By Carlos Fuentes
Felipe Montero is hired in the home of an elderly widow to edit her deceased husband's memoirs. There Felipe meets her appealing green-eyed niece, charisma. His ardour for air of secrecy and his sluggish discovery of the real courting among the younger girl and her aunt propel the tale to its remarkable end.
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Felipe Montero is hired in the home of an elderly widow to edit her deceased husband's memoirs. There Felipe meets her appealing green-eyed niece, air of mystery. His ardour for air of mystery and his slow discovery of the genuine dating among the younger lady and her aunt propel the tale to its remarkable end.
Used to be it Pearl Friedel’s fault she used to be appealing? If she have been undeniable, William Angell, the self-indulgent solicitor and lover of gorgeous issues, could by no means have given her the opportunity to flee the tedium of daily life. It used to be a truly passable association – till Little God stepped in.
At excessive desk in an Oxford collage, the beautiful younger educate Clare Bayes attracted all eyes, no longer least to her fetching decollettage. No one's eyes have been sharper, in spite of the fact that, than these of the vacationing Spanish lecturer, invited as a visitor in this celebration, and finally the 2 teens have been enthusiasts, unbeknown to Clare's husband.
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Extra info for Aura
Having underscored the energy and poise of the writing, which “is little short of magnificent,” he contends that “the novel remains precious and in love with its own cleverness” (Hall 20). This 38 The Experimental Fiction of Murray Bail verdict, moreover, seems to be supported by the author’s confession that the book contains diverse puns and allusions, many of them obscure or recondite (Lysenko 40–41; Chisholm 42), and that it depicts an “adventure of the mind, a journey through a history of ideas which happen to be mine” (Sayers).
Similarly, despite alleged interest in portraying states of mind, Bail is seldom concerned with individual consciousness as a means of bringing protagonists to life or with tracing their psychological development in the manner of Flaubert, the great Russian novelists, or White—authors whose examples he has praised. Instead, Bail is intent on how individuals perceive and react to the world during a revelatory incident, like a host who hides from his guests or a rabbit trapper who finds intolerable the fortnightly intrusion of a workmate on his silence.
At the same time as he was effecting this crucial transition to the novel with Homesickness, written with the aid of three-yearlong writer’s grant from the Australia Council, Bail was also working on his first published study of a painter, the reclusive Ian Fairweather. In some respects this was a strange choice—and an interesting conjunction. Why burden himself with additional labour when his first novel was already proving so demanding? Why single out a painter of English extraction and with a decidedly international outlook when Australia was much more preoccupied with its landscape artists and the radical figurative and representational innovations of painters such as Arthur Boyd, Sidney Nolan, John Percival, and Albert Tucker?
Aura by Carlos Fuentes