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Las Hortensias Y Otros Cuentos (Spanish, Paperback)
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Las Hortensias Y Otros Cuentos (Spanish, Paperback)
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Acclaimed by the initiated, Felisberto Hernandez has long been
considered -a writer's writer, more admired by his colleagues than
known by the public at large- (Roberto Gonzalez Echevarria, Yale
University). As with his predecessors in the -genre of the strange-
Ernst Theodor Amadeus Hoffmann, Nikolai Gogol, Edgar Allan Poe and
Franz Kafka, the apparent eccentricities in Felisberto Hernandez's
stories create a coherent system of allusions and correspondences,
a system that reaches its summit in masterpieces such as -Las
Hortensias- and -La casa inundada-. As Hoffmann, who preceded him,
and Cortazar, who followed, Felisberto turned away from the
literary trends of his times and departed on his own journey,
undertaking the task of redefining the human being and replacing
the accepted notion of material reality with what he called -the
mystery-: small and deep daily realities that fall outside an ever
narrowing focus on the homogenous and utilitarian. A trained
musician and composer, Felisberto elaborated his literary
compositions as musical structures, based on the relations among
notes and phrases. Thus, Felisberto Hernandez's short stories
cannot be approached and read as isolated pieces if the reader
intends to grasp the complexity lying deep below the surface. In
this edition Ana Maria Hernandez -who bears the same name as
Felisbertos' second daughter and teaches Advanced Spanish
Composition at CUNY- analyzes the gradual development of
Felisberto's theory and praxis of composition by commenting on his
most representative short stories and emphasizing the
intertextuality of the recurring symbols and themes throughout his
literary production. This approach transforms this edition in an
exceptional basis for Creative Writing and Advanced Spanish
Composition courses, exposing students to texts that exerted a
noticeable influence upon acclaimed writers such as Julio Cortazar
-his biggest fan- Juan Carlos Onetti, and Italo Calvino, and
provoked one of the biggest critical blunders by the otherwise
sharp critic Emir Rodriguez Monegal.
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