![]() ![]() Machado’s notion of time and temporality, I think, plays into much of this innovative narrative technique, and what it asks of the reader (see unreliable narratives). Methinks me spies the influence of “Tristram Shandy” in XXVI, with more to come in LV & CXXXIX.” ![]() ![]() “Experimenting with margins, punctuation, and typography is common enough today, but Brazilians in 1880 must have found it disconcerting, even revolutionary. For me, what makes Machado delicious in the present is his tonal irreverence, the techniques he mobilizes to establish it, including metafictional strategies, direct reader address, continuous irony, self-referentiality, intertextual intimacy, and typographical experimentation.Īs Larry Rohter commented in the #APSTogether meeting for A Public Space: The posthumous voice can be serious, but it can also be light, humorous, critical, as in Machado de Assis' The Posthumous Memoirs of Bras Cubas, first published in Brazil in 1881. ![]()
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