The Museum of Eterna's Novel
In today's world, The Museum of Eterna's Novel has become a topic of great importance and interest to a wide spectrum of society. From its impact on the economy, culture, politics and daily life, to its influence on health and the environment, The Museum of Eterna's Novel has achieved unmatched relevance today. Over the years, the study and analysis of The Museum of Eterna's Novel has evolved, allowing a greater understanding of its implications and consequences. In this article, we will explore in depth the different facets of The Museum of Eterna's Novel, analyzing its effects and challenges in the contemporary world.
The Museum of Eterna's Novel (original Spanish-language title: Museo de la Novela de la Eterna) is an avant-garde experimental novel by the Argentine writer Macedonio Fernández. The book has been described as Fernández' masterwork.
Fernández started writing it in 1925, and continued working on it for the rest of his life. It was published posthumously in 1967, 15 years after his death.
Fernández is widely regarded as a major influence on Jorge Luis Borges, and its writing style bears some resemblance to Borges'. It has been described as an "anti-novel". The book is written in a non-linear style, as a set of multi-layered diversions, discursions and self-reflections, with over fifty prologues before the "main" text of the novel begins.
See also
References
- ^ a b Jim Ruland (May 16, 2010). "Book review: The Museum of Eterna's Novel (The First Good Novel)'". Los Angeles Times. Retrieved 2010-07-22.
- ^ Frouman-Smith, E. (1979). "Macedonio Fernández and the Spanish American New Novel". Latin American Literary Review. 8 (15): 42–44. JSTOR 20119193.
- ^ Matthew Ladd (February 2010). "Borges's Father". Bookforum. Retrieved 2010-07-22.
- ^ Margaret Schwartz. "The Museum of Eterna's Novel". Open Letter. Retrieved 2010-07-22.
- ^ M.A.Orthofer (21 February 2010). "The Museum of Eterna's Novel (The First Good Novel) by Macedonio Fernández". The Complete Review. Retrieved 2010-07-22.
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