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Don Quixote de La Mancha Paperback – January 1, 2009
Purchase options and add-ons
- Print length350 pages
- LanguageEnglish
- PublisherJuan De LA Cuesta
- Publication dateJanuary 1, 2009
- Dimensions6 x 1 x 9 inches
- ISBN-101588711625
- ISBN-13978-1588711625
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Product details
- Publisher : Juan De LA Cuesta; Reprint edition (January 1, 2009)
- Language : English
- Paperback : 350 pages
- ISBN-10 : 1588711625
- ISBN-13 : 978-1588711625
- Item Weight : 1.19 pounds
- Dimensions : 6 x 1 x 9 inches
- Best Sellers Rank: #2,202,505 in Books (See Top 100 in Books)
- #115,991 in Action & Adventure Fiction (Books)
- Customer Reviews:
About the authors

Miguel de Cervantes Saavedra (Alcalá de Henares, 29 de septiembre de 1547-Madrid, 22 de abril de 1616) fue un soldado, novelista, poeta y dramaturgo español.
Es considerado la máxima figura de la literatura española y es universalmente conocido por haber escrito Don Quijote de la Mancha, que muchos críticos han descrito como la primera novela moderna y una de las mejores obras de la literatura universal, además de ser el libro más editado y traducido de la historia, sólo superado por la Biblia. Se le ha dado el sobrenombre de «Príncipe de los Ingenios».
Cervantes es sumamente original. Parodiando un género que empezaba a periclitar, como el de los libros de caballerías, creó otro género sumamente vivaz, la novela polifónica, donde se superponen las cosmovisiones y los puntos de vista hasta confundirse en complejidad con la misma realidad, recurriendo incluso a juegos metaficcionales. En la época la épica podía escribirse también en prosa, y con el precedente en el teatro del poco respeto a los modelos clásicos de Lope de Vega, le cupo a él en suma fraguar la fórmula del realismo en la narrativa tal y como había sido preanunciada en España por toda una tradición literaria desde el Cantar del Mío Cid, ofreciéndosela a Europa, donde Cervantes tuvo más discípulos que en España. La novela realista entera del siglo XIX está marcada por este magisterio. Por otra parte, otra gran obra maestra de Cervantes, las Novelas ejemplares, demuestra la amplitud de miras de su espíritu y su deseo de experimentar con las estructuras narrativas. En esta colección de novelas el autor experimenta con la novela bizantina (La española inglesa), la novela policíaca o criminal (La fuerza de la sangre, El celoso extremeño), el diálogo lucianesco (El coloquio de los perros), la miscelánea de sentencias y donaires (El licenciado Vidriera), la novela picaresca (Rinconete y Cortadillo), la narración constituida sobre una anagnórisis (La gitanilla), etc.
La Editorial Alvi Books le dedicó, como tributo y reconocimiento, este espacio en Amazon en 2016.

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I almost bogged down in Avellaneda's continuation. It has a few interesting new characters, and I won't deny that I chuckled quite a bit; but it lacks Cervantes' charm. Don Quixote and Sancho Panza are mere shallow caricatures of themselves. Acknowledging that this may represent the way they seemed to their first readers more accurately than the image we have built of them after several centuries of re-interpretation; still, I can't help but think that Cervantes' reported anger at Avellaneda (whoever that pseudonym conceals) likely arose from the way he found his creations mishandled. Cervantes' Part II is critically regarded as greater than his Part I, and I think there is a very good chance that this is largely thanks to his reaction against Avellaneda's work: if so, in a curious way the world owed Avellaneda quite a lot. It's a fascinating literary situation that would have had a very hard time happening in our era of paranoid copyright -- but the only real reason I can see to read Avellaneda today is interest in the said situation. Without Avellaneda, we would certainly have a more or less different Part II of the “true” DON QUIXOTE; I can’t help but worry if Cervantes would ever have gotten his Part II to the printer at all; the “spurious” continuation is an important book for that reason. But its literary importance is the only reason I can find for reading it today or keeping a copy of it on one’s shelf. That, and the further depth of appreciation it gives one in reading Cervantes. It was a wonderful relief to get back to the genuine Quixote and find all the magic still there and even a bit enhanced.
Nevertheless, this volume is handsomely published, the illustrations are delightful, and I greatly respect the scholarship that went into the translation and editorial matter. (It's a pity the proofreading isn't up to the level of the printing, binding, and illustrating; but the many typographical errors don't hamper understanding the text.) And Avellaneda's last page proposes an outline for yet another sequel which strikes me as so promising I can't think why nobody ever followed up on it. Perhaps Cervantes forestalled any such effort by finally killing off his Quixote. Pity. I found that one paragraph worth more than all the rest of Avellaneda’s sequel together.






