By Antonio Muñoz Molina
October 1936. Spanish architect Ignacio Abel arrives at Penn Station, the ultimate cease on his trip from war-torn Madrid, the place he has left in the back of his spouse and kids, leaving behind them to uncertainty. Crossing the delicate borders of Europe, he displays on months of fratricidal clash in his embattled kingdom, his personal transformation from a bricklayer's son to a revered bourgeois husband undefined, and the all-consuming love affair with an American girl that without end alters his life.
Winner of the 2012 Prix Méditerranée Étranger and hailed as a masterpiece, within the evening of Time is a sweeping, grand novel and an indelible portrait of a shattered society, written via one in every of Spain's most crucial modern novelists.
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Extra resources for In the Night of Time: A Novel
It first led man to the modern refusal of absolute categories, and then to the refusal of the absolute. 2 3 subsequent theories on special and general relativity (published respectively in 1905 and 1916) contributed to destroying the traditional spatio-temporal concepts of the universe’s stability. Real duration is also dynamic, qualitative and irreversible. Bergson’s idea according to which real duration cannot be spatialized implies a contrast between duration and space. It is worth noting that, in this context, the meaning of ‘space’ and ‘spatializing’ is related to chronological linearity, which is quite the opposite of Frank’s interpretation of the terms as expressions of simultaneity.
This is not a simple revolution, but the definitive acknowledgement of the non-being that Western philosophy and the Western world have always implicitly contemplated. 9 Devoid of God and of all metaphysics, the modern age represents the coherent development and climax of the Western world’s belief in nothingness. 10 Truth now corresponds to God’s death, and stops being a remedy for nothingness. The atavistic fear of the unknown and of death is no longer redeemable. Without a founding sense which restores all dif ferences to unity, and with fragmentation as its main expression, nihilism is all-embracing, deeply introjected, practised, and implicitly contemplated or explicitly theorized.
W. Holtz, ‘Spatial Form in Modern Literature: A Reconsideration’, Critical Inquiry 4/2 (Winter 1977), 271–83. Holtz attempts to reconcile Frank’s spatiality with the critical responses invalidating that spatiality as being metaphorical and not literal, and argues that the spatiality of literature and of the visual arts ‘are of dif ferent ontological orders’ (274). 51 M. Pagnini, ‘Ezra Pound: episteme del Novecento e acculturazione selvaggia’, in Semiosi (Bologna: Il Mulino, 1988), 313–25, 324 (my translation of ‘“spazio” e non “canto”’).