By Sylvia Iparraguirre

Entre las barracas y juegos del Parque de diversión se cruzan los alumnos de l. a. Escuela del Miedo, el maestro Zorroarín, l. a. bella Lisa, destinada a los hombres solitarios, Ezpeleta el inventor, el contador de historias Beauconseil y los inolvidables Carlino y Gioconda.

El Parque funda un territorio mítico, que se enciende al caer l. a. noche y donde los personajes acometen delirantes empres as sin saber que los espera un insospechado destino común. El Laberinto del Terror, l. a. Rueda de l. a. Fortuna, el Dancing Park ocultan un misterio al que sólo accederán los iniciados cuyo guía es el inescrutable Zorroarín.

Cercano a los registros de l. a. narrativa de Marechal y del humor absurdo de Gombrowicz, reivindica para nuestra literatura los angeles parodia, lo poético y el kitch.

La crítica ha dicho...

«Sylvia Iparraguirre ha escrito una novela hermosa, compleja, imaginativa y de mucho humor. Obra, ésta, entretenidísima, y de varias lecturas. Es un libro extraño, porque pese a que obliga al análisis se lee con rapidez: ¡que alguien explique este milagro de amenidad!»
Alberto Laiseca, Ámbito Financiero

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4). com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-13 of Karl Jaspers: Psychology and literature can be complementary disciplines. 1057/9780230290440 - Madness in Post-1945 British and American Fiction, Charley Baker, Paul Crawford, B. J. indd 20 8/25/2010 3:00:07 PM Mental States 21 As Rieger suggests, given that the majority of literature examines people, personality, and psychology, we once again stress our argument that it should be no surprise that a large proportion of this literature thus examines what we might term the otherness of these elements – that which psychiatry terms psychopathology, the clinical collective term for madness.

Indd 35 8/25/2010 3:00:08 PM 36 Madness in Post-1945 British and American Fiction Could there be wires in the walls? I had contemplated often, with distressing inconclusiveness, that there might be no other earthly reason for their taking me to the toilet, as they did now and then, and leaving me there for hours, except for the purpose of spying on me in isolation. I know, I know, these are not the thoughts of a rational man. Indeed, if I had heard these theories expressed by anyone I should immediately have categorised them as brilliantly typical of a certain kind of person with whom I shared residence.

4) Morgan continues his assertion that madness is a particular human characteristic by suggesting that we ‘can only truly understand what it means to be human, and correlatively, what it means to experience mental distress, if we understand the multiple ways of living different forms of life’ (p. 5). Madness occurs differently for each human affected by it, and to appreciate the individuality of madness a simultaneous appreciation of the singularity of living is needed. Lillian Feder, in her highly regarded text Madness in Literature (1980), eloquently reiterates this argument within a more tangible framework, suggesting: In literature, as in daily life, madness is the perpetual amorphous threat within and the extreme of the unknown in fellow human beings.

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