LETRAS

Feared and despised for the sinister power in her veins, Alyce wreaks her revenge on the kingdom that made her an outcast. Once a realm of decadence and beauty, Briar is now wholly Alyce’s wicked domain. And no one will escape the consequences of her wrath. Not even the one person who holds her heart. Princess Aurora saw through Alyce’s thorny facade, earning a love that promised the dawn of a new age. But it is a love that came with a heavy price: Aurora now sleeps under a curse that even Alyce’s vast power cannot seem to break. And the dream of the world they would have built together is nothing but ash.

Las Rimas de Bécquer son hoy la más conocida de las colecciones poéticas del siglo XIX. Exponente de una lírica incómoda en el corsé romántico y casi modernista, estos poemas breves deben su liviandad a un esforzado trabajo de depuración estilística. A su vez, las Leyendas son narraciones fantásticas de tono intimista y lúgubre, basadas en su mayoría en relatos populares, y suponen una de las producciones más representativas del posromanticismo de nuestro país. El catedrático emérito en literatura española de la Universidad Nacional de Educación a Distancia Enrique Rull firma la introducción, las actividades finales y las notas que acompañan al lector a lo largo del volumen. Desde la semblanza de Bécquer hasta el análisis de su poética y el estudio de las fuentes de las que bebe su narrativa, la presente edición, que incluye asimismo las Cartas literarias a una mujer, resulta imprescindible para el estudio pormenorizado de esta obra cumbre de las letras hispánicas.

“In the year 1936 a writer planted roses.” So begins Rebecca Solnit’s new book, a reflection on George Orwell’s passionate gardening and the way that his involvement with plants, particularly flowers, and the natural world illuminates his other commitments as a writer and antifascist, and the intertwined politics of nature and power. Sparked by her unexpected encounter with the surviving roses he planted in 1936, Solnit’s account of this understudied aspect of Orwell’s life explores his writing and his actions—from going deep into the coal mines of England, fighting in the Spanish Civil War, critiquing Stalin when much of the international left still supported him (and then critiquing that left), to his analysis of the relationship between lies and authoritarianism. Through Solnit’s celebrated ability to draw unexpected connections, readers encounter the photographer Tina Modotti’s roses and her Stalinism, Stalin’s obsession with forcing lemons to grow in impossibly cold conditions, Orwell’s slave-owning ancestors in Jamaica, Jamaica Kincaid’s critique of colonialism and imperialism in the flower garden, and the brutal rose industry in Colombia that supplies the American market. The book draws to a close with a rereading of Nineteen Eighty-Four that completes her portrait of a more hopeful Orwell, as well as a reflection on pleasure, beauty, and joy as acts of resistance.

Mansfield Park encompasses not only Jane Austen’s great comedic gifts and her genius as a historian of the human animal, but her personal credo as well—her faith in a social order that combats chaos through civil grace, decency, and wit. At the novel’s center is Fanny Price, the classic “poor cousin,” brought as a child to Mansfield Park by the rich Sir Thomas Bertram and his wife as an act of charity. Over time, Fanny comes to demonstrate forcibly those virtues Austen most admired: modesty, firm principles, and a loving heart. As Fanny watches her cousins Maria and Julia cast aside their scruples in dangerous flirtations (and worse), and as she herself resolutely resists the advantages of marriage to the fascinating but morally unsteady Henry Crawford, her seeming austerity grows in appeal and makes clear to us why she was Austen’s own favorite among her heroines.