Читать книгу Los relatos de Carson McCullers. Viaje hacia la génesis de un estilo онлайн

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The short stories of Carson McCullers have been less valued than the intermidiate works—criticism suggests that The Ballad of the Sad Cafe is her best—and, if the dearth of recent criticism about the stories, (excepting “A Tree, A Rock, A Cloud”) is any indication, this judgement will stand. Considered “nerveless and contrived” by Ihab Hassan (227), and summarily treated in only ten pages in the fine book length consideration of Carson McCullers by McDowell in 1980, these short stories have failed to attract the committed larger audience of afficionados who respond so favorably to the longer efforts of Ms. McCullers. Her stories deserve more. (Pembroke Magazine 1988: 77)

Sin embargo, luego Frazier limita su análisis titulado “Terminal Metaphors for Love” a tan sólo cuatro relatos de los al menos veinte que en la actualidad hay publicados. Concretamente analiza “Madame Zilensky and the King of Finland”, “The Sojourner”, “A Domestic Dilemma” y excepting “A Tree, A Rock, A Cloud” como diversos ejemplos que ilustran la teoría sobre el lover y el beloved expuesta por McCullers en The Ballad of the Sad Café. Frazier ve estos cuatro relatos como expresiones dolorosas que recogen el sufrimiento del amante, quien “must house his leve within himself as best he can; he must create for himself a whole new inward world—a world strangely complete in himself”. (The Ballad of the Sad Café 26). Mr Brook en “Madame Zilensky and the King of Finland”, Ferris en “The Sojourner”, Martin Meadows en “A Domestic Dilemma” y el hombre del bar en excepting “A Tree, A Rock, A Cloud” serían los ejemplos concretos de la figura del amante definida por McCullers en The Ballad of the Sad Café.