in order Works Cited Aguilar, Sinforoso.

In Aguilar, Edelmayer, Friedrich Accessed June 15, Early English Beer, George L. Political Science Quarterly 17 1: The House of Commons, Humbly Presented to his Highnesse, Oliver, 2nd vol. History of Parliament Trust. Thomas Birch, Thomas ed. In Birch, Thomas ed. December - August Renaissance Self- Borge, Francisco. A New World for a Fashioning. The University of New Nation. The Promotion of America in Chicago Press. Discourse of Campos, Edmund. Journal of Medieval and Early Helgerson, Richard. In Kinney, Arthur ed.

The Cambridge Companion to English Literature O Strange New World. A History of Money. University of Wales Press. University of Stephen, Leslie ed. Dictionary of National California Press. American Historical Review 4 2: The William and Hispana Sacra Mary Quarterly 45 1: A Discourse of the in the New World. A History of England. Notes and Queries Huntington Library Quarterly 68 Mitigated Scoundrel? Thomas Gage in Worden, Blair. Transactions of the Royal Pitt-Rivers, Julian. The Gages of Hengrave Ross, E. A New Survey of the Martlesham: As such, it draws from affect and space theory in order to study the interaction of emotions and space —both public and private— in relation to its three first-person female narrative voices and their affective attachments.

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Special attention is paid to the representation of geographies of fear and security, so as to explore the construction and performance of hierarchical relations based on emotions —fundamentally love and fear— as well as the performance and spatial embodiment of these affects. This work argues that the construction of alternative emotional patterns, namely, alternative embodied displacements and emotional attachments to spaces and relationships, serves to unveil patterns of domination that would otherwise remain hidden in the realm of the home.

Crime fiction has served to channel social criticism of various kinds, be it against ethnic bigotry, homophobia, or gender asymmetries. These geographies in the contemporary world are principally urban, a fact that again connects crime fiction with the social realities of the environment in which it is produced. Julia Crouch, coiner of the term, describes the domestic noir as follows: It is made visible and penalized when the final act of violence occurs, yet not during the process of progressive accumulation of violent actions leading to the tragic ending, which always involves an embodied experience of the spaces where the action takes place.

As such, it draws from affect and space theory in order to study the interaction of emotions and space —both public and private— in relation to the three female narrative voices in the novel and their affective attachments. This article argues that the construction of alternative emotional patterns, namely alternative embodied movements within and emotional attachments to spaces and relationships, become the only strategy for survival available for subjectivities living on the edge of gender normativity. Movement and Embodied Cityscapes.

Additionally, this hierarchy, which is based on gendered constructions, has been transcended in order to underline the relationality of emotions, as well as their mobility Ahmed Thus, as Grosz contends, the body and its environment produce each other as forms of the hyperreal, as modes of simulation which have overtaken and transformed whatever reality each may have had into the image of the other: When I think of my body and ask what it does to earn that name, two things stand out.

In fact, it does both at the same time. It moves as it feels, and it feels itself moving. Can we think of a body without this: Cities are often represented as spaces of freedom, but, in terms of the public spaces they encompass, also as exposed to male violence Bondi This causes a recurrent displacement of the actual object of fear —male aggression— to urban space Tonkiss In the case of twenty-first century feminist crime fiction, these emotions often revolve around three elements, according to Adrienne E.

The blackouts she has are in part a psychological mechanism developed to protect her from the violence she was exposed to, but they also constitute an obstacle, for her and the reader alike, to finding coherence in the story. Jamaluddin Aziz contends that: This is due to her exclusion from the domestic spaces of false security that Tom dominates by means of the emotions that attach the three women to him.

Despite her physical exclusion from the space she shared with Tom, Rachel recreates her life with him obsessively, imagining alternative realities that she projects on the houses she sees as the train moves through the neighbourhood where her former home is located. Ironically, it is precisely this outsider position that will allow Rachel to help the other two women in the novel: Homes, though, cannot be isolated from the embracing net of social relations surrounding them, and which, in turn, they contribute to sustaining Grosz ; Tyner Such possibility for change lies fundamentally in the embodied practices carried out in the domains of the house and the home, which always have a strong affective dimension.

In this sense, Elizabeth Grosz argues that: The city orients and organizes family, sexual, and social relations insofar as the city divides cultural life into public and private domains, geographically dividing and defining the particular social positions and locations occupied by individuals and groups […]. The city must be seen as the most immediate concrete locus for the production and circulation of power. Emotions shape the very surfaces of bodies, which take shape through the repetition of actions over time, as well as through orientations towards and away from others.

Indeed, attending to emotions should show us how all actions are reactions, in the sense that what we do is shaped by the contact we have with others. This, on the one hand, explains the social construction of patterns of emotion, while simultaneously allowing for their transformation in each individual act of spatial embodiment. Attachment to a partner and the foundation of a home inevitably involve a spatial transposition of emotions, which are experienced by the subjects, but which also have a marked social component.

It marks the normative pattern for the social relations that are interrogated in the course of the novel as a space of contact for people of diverse backgrounds, crossing the city —moving together— in the same direction at the same speed. Her emotions are the product of the conjunction of the complex set of social and individual elements, which, according to Phil Cohen, determine our movement in cities, steering […] a course between the nonintuitive space of modern physics, the immediate sensory spaces which our bodies navigate, the private mental spaces of our dreams, memories, and fantasies and the public geographical space that locates our journey within certain shared coordinates of social and cultural meaning.

Yet, as the plot unfolds, her rhythmic and affective transformations will alter preconceived notions of the legitimacy of dominating rhythms, which are social, but mostly grounded in the gendered microgeopolitics of the home. The train provides Rachel with a routine, a meaningful movement in the eyes of others, and to herself, in her own chaotic life, but more importantly, as is gradually revealed to the reader, it allows her to gaze into the two twin domestic spaces she longs for: One of which is her former home, where she lived with her husband, now married to another woman, who has taken up her space, and also her role of submission to Tom.

And the other space is inhabited by a young couple, Megan and her husband Scott, whom she has never met, but whose relationship she has constructed by projecting her fantasies of conjugal happiness onto the fragmentary scenes she can see from the train. Twice a day I am offered a view into their lives, just for a moment. Her watching takes place from the space of what for other people is the transition between home and work as represented by the train, but which, for her, is a routine movement which implies moving from nothingness into nothingness: That is, she has not given up the possibility of regaining a dignified position within the net of power relations favoured by urban structures, and this urges her to keep on moving.

Para mi gusto es el mejor trabajo de E. Los temas salen solos en el local: Siempre estamos inspirados y con ganas de hacer temas nuevos y divertirnos con las canciones, mientras las vamos componiendo.

Tales of the Caravan: Book One

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