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I started reading it a long time ago, but for some reason or other, I stopped after the first twenty or so pages.

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Monday afternoon the wind, present with more or less intense gusts during the whole morning, subsequently strengthened itself, and when I went out in the terrace, on the third floor of the hotel in which I have lodged, I found myself witness of something spectacular: gusts of wind of an exceptional vigor that grazed the mountains covered by snow, lifting the snow and transporting it in ethereal and evanescent clouds.

The sun, by now set behind the mountains themselves, struck them with its last beams of light, casting their shadow on the snow transported by the wind. The wonderful scene that I had the fortune to capture was also the inspiration to restart reading the aforementioned book.

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Matteo G. In the process of his investigation into Carax, Daniel becomes the target of the infamous Inspector Francisco Fumero, a figure who by name alone suggests the spectre of Francisco Franco. His malevolent interest in Daniel and Carax may constitute a personal vengeance, but it is also muddled with the implicit political opposition between Fumero and the majority of the other characters in the novel.

Supporters of the Franco regime in La sombra del viento are few and far between; instead, the novel is populated with the vanquished — homosexuals, Marxist taxi drivers, publish- ers, and readers of undervalued books. In another metatextual twist, Fumero and his supporters despise books and consider reading to be frivolous and unpatriotic.

La sombra del viento

These anti-Francoist characters, fearing reprisals, only express their political views obliquely, instead quietly awaiting the collapse of the Regime. The overarching political bias of La sombra del viento is plain: it is an anti-Francoist novel that seeks to locate the political and societal divisions apparent after the Spanish Civil War in the daily lives of the Barcelona populace.

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  4. Moreover, first as Catalans and second as individuals with left-leaning politics, these personages are doubly caught outside the mainstream of conservative post-war Spanish society. However, this Catalan identity is virtually invisible in La sombra del viento.

    Still, in both texts, the general absence of a specifically Catalan identity, present solely in character and place names in Barcelona, drives at a missing component of post-war Barcelona society: a once-proud Catalan culture and heritage is severely restricted after the war.

    Brenneis manages to allow this atmosphere of cultural repression to linger, again, just below the surface, where the rest of his historical background also hovers. At the same time, the transculturation of detective fiction offers a vehicle for the validation and empowerment of marginal and historically oppressed cultural identities in Spain based on language, gender, or ethnic differences. La sombra del viento exhibits this textual decentralization both in its subterfuge as a novel by an expatriate Catalan author promoting post-war Catalan iden- tity and in its publication and popularity outside the fairly insular realm of Spanish literature.

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    The historical, as I have demon- strated, is a primary element of the text, even though it may not draw attention to itself as would occur more commonly in the traditional historical novel. Indeed, the one chronological gap evident in the text, which jumps back and forth in time in order to build toward the ultimate climactic revelations of its underlying mysteries, is during and immediately after the Spanish Civil War. The rest of Europe went through the rise and fall of fascism and the destruction of war, and then moved on from that [ But Spain remained insulated.

    Brenneis In this way, La sombra del viento utilizes these popular narrative and marketing tools to build a tale that remains relevant in the context of Spanish history. Popular historicism is, in the end, a legitimate means of historical understanding in La sombra del viento. Spanish readers, even if they have not lived through the historical period in question, will possess a cultural familiarity with the post-war period in which La sombra del viento is set: they will know who Franco is and will have at least a cursory understanding of the social and political consequences of the Spanish Civil War.

    We cannot make the same assumptions about international readers, but it is in its accessibility as popular fiction that La sombra del viento makes its greatest historical impact.

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    La sombra del viento, to expert and amateur alike, is a means of engagement with post-war Barcelona, its society, its politics, and its history. It reignites the love of books and reading once again! It makes you want to save and protect books. Carlos Ruiz Zafon se ha convertido en uno de mis autores favoritos. Maneja la trama con su pluma de una manera espectacular. El libro es grande, de muchas paginas, pero asi es de grande el deleite del lector.

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    El autor despliega un control completo sobre la tinta y el papel. La manera en que el desarrolla la novela, la trama principal y las demas historias paralelas hacen de este libro uno que pondre en mi "bucket list". Pero esta muy bien escrita y me ha tenido interesada hasta el final. Magnifico, grandioso It's a great novel. Probably one of the best ones that I ever have read. It might be long to be read by someone who English is not his first language, but it worth to try it.

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