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The Infatuations (English Edition) Format Kindle
The Infatuations is a metaphysical murder mystery and a stunningly original literary achievement by Javier Marías, the internationally acclaimed author of A Heart So White and Your Face Tomorrow.
Every day, María Dolz stops for breakfast at the same café. And every day she enjoys watching a handsome couple who follow the same routine. Then one day they aren't there, and she feels obscurely bereft.
It is only later, when she comes across a newspaper photograph of the man, lying stabbed in the street, his shirt half off, that she discovers who the couple are. Some time afterwards, when the woman returns to the café with her children, who are then collected by a different man, and Maria approaches her to offer her condolences, an entanglement begins which sheds new light on this apparently random, pointless death.
With The Infatuations, Javier Marías brilliantly reimagines the murder novel as a metaphysical enquiry, addressing existential questions of life, death, love and morality.
The Infatuations is an extraordinary, immersive book about the terrible force of events and their consequences.
'I am greatly impressed by the quality of Marías's writing . . . he uses language like an anatomist uses the scalpel to cut away the layers of the flesh in order to lay bare the innermost secrets of that strangest of species, the human being' W. G. Sebald
'Years ago, I said that Marías was Spain's best living writer . . . Nothing, afterwards, has made me alter that opinion' Eduardo Mendoza, El País
''[I am] enthralled by his strange mix of made-up memories, lost experiences and real-life fantasies' Marina Warner, Guardian
'Stylish, cerebral . . . Marías is a startling talent' The New York Times
Javier Marías was born in Madrid in 1951. He has published ten novels, two collections of short stories and several volumes of essays. His work has been translated into thirty-two languages and won a dazzling array of international literary awards, including the prestigious Dublin IMPAC award for A Heart So White. He is also a highly practised translator into Spanish of English authors, including Joseph Conrad, Robert Louis Stevenson, Sir Thomas Browne and Laurence Sterne. He has held academic posts in Spain, the United States and in Britain, as Lecturer in Spanish Literature at Oxford University.
Margaret Jull Costa has been a literary translator for over twenty-five years and has translated many novels and short stories by Portuguese, Spanish and Latin American writers, including Javier Marías, Fernando Pessoa, José Saramago, Bernardo Atxaga and Ramón del Valle-Inclán. She has won various prizes for her work, including, in 2008, the PEN Book-of-the-Month Translation Award and the Oxford Weidenfeld Translation Prize for her version of Eça de Queiroz's masterpiece The Maias, and, most recently, the 2011 Oxford Weidenfeld Translation Prize for The Elephant's Journey by José Saramago.
Description du produit
The last time I saw Miguel Desvern or Deverne was also the last time that his wife, Luisa, saw him, which seemed strange, perhaps unfair, given that she was his wife, while I, on the other hand, was a person he had never met, a woman with whom he had never exchanged so much as a single word. I didn’t even know his name, or only when it was too late, only when I saw a photo in the newspaper, showing him after he had been stabbed several times, with his shirt half off, and about to become a dead man, if he wasn’t dead already in his own absent consciousness, a consciousness that never returned: his last thought must have been that the person stabbing him was doing so by mistake and for no reason, that is, senselessly, and what’s more, not just once, but over and over, unremittingly, with the intention of erasing him from the world and expelling him from the earth without further delay, right there and then. But why do I say “too late,” I wonder, too late for what? I have no idea, to be honest. It’s just that when someone dies, we always think it’s too late for anything, or indeed everything—certainly too late to go on waiting for him—and we write him off as another casualty. It’s the same with those closest to us, although we find their deaths much harder to accept and we mourn them, and their image accompanies us in our mind both when we’re out and about and when we’re at home, even though for a long time we believe that we will never get accustomed to their absence. From the start, though, we know— from the moment they die—that we can no longer count on them, not even for the most petty thing, for a trivial phone call or a banal question (“Did I leave my car keys there?” “What time did the kids get out of school today?”), that we can count on them for nothing. And nothing means nothing. It’s incomprehensible really, because it assumes a certainty, and being certain of anything goes against our nature: the certainty that someone will never come back, never speak again, never take another step—whether to come closer or to move further off—will never look at us or look away. I don’t know how we bear it, or how we recover. I don’t know how it is that we do gradually begin to forget, when time has passed and distanced us from them, for they, of course, have remained quite still.
But I had often seen him and heard him talk and laugh, almost every morning, in fact, over a period of a few years, and quite early in the morning too, although not so very early; indeed, I used to delay slightly getting into work just so as to be able to spend a little time with that couple, and not just with him, you understand, but with them both, it was the sight of them together that calmed and contented me before my working day began. They became almost obligatory. No, that’s the wrong word for something that gives one pleasure and a sense of peace. Perhaps they became a superstition; but, no, that’s not it either: it wasn’t that I believed the day would go badly if I didn’t share breakfast with them, at a distance, that is; it was just that, without my daily sighting of them, I began work feeling rather lower in spirits or less optimistic, as if they provided me with a vision of an orderly or, if you prefer, harmonious world, or perhaps a tiny fragment of the world visible only to a very few, as is the case with any fragment or any life, however public or exposed that life might be. I didn’t like to shut myself away for hours in the office without first having seen and observed them, not on the sly, but discreetly, the last thing I would have wanted was to make them feel uncomfortable or to bother them in any way. And it would have been unforgivable and to my own detriment to frighten them off. It comforted me to breathe the same air and to be a part—albeit unnoticed—of their morning landscape, before they went their separate ways, probably until the next meal, which, on many days, would have been supper. The last day on which his wife and I saw him, they could not dine together. Or even have lunch. She waited twenty minutes for him at a restaurant table, puzzled but not overly concerned, until the phone rang and her world ended, and she never waited for him again.
It was clear to me from the very first day that they were married, he being nearly fifty and she slightly younger, not yet forty. The nicest thing about them was seeing how much they enjoyed each other’s company. At an hour when almost no one is in the mood for anything, still less for fun and games, they talked non-stop, laughing and joking, as if they had only just met or met for the very first time, and not as if they had left the house together, dropped the kids off at school, having first got washed and dressed at the same time—perhaps in the same bathroom—and woken up in the same bed, nor as if the first thing they’d seen had been the inevitable face of their spouse, and so on and on, day after day, for a fair number of years, because they had children, a boy and a girl, who came with them on a couple of occasions, the girl must have been about eight and the boy about four, and the boy looked incredibly like his father.
The husband dressed with a slightly old-fashioned elegance, although he never seemed in any way ridiculous or anachronistic. I mean that he was always smartly dressed and well coordinated, with made-to-measure shirts, expensive, sober ties, a handkerchief in his top jacket pocket, cufflinks, polished black lace-up shoes—or else suede, although he only wore suede towards the end of spring, when he started wearing lighter-coloured suits—and his hands were carefully manicured. Despite all this, he didn’t give the impression of being some vain executive or a dyed-in-the-wool rich kid. He seemed more like a man whose upbringing would not allow him to go out in the street dressed in any other way, not at least on a working day; such clothes seemed natural to him, as though his father had taught him that, after a certain age, this was the appropriate way to dress, regardless of any foolish and instantly outmoded fashions, and regardless, too, of the raggedy times in which we live, and that he need not be affected by these in the least. He dressed so traditionally that I never once detected a single eccentric detail; he wasn’t interested in trying to look different, although he did stand out a little in the context of the café where I always saw him and even perhaps in the context of our rather scruffy city. This naturalness was matched by his undoubtedly cordial, cheery nature, almost hail-fellow-wellmet, you might say (although he addressed the waiters formally as usted and treated them with a kindness that never toppled over into cloying familiarity): his frequent outbursts of laughter were somewhat loud, it’s true, but never irritatingly so. He laughed easily and with gusto, but he always did so sincerely and sympathetically, never in a flattering, sycophantic manner, but responding to things that genuinely amused him, as many things did, for he was a generous man, ready to see the funny side of the situation and to applaud other people ’s jokes, at least the verbal variety. Perhaps it was his wife who mainly made him laugh, for there are people who can make us laugh even when they don’t intend to, largely because their very presence pleases us, and so it’s easy enough to set us off, simply seeing them and being in their company and hearing them is all it takes, even if they’re not saying anything very extraordinary or are even deliberately spouting nonsense, which we nevertheless find funny. They seemed to fulfil that role for each other; and although they were clearly married, I never caught one of them putting on an artificial or studiedly soppy expression, like some couples who have lived together for years and make a point of showing how much in love they still are, as if that somehow increased their value or embellished them. No, it was more as if they were determined to get on together and make a good impression on each other with a view to possible courtship; or as if they had been so drawn to each other before they were married or lived together that, in any circumstance, they would have spontaneously chosen each other—not out of conjugal duty or convenience or habit or even loyalty—as companion or partner, friend, conversationalist or accomplice, in the knowledge that, whatever happened, whatever transpired, whatever there was to tell or to hear, it would always be less interesting or amusing with someone else. Without her in his case, without him in her case. There was a camaraderie between them and, above all, a certainty.
There was something very pleasant about Miguel Desvern or Deverne’s face, it exuded a kind of manly warmth, which made him seem very attractive from a distance and led me to imagine that he would be irresistible in person. I doubtless noticed him before I did Luisa, or else it was because of him that I also noticed her, since although I often saw the wife without the husband—he would leave the café first and she nearly always stayed on for a few minutes longer, sometimes alone, smoking a cigarette, sometimes with a few work colleagues or mothers from school or friends, who on some mornings joined them there at the last moment, when he was already just about to leave—I never saw the husband without his wife beside him. I have no image of him alone, he only existed with her (that was one of the reasons why I didn’t at first recognize him in the newspaper, because Luisa wasn’t there). But I soon became interested in them both, if “interested” is the right word.
Desvern had short, thick, very dark hair, with, at his temples, just a few grey hairs, which seemed curlier than the rest (if he had let his sideburns grow, they might have sprouted incongruously into kiss-curls). The expression in his eyes was bright, calm and cheerful, and there was a glimmer of ingenuousness or childishness in them whenever he was listening to someone else, the expression of a man who is, generally speaking, amused by life, or who is simply not prepared to go through life without enjoying its million and one funny sides, even in the midst of difficulties and misfortunes. True, he had probably known very few of these compared with what is most men’s common lot, and that would have helped him to preserve those trusting, smiling eyes. They were grey and seemed to look at everything as if everything were a novelty, even the insignificant things they saw repeated every day, that café at the top of
Príncipe de Vergara and its waiters, my silent face. He had a cleft chin, which reminded me of a fi lm starring Robert Mitchum or Cary Grant or Kirk Douglas, I can’t remember who it was now, and in which an actress places one finger on the actor’s dimpled chin and asks how he manages to shave in there. Every morning, it made me feel like getting up from my table, going over to Deverne and asking him the same question and, in turn, gently prodding his chin with my thumb or forefinger. He was always very well shaven, dimple included.
They took far less notice of me, infinitely less, than I did of them. They would order their breakfast at the bar and, once served, take it over to a table by the large window that gave on to the street, while I took a seat at a table towards the back. In spring and summer, we would all sit outside, and the waiters would pass our orders through a window that opened out next to the bar, and this gave rise to various comings and goings and, therefore, to more visual contact, because there was no other form of contact. Both Desvern and Luisa occasionally glanced at me, merely out of curiosity, but never for very long or for any reason other than curiosity. He never looked at me in an insinuating, castigating or arrogant manner, that would have been a disappointment, and she never showed any sign of suspicion, superiority or disdain, which I would have found most upsetting. Because I liked both of them, you see, the two of them together. I didn’t regard them with envy, not at all, but with a feeling of relief that in the real world there could exist what I believed to be a perfect couple. Indeed, they seemed even more perfect in that Luisa’s sartorial appearance was in complete contrast to that of Deverne, as regards style and choice of clothes. At the side of such a smartly turned-out man, one would have expected to see a woman who shared the same characteristics: classically elegant, although not perhaps predictably so, but wearing a skirt and high heels most of the time, with clothes by Céline, for example, and earrings and bracelets that were striking, but always in good taste. In fact, she alternated between a rather sporty look and one that I’m not sure whether to describe as casual or indifferent, certainly nothing elaborate anyway. She was as tall as him, olive-skinned, with shoulder-length, dark, almost black hair, and very little make-up. When she wore trousers—usually jeans—she accompanied them with a conventional jacket and boots or flat shoes; when she wore a skirt, her shoes were low-heeled and plain, very like the shoes many women wore in the 1950s, and in summer, she put on skimpy sandals that revealed delicate feet, small for a woman of her height. I never saw her wearing any jewellery and, as for handbags, she only ever used the sort you sling over your shoulder. She was clearly as pleasant and cheerful as he was, although her laugh wasn’t quite as loud; but she laughed just as easily and possibly even more warmly than he did, revealing splendid teeth that gave her a somewhat childlike look, or perhaps it was simply the way her cheeks grew rounder when she smiled—she had doubtless laughed in exactly the same unguarded way ever since she was four years old. It was as if they had got into the habit of taking a break together before going off to their respective jobs, once the morning bustle was over—inevitable in families with small children—a moment to themselves, so as not to have to part in the middle of all that rush without sharing a little animated conversation. I used to wonder what they talked about or told each other—how could they possibly have so much to say, given that they went to bed and got up together and would presumably keep each other informed of their thoughts and activities—I only ever caught fragments of their conversation, or just the odd word or two. On one occasion, I heard him call her “princess.”
You could say that I wished them all the best in the world, as if they were characters in a novel or a fi lm for whom one is rooting right from the start, knowing that something bad is going to happen to them, that at some point, things will go horribly wrong, otherwise there would be no novel or fi lm. In real life, though, there was no reason why that should be the case, and I expected to continue seeing them every morning exactly as they were, without ever sensing between them a unilateral or mutual coolness, or that they had nothing to say and were impatient to be rid of each other, a look of reciprocal irritation or indifference on their faces. They were the brief, modest spectacle that lifted my mood before I went to work at the publishing house to wrestle with my megalomaniac boss and his horrible authors. If Luisa and Desvern did not appear for a few days, I would miss them and face my day’s work with a heavier heart. In a way, without realizing it or intending to, I felt indebted to them, they helped me get through the day and allowed me to fantasize about their life, which I imagined to be unblemished, so much so that I was glad not to be able to confirm this view or find out more, and thus risk breaking the temporary spell (my own life was full of blemishes, and the truth is that I didn’t give the couple another thought until the following morning, while I sat on the bus cursing because I’d had to get up so early, which is something I loathe). I would have liked to give them something similar in exchange, but how could I? They didn’t need me or, perhaps, anyone: I was almost invisible, erased by their contentment. A couple of times when he left, having first, as usual, kissed Luisa on the lips—she never remained seated for that kiss, but stood up to reciprocate it—he would give me a slight nod, almost a bow, having first looked up and half-raised one hand to say goodbye to the waiters, as if I were just another waiter, a female one. His observant wife made a similar gesture when I left—always after him and before her—on the same two occasions when her husband had been courteous enough to do so. But when I tried to return that gesture with my own even slighter nod, both he and she had looked away and didn’t even see me. They were so quick, or so prudent.
Revue de presse
“The Infatuations is mysterious and seductive; it’s got deception, it’s got love affairs, it’s got murder—the book is the most sheerly addictive thing Marías has ever written . . . Marías is a star writer in Europe, where his best-sellers collect prizes the way Kardashians collect paparazzi. He’s been hailed in America, too, yet he’s never broken through like Haruki Murakami or Roberto Bolaño. This should change with his new novel, The Infatuations, which is the ideal introduction to his work.” —Fresh Air/NPR
“The work of a master in his prime, this is a murder story that becomes an enthralling vehicle for all the big questions about life, love, fate, and death.” —The Guardian (Summer Reading Issue)
“Blindingly intelligent, engagingly accessible—it seems there’s nothing Marías can’t make fiction do . . . Marías’s rare gift is his ability to make intellectual jousting as suspenseful as the chase scenes in a commercial thriller.” —Kirkus Reviews (starred)
“A haunting masterpiece . . . The lasting challenge to literature is to achieve a satisfying marriage between high art and the low drives of a simple plot. The Infatuations is just such a novel . . . Just as Macbeth is a thriller that’s also a great tragedy, The Infatuations is a murder story that’s also a profound story of fatal obsession . . . Don Quixote was first published as long ago as 1620. I wouldn’t be surprised if The Infatuations soon acquired an equally devoted following.” —The Observer
“Extraordinary . . . Marías has defined the ethos of our time.” —Alberto Manguel, The Guardian
“Marías [is] a consummate stylist . . . Magic, stupendous.” —Booklist (starred)
“Absorbing and unnerving . . . A labyrinthine exploration, at once thrilling and melancholy, of the meanings of one man’s death—and a vivid testimony to the power of stories, for good or ill, to weave the world into our thoughts and our thoughts into the world.” —The Sunday Times (London)
“A novel that further secures Marías’s position as one of contemporary fiction’s most relevant voices.” —Publishers Weekly
“Hypnotic . . . The Infatuations plays off Marías’s enchantingly sinuous sentences. They suck you in and lull you along with their rhythm, which gives the unusual and palpable awareness of how masterfully Marías has made time itself his peculiar object of investigation . . . Powerful.” —Bookforum
“A masterpiece . . . Here, great literature once again shows its true face.” —ABC Cultural (Spain)
“Keeps us guessing until almost the last page. Yet what lingers in the reader’s mind is not the murder mystery, compelling though it is. Rather, it is the author’s examination of the ebb and flow of flawed relationships; the chances that bring us together and the fates (in this case, murderous intent) that pull us apart.” —Financial Times
“I ended up getting angry with myself for not having rationed the reading so it would last longer.” —El País
“Uniquely luminous . . . Like Beethoven, Marías is a brilliant escape artist . . . But Marías is original; he cannot help it.” —Times Literary Supplement (London)
“The Infatuations is a metaphysical exploration masquerading as a murder mystery . . . Quietly addictive.” —Spectator
“Smart, thoughtful, morally challenging, and consistently surprising in its tense twists.” —Scotland on Sunday
--Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Détails sur le produit
- ASIN : B00ADNP5N6
- Éditeur : Penguin (7 mars 2013)
- Langue : Anglais
- Taille du fichier : 572 KB
- Synthèse vocale : Activée
- Lecteur d’écran : Pris en charge
- Confort de lecture : Activé
- X-Ray : Activé
- Word Wise : Activé
- Nombre de pages de l'édition imprimée : 364 pages
- Classement des meilleures ventes d'Amazon : 306,352 en Boutique Kindle (Voir les 100 premiers en Boutique Kindle)
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