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The Shadow Of The Wind (The Cemetery of Forgotten Series Book 1) par [Carlos Ruiz Zafon]
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The Shadow Of The Wind (The Cemetery of Forgotten Series Book 1) Format Kindle

4,5 sur 5 étoiles 6 240 évaluations

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Description du produit

Booklist

Call it the "book book" genre: this international sensation (it has sold in more than 20 countries and been number one on the Spanish best-seller list), newly translated into English, has books and storytelling--and a single, physical book--at its heart. In post-World War II Barcelona, young Daniel is taken by his bookseller father to the Cemetery of Forgotten Books, a massive sanctuary where books are guarded from oblivion. Told to choose one book to protect, he selects The Shadow of the Wind, by Julian Carax. He reads it, loves it, and soon learns it is both very valuable and very much in danger because someone is determinedly burning every copy of every book written by the obscure Carax. To call this book--Zafon's Shadow of the Wind-- old-fashioned is to mean it in the best way. It's big, chock-full of unusual characters, and strong in its sense of place. Daniel's initiation into the mysteries of adulthood is given the same weight as the mystery of the book-burner. And the setting--Spain under Franco--injects an air of sobriety into some plot elements that might otherwise seem soap operatic. Part detective story, part boy's adventure, part romance, fantasy, and gothic horror, the intricate plot is urged on by extravagant foreshadowing and nail-nibbling tension. This is rich, lavish storytelling, very much in the tradition of Ross King's Ex Libris (2001). Keir Graff
Copyright © American Library Association. All rights reserved --Ce texte fait référence à l'édition kindle_edition.

Extrait

A secret's worth depends on the people from whom it must be kept. My first thought on waking was to tell my best friend about the Cemetery of Forgotten Books. Tomás Aguilar was a classmate who devoted his free time and his talent to the invention of wonderfully ingenious contraptions of dubious practicality, like the aerostatic dart or the dynamo spinning top. I pictured us both, equipped with flashlights and compasses, uncovering the mysteries of those bibliographic catacombs. Who better than Tomás to share my secret? Then, remembering my promise, I decided that circumstances advised me to adopt what in detective novels is termed a different modus operandi. At noon I approached my father to quiz him about the book and about Julián Carax-both world famous, I assumed. My plan was to get my hands on his complete works and read them all by the end of the week. To my surprise, I discovered that my father, a natural-born librarian and a walking lexicon of publishers' catalogs and oddities, had never heard of The Shadow of the Wind or Julián Carax. Intrigued, he examined the printing history on the back of the title page for clues.

"It says here that this copy is part of an edition of twenty-five hundred printed in Barcelona by Cabestany Editores, in June 1936."

"Do you know the publishing house?"

"It closed down years ago. But, wait, this is not the original. The first edition came out in November 1935 but was printed in Paris....Published by Galiano & Neuval. Doesn't ring a bell."

"So is this a translation?"

"It doesn't say so. From what I can see, the text must be the original one."

"A book in Spanish, first published in France?"

"It's not that unusual, not in times like these," my father put in. "Perhaps Barceló can help us...."

Gustavo Barceló was an old colleague of my father's who now owned a cavernous establishment on Calle Fernando with a commanding position in the city's secondhand-book trade. Perpetually affixed to his mouth was an unlit pipe that impregnated his person with the aroma of a Persian market. He liked to describe himself as the last romantic, and he was not above claiming that a remote line in his ancestry led directly to Lord Byron himself. As if to prove this connection, Barceló fashioned his wardrobe in the style of a nineteenth-century dandy. His casual attire consisted of a cravat, white patent leather shoes, and a plain glass monocle that, according to malicious gossip, he did not remove even in the intimacy of the lavatory. Flights of fancy aside, the most significant relative in his lineage was his begetter, an industrialist who had become fabulously wealthy by questionable means at the end of the nineteenth century. According to my father, Gustavo Barceló was, technically speaking, loaded, and his palatial bookshop was more of a passion than a business. He loved books unreservedly, and-although he denied this categorically-if someone stepped into his bookshop and fell in love with a tome he could not afford, Barceló would lower its price, or even give it away, if he felt that the buyer was a serious reader and not an accidental browser. Barceló also boasted an elephantine memory allied to a pedantry that matched his demeanor and the sonority of his voice. If anyone knew about odd books, it was he. That afternoon, after closing the shop, my father suggested that we stroll along to the Els Quatre Gats, a café on Calle Montsió, where Barceló and his bibliophile knights of the round table gathered to discuss the finer points of decadent poets, dead languages, and neglected, moth-ridden masterpieces.

Els Quatre Gats was just a five-minute walk from our house and one of my favorite haunts. My parents had met there in 1932, and I attributed my one-way ticket into this world in part to the old café's charms. Stone dragons guarded a lamplit façade anchored in shadows. Inside, voices seemed shaded by the echoes of other times. Accountants, dreamers, and would-be geniuses shared tables with the specters of Pablo Picasso, Isaac Albéniz, Federico García Lorca, and Salvador Dalí. There any poor devil could pass for a historical figure for the price of a small coffee.

"Sempere, old man," proclaimed Barceló when he saw my father come in. "Hail the prodigal son. To what do we owe the honor?"

"You owe the honor to my son, Daniel, Don Gustavo. He's just made a discovery."

"Well, then, pray come and sit down with us, for we must celebrate this ephemeral event," he announced.

"Ephemeral?" I whispered to my father.

"Barceló can express himself only in frilly words," my father whispered back. "Don't say anything, or he'll get carried away."

The lesser members of the coterie made room for us in their circle, and Barceló, who enjoyed flaunting his generosity in public, insisted on treating us.

"How old is the lad?" inquired Barceló, inspecting me out of the corner of his eye.

"Almost eleven," I announced.

Barceló flashed a sly smile.

"In other words, ten. Don't add on any years, you rascal. Life will see to that without your help."

A few of his chums grumbled in assent. Barceló signaled to a waiter of such remarkable decrepitude that he looked as if he should be declared a national landmark.

"A cognac for my friend Sempere, from the good bottle, and a cinnamon milk shake for the young one-he's a growing boy. Ah, and bring us some bits of ham, but spare us the delicacies you brought us earlier, eh? If we fancy rubber, we'll call for Pirelli tires."

The waiter nodded and left, dragging his feet.

"I hate to bring up the subject," Barceló said, "but how can there be jobs? In this country nobody ever retires, not even after they're dead. Just look at El Cid. I tell you, we're a hopeless case."

He sucked on his cold pipe, eyes already scanning the book in my hands. Despite his pretentious façade and his verbosity, Barceló could smell good prey the way a wolf scents blood.

"Let me see," he said, feigning disinterest. "What have we here?"

I glanced at my father. He nodded approvingly. Without further ado, I handed Barceló the book. The bookseller greeted it with expert hands. His pianist's fingers quickly explored its texture, consistency, and condition. He located the page with the publication and printer's notices and studied it with Holmesian flair. The rest watched in silence, as if awaiting a miracle, or permission to breathe again.

"Carax. Interesting," he murmured in an inscrutable tone.

I held out my hand to recover the book. Barceló arched his eyebrows but gave it back with an icy smile.

"Where did you find it, young man?"

"It's a secret," I answered, knowing that my father would be smiling to himself. Barceló frowned and looked at my father. "Sempere, my dearest old friend, because it's you and because of the high esteem I hold you in, and in honor of the long and profound friendship that unites us like brothers, let's call it at forty duros, end of story."

"You'll have to discuss that with my son," my father pointed out. "The book is his."

Barceló granted me a wolfish smile. "What do you say, laddie? Forty duros isn't bad for a first sale....Sempere, this boy of yours will make a name for himself in the business."

The choir cheered his remark. Barceló gave me a triumphant look and pulled out his leather wallet. He ceremoniously counted out two hundred pesetas, which in those days was quite a fortune, and handed them to me. But I just shook my head. Barceló scowled.

"Dear boy, greed is most certainly an ugly, not to say mortal, sin. Be sensible. Call me crazy, but I'll raise that to sixty duros, and you can open a retirement fund. At your age you must start thinking of the future."

I shook my head again. Barceló shot a poisonous look at my father through his monocle.

"Don't look at me," said my father. "I'm only here as an escort."

Barceló sighed and peered at me closely.

"Let's see, junior. What is it you want?"

"What I want is to know who Julián Carax is and where I can find other books he's written."

Barceló chuckled and pocketed his wallet, reconsidering his adversary.

"Goodness, a scholar. Sempere, what do you feed the boy?"

The bookseller leaned toward me confidentially, and for a second I thought he betrayed a look of respect that had not been there a few moments earlier.

"We'll make a deal," he said. "Tomorrow, Sunday, in the afternoon, drop by the Ateneo library and ask for me. Bring your precious find with you so that I can examine it properly, and I'll tell you what I know about Julián Carax. Quid pro quo."

"Quid pro what?"

"Latin, young man. There's no such thing as dead languages, only dormant minds. Paraphrasing, it means that you can't get something for nothing, but since I like you, I'm going to do you a favor."

The man's oratory could kill flies in midair, but I suspected that if I wanted to find out anything about Julián Carax, I'd be well advised to stay on good terms with him. I proffered my most saintly smile in delight at his Latin outpourings.

"Remember, tomorrow, in the Ateneo," pronounced the bookseller. "But bring the book, or there's no deal."

"Fine."

Our conversation slowly merged into the murmuring of the other members of the coffee set. The discussion turned to some documents found in the basement of El Escorial that hinted at the possibility that Don Miguel de Cervantes had in fact been the nom de plume of a large, hairy lady of letters from Toledo. Barceló seemed distracted, not tempted to claim a share in the debate. He remained quiet, observing me from his fake monocle with a masked smile. Or perhaps he was only looking at the book I held in my hands.

--Ce texte fait référence à l'édition kindle_edition.

Détails sur le produit

  • ASIN ‏ : ‎ B002U3CB5M
  • Éditeur ‏ : ‎ Weidenfeld & Nicolson (16 avril 2009)
  • Langue ‏ : ‎ Anglais
  • Taille du fichier ‏ : ‎ 2462 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  ‏ : ‎ 506 pages
  • Commentaires client :
    4,5 sur 5 étoiles 6 240 évaluations

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Carlos Ruiz Zafón est l’un des auteurs les plus lus et appréciés dans le monde. Sa carrière commence en 1993 avec Le Prince du Brouillard (prix de la jeunesse d’Edebé), suivi du Palais de Minuit, Les Lumières de Septembre (réunis dans le volume La Trilogie du Brouillard, à paraître en France fin 2011 et début 2012), et Marina (Robert Laffont, 2010). En 2001, il publie son premier roman pour adultes, L’ombre du vent (Grasset, 2004), qui devient rapidement un phénomène littéraire international. Avec Le jeu de l’ange (Robert Laffont, 2008), il revient à l’univers du Cimetière des Livres Oubliés. Les livres de Carlos Ruiz Zafón ont été traduits dans plus de quarante langues et ont reçus de nombreux prix.

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