By Virginia Woolf
Una de las obras más autobiográficas de Virginia Woolf.
Al faro es una de las obras cumbre de los angeles literatura del siglo XX. Basada en los angeles propia infancia de los angeles autora, l. a. novela cuenta l. a. historia de l. a. familia Ramsay en l. a. isla escocesa de Skye en el período de entreguerras. El rumor del mar, l. a. presencia insomne del faro, los angeles guerra, l. a. muerte, el erotismo o el transcurso del tiempo se entreveran en los angeles larga conversación de los angeles novela formando un oleaje de símbolos, palabras e imágenes.
«Una de las inteligencias e imaginaciones más delicadas que ahora ensayan felices experimentos con los angeles novela inglesa.»
Jorge Luis Borges
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Extra info for Al faro
I would also like to thank Dan Franklin, Pascal Cariss and Jason Arthur at Jonathan Cape. Pieces in this book were compiled by Professor James Diedrick. I gratefully salute his skill and acuity. R. Leavis and Lionel Trilling, and on lesser figures like Ian Robinson and Denis Donoghue). 'Literature and society' was, at one time, a phrase so much on everyone's lips that it earned itself an abbreviation: Lit & Soc. And Lit & Soc, I seemed to remember, had been for me a long-running enthusiasm. But when I leafed through the massed manuscripts I found only a handful of essays, all of them written, rather ominously, in the early Seventies (when I was in my early twenties).
Why oh why, he typically asks, is Hollywood so obsessed by Vietnam and so unmoved by the struggle in Kuwait, which, 'amazingly enough', has yet to be celebrated on film? If Dan Quayle were a lot brighter, this is what he would sound like. Despite its contemporary attire, Medved's theme, or plaint, is as old as time. It is Ubi sunt? all over again. Where are they now, the great simplicities of yesterday? In years past, in the heyday of Gary Cooper and Greta Garbo, Jimmy Stewart and Katharine Hepburn, the movie business drew considerable criticism for manufacturing personalities who were larger than life, impossibly noble and appealing individuals who could never exist in the real world.
America is that the moviegoing public doesn't like violence. ' Certainly, Hollywood vs. America got Hollywood thinking, at least for a weekend or two (late nights in the dens of the Moorish mansions). And it got America thinking, too, and the controversy that gathered around it managed to trickle up as high as Janet Reno and Bill Clinton. It was a book, and a mood, whose time had come: the feeling that Hollywood had gone too far in its divergence from the American mainstream; the feeling that Hollywood loved everything that America hated (violence, sex, swearing, drugging, drinking and smoking), and hated everything that America loved (religion, parents, marriage and monogamy, plus the military, policemen, businessmen and America).