From one of Spain's most distinguished--and daring--writers comes this intensely erotic and shamelessly literary adventure through the streets of London.
Emil, the mysterious narrator, has been abandoned by the woman he loves. Filled with doubt and nostalgia, bent on therapy or distraction or revenge, he wanders the city in search of her. Driven by the anguish of rejection and desire, he writes twenty-six letters to his fugitive lover, each an intricately detailed account of his affairs with twenty-six women who
preceded her. Each of these figures bears an uncanny resemblance to a famous literary heroine, from Proust's Albertine to Fitzgerald's Daisy to Nabokov's Lolita to Queneau's Zazie.
One by one, in alphabetical order, Emil's letters adopt the tone, style, and substance of the great novelists of the twentieth century, while, in recollection, his past love affairs grow increasingly extravagant and hallucinatory. As we follow his physical and creative journey, we try to unravel fact from fantasy, emotion from delusion, while searching for clues to the novel's amorous alphabet, the building blocks of modernist and postmodernist literature.
A seductive puzzle saturated with wordplay, Loves That Bind is a linguistic tour de force of remarkable agility and wit.
Editorial Reviews
Amazon.com Review
Literary love letters or love letters to literature? Each of the 26 missives in Julián Ríos's Loves That Bind stands for one love affair, one letter of the alphabet, one famous literary heroine. As the narrator Emil moons around London mourning the disappearance of his latest lady friend, he embarks on a most unusual way of getting her back: an alphabetical catalogue of his past passions, all of whom look oddly familiar. Witness this homage to a fellow linguistic magician: "Lo! Lovely! No, how terrible: she has returned. The living image. In her majorette or is it minorette pink miniskirt, closing and opening-closing-opening her knees." Or this irreverent reworking of one of the most famous passages in 20th-century literature: "...she roundly refused to rehearse the original scene of the chamber pot when she spoke in streams, the streams of gold of Erin, that coursing current, and had to say in her Irish accent L'odore, L'eau d'or, je suis ravie, content in the shower of gold, the waters of Lahore pouring now, those of the Orinoco rushing now, go to hell! And she said no I won't No." Translator Edith Grossman reproduces the quicksilver turnings of R&iacoute;os's prose with wondrous skill--no small task, given his predilection for wordplay and puns. There's a fine line between the pleasures of seduction and the pleasures of language, and Ríos straddles it with infectious delight. Part satire, part inspired postmodern pastiche, Loves That Bind woos the reader with both sensuality and wit. --Mary Park
From Booklist
This inventive yet sweet novel by one of Europe's most imaginative and playful novelists engages first the mind and eventually the heart. Emil, our poor, bedraggled narrator, addresses his many stories and musings to the mysterious woman who abandoned him. Wandering about London, he recounts his past lovers, a sort of postmodern version of Julio Iglesias singing "To All the Girls I've Loved Before." In true Rios manner, the list follows alphabetically and contains only women who bear a striking resemblance to literary heartbreakers, beginning with Proust's Albertine, Fitzgerald's Daisy, and on to Nabokov's Lolita. This could all be construed as fun and games--indeed, Rios includes a heady dose of wordplay and punning--or perhaps as mere frustration for those not up on their world literature. But Rios--the author of Larva: Midsummer's Night's Babel (1990) and Poundemonium (1997)--is after more than this. Emil's obsessive musings about these grand, extravagant loves serves to contextualize, memorialize, and, in a strange way, humanize his own lost love. It is as though only by invoking literary archetype can this most erudite and experimental of novelists make an ex-lover come movingly to life. Cerebral stuff but also passionate. Expertly and stylishly translated by Edith Grossman. Brian Kenney
From Kirkus Reviews
The imperturbably exuberant third building block in Rioss post-Joycean postmodernist sequence (Larva: Midsummer Night's Babel,1990, not reviewed; Poundemonium, 1997). These are pun-and-games fictions redolent of the German experimentalist Arno Schmidt, as well as of the aforementioned Joyce, from whose Ulysses Ros has now taken a page, as it were, in a work that both parodies and pays homage to classic modern literary portrayals of beloved and memorable women. Here's how it works: Ros's narrator Emil, a Spaniard alone in London with his overheated imagination, addresses to his former mistress (who has dumped him) a series of musings in which he fantasizes relationships with literary heroines whose names begin with the 26 letters of the alphabet (A is Proust's Albertine, D is Fitzgerald's--and Gatsby's--Daisy Buchanan, P is Pocahontas, and so on). Successive chapters are linked by common characters and regurgitated thoughts and passions, as Ros offers concise reimaginings of, for example, Ford Maddox Ford's The Good Soldier and Djuna Barnes's Nightwood and rhapsodizes over such paramours as the virgin who tamed Don Juan, D.H. Lawrence's redoubtable Ursula Brangwen (of The Rainbow and Women in Love), and--inevitably--Nabokov's Lolita (``Elle! you might have explained in French, and I, an L is an L''). It's almost as enjoyable trying to guess who Ros's transfigured females are as it is to wallow in the spectacular verbal inventions here (the poet Rimbaudelaire; the pleasures of indulging in ``Whiskey and sodamasochism''; the characterization of one who masturbates in front of his dead mother as ``Necrofilial''). Grossman probably deserves some sort of medal for having translated this blissful nonsense with such obviously appreciative precision and brio. Then again, why should she have all the fun? Loves That Bind (its very title an irresistibly rude pun) is a hoot, and perfectly accessible to anybody who's ever read a book or been, even fleetingly, a fool for love. Enjoy. -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.
Review
Like many linguists, Ríos has a good time writing, and that is infectious.... But a gimmick is a gimmick. The form must be transcended or the reader feels trapped within it. Getting the jokes is essential to transcending the form. That depends, quite brutally, on how well read you are. -- Los Angeles Times Sunday Book Review, Susan Salter Reynolds
Unfortunately, Ríos does not deliver on the enormous potential of his idea. Though Loves That Bind has moments of real cleverness and sleight of hand, it is largely a paint-by-numbers performance, lacking the sort of sustained literary ardor that might have turned it from an experimental curiosity into a tour de force. -- The New York Times, Michiko Kakutani
From the Inside Flap
Spain's most distinguished--and daring--writers comes this intensely erotic and shamelessly literary adventure through the streets of London.
Emil, the mysterious narrator, has been abandoned by the woman he loves. Filled with doubt and nostalgia, bent on therapy or distraction or revenge, he wanders the city in search of her. Driven by the anguish of rejection and desire, he writes twenty-six letters to his fugitive lover, each an intricately detailed account of his affairs with twenty-six women who
preceded her. Each of these figures bears an uncanny resemblance to a famous literary heroine, from Proust's Albertine to Fitzgerald's Daisy to Nabokov's Lolita to Queneau's Zazie.
One by one, in alphabetical order, Emil's letters adopt the tone, style, and substance of the great novelists of the twentieth century, while, in recollection, his past love affairs grow increasingly extravagant and hallucinatory. As we follow his physical and creative journey, we try to unrave
From the Back Cover
"Julián Ríos is the most inventive, the most creative writer in Spanish."
--Carlos Fuentes
"Loves That Bind is superbly funny and urbane. A book about affection for women and literature, it is also the work of a witty master and is sure to delight many a reader."
--Oscar Hijuelos
"Julián Ríos is Spain's wittiest and most inventive writer, a multilingual wordsmith, and these sensuous and playful affaires des lettres are indeed a fair delight, a subtle interpenetration of literary and lovemaking styles from A to Z."
--Robert Coover
"Loves That Bind, a wildly witty novel, is Julián Ríos's uninhibited love affair with the leading ladies of twentieth century fiction: Sally Bowles, Lolita, Molly, Zazie, Daisy are all here. In Ríos's 'Song of Songs,' women are the guardians of the secret erotics of life and language. He is an extraordinary writer."
--Barbara Probst Solomon
About the Author
Julián Ríos was born in Galicia, Spain. He contributes to journals in various countries and has edited several fiction and essay series. His fifteen previous books, translated into several languages, include the novels Larva, Poundemonium, and Kitaj: Pictures and Conversations. He lives in Paris and Madrid.
Excerpt. © Reprinted by permission. All rights reserved.
Emil Alia, the narrator of Loves That Bind, has been abandoned by the woman he loves. Wandering the city in search of his fugitive lover, he writes twenty-six letters about the twenty-six women who have preceded her, in alphabetical order by their names. Each woman bears an uncanny resemblance to a famous heroine of literature, and Emil's letters adopt the tone, style, and substance of the great modern novels in which those heroines appear. Are these, in fact, past love affairs, or jealousy-fueled fantasies?
The following passage is from the fourth chapter; "D."
Derry
& Tom's, I believe, the old name of these large stores recently made into a Babylon of bibelots and multicolored bagatelles, which, one might say, meant revisiting better days, the mad twenties, with the disjointed Charlestonant of this thé dansant thundering across to me here in the Babylonian terrace of Biba. I thought this hanging garden was the ideal setting for plucking the petals of the day's daisy and telling, perhaps, the tale of the enchanting fay who was turned into fate. Seriously: I decided to come to this tea for two thousand as I passed the Empire this afternoon, I even looked for you in the line of Robert Redford fans, and I told myself you too would probably fall by here. (If you are not in London, I trust you are not inopportunely trysting in Oporto or Lisbon, where, according to the Times, new cases of cholera have been reported.)
Pleasant to a high degree (73°) today on this roof garden of delights. You marveled when we discovered it this winter: under thick sooty clouds, among chimneys and dark roofs, a luxuriant Eden, complete with apple trees, for the fruitful enjoyment of forbidden fruit. Now a garden of desperate waiting, though I am not too hopeful. Not a soul on that icy afternoon, but one would think you feared the eye of the great Voyeur. Golden or wax? You did not want me to bite the apple of discord, or your lips like blackberries. Darkly mordant, amor. And I feel as if I were in Bedlam, not Biba, when I recall that lost kiss. It was so hard to get you to part your lips. Until, at last, to prove your experience, you decided that the shrub wrapped in plastic was a wild pear tree. Oui, duchesse! I made so many wily wordplays with apples and pears in pearadise, remember? that you had to plant your feet firmly and protest. Enough! Another pearouette, no . . .
The wail of the aphonic saxophone, blues for a blue Monday, at gray teatime, made me realize: I came to this art deco bazaar to decorate my nostalgia, to find you perhaps as I told the story of love damned in New York.
I would tell you this story ab ovo: Once there was a summer in West Egg and East Egg, the shape we give to the prominent capes of Great Neck and Glen Cove, those two Long Island promontories. There I could see how the rich lived and played--in mansions with parks, marble pools, and private beaches--so different from us poor mortals. That summer burned away in princely parties, and a woman was the incandescent center--and cause--of the blinding blaze.
All these mannequins in white dresses who flit past and pose and flutter now in the garden remind me of her. In particular the beauty in the mauve hat with a lock of hair like a dark brushstroke on her cheek, who allows herself to be carried like a queen, lighthearted and haughty, on the crossed hands of two beaux in white flannel suits who laugh. She has twisted her ankle . . . , and set her delicately on the divan-swing at the far end of the garden. She is the queen of the garden, of this summer-afternoon tea, and from time to time beauties and beaux come to pay homage and swing beside her. I thought of the Queen of the Fairies in a Victorian painting of A Midsummer Night's Dream we once saw at the Tate. The magic of pale cheeks and cheekbones like rose petals. Poor thing, she's paralyzed, I thought for a moment before I heard the laughter of her wellborn bearers, and I remembered the first words I heard from the lips of my Louisville beauty the first time I saw her, on a hot, windy summer twilight when I came for supper to her East Egg mansion in the company of a distant cousin of hers, a college friend of her husband's: "I'm p-paralyzed with happiness," she laughed and greeted her cousin after attempting to rise from an enormous couch where she lay next to another girl, who was slimmer and looked athletic and also wore white, and was the one who truly seemed paralyzed, though not with happiness, lying in precarious balance. I remembered her first words, but in fact at first it was her voice, that voice so typical of her, caressing or disturbing, thrilling with a tremor of a thrill, soft or husky, modulating so, that all of us who have fallen in love with her can never forget. Hushed at times with emotion, suddenly bright and warm like a flame at the climax, languid and dreamy in repose, with a bitter touch of indolence or boredom, silvery and instantly bubbling, breaking into laughter and almost childish stammering in happy situations, at other times insinuating in sinuous murmurs, as if to make us lean toward her. A rich voice, and (was that her secret?) a rich girl's voice. As her new rich lover saw and heard very well: Her voice is full of silver . . . jingling, tingling, singing, full of splendid music.
The subdued sob, very low, of a banjo. Am I blue? This blues can't be trusted, it goes right to my head, as you would say.
Though it is only a dull teatime, I would like you to bring me bourbon, ice, sugar, crushed mint leaves, and fix a julep. The cool sweetness of a sweltering New York August. And it wouldn't be bad either if you showed up now in a short beaded skirt and pearls looped three times around your neck, shimmying over with a glass of Scotch in one hand and a gin fizz in the other, to coax me out on the dance floor. And raise a glass first to our drinker. Drink, dance, and be merry, our essential watchword. Save me the last waltz, please, though it's three o'clock in the morning, before the embalming begins. Another danse macabre?
Don't tell me "The Prisoner of Zelda" doesn't appeal to the poor boy from the midwest, prisoner and prey of that mad wife, his chastising Zelda, though she was the one confined, I told you in my mind a few hours ago in Leicester Square as I passed the posters outside the Empire advertising the film. I imagined how miffed you would be, accusing me again of macho mockery.
Leaning now against the wall of this hanging garden, enveloped in aromas of cool jazzmine, orchids and orchestra, surrounded by swains and maidens in white who think of themselves as doubles of Robert Redford and Mia Farrow, I think again of the unfortunate Scotch "Gin" Fitz, as we alcoholized him once in defiance of the dry law, still lost in thought one hundred feet above the centipedal scurry of the crowd along Kensington High Street. And in fact I see her again: her sad, seductive face, eyes filled with light, passionate mouth blood red, the gleam of her dark hair that I kissed beside the fire that cold afternoon the day before I left for Europe, when she spent a fleeting eternity in my arms. Her face was a changing mask that could assume a bored expression, and then her lips would form a scornful fold. A shallow person at the edge of an abyss? Again I caviled as I looked around me. I could guess at her figure on the divan-swing as I watched her shapely slender legs sheathed in white silk stockings.
Thanks to her cousin Nick, I began to know what she was like though I never really got to know her (did anyone?), I learned about certain episodes of her past, her origins as the daughter of a well-off family in Louisville. Although I was never in Louisville, Kentucky, I can recall the streets where her footsteps echoed alongside the military ones of a lover in uniform one November night when leaves were falling, I can relive in a vicarious way certain critical moments: I am the lieutenant who kissed her for the first time, standing fast on a white sidewalk in the moonlight, under the stars; I, the lieutenant-come-lately who had her on another quiet October night, the same one who two nights later kissed her again on a wicker love seat on the posh porch of her house. She was chilled and her rather husky voice sounded especially seductive. That month of love could not last forever. After some failed attempt at rebellion, she yielded to the wishes of her affluent family and left the soldier with no future for a better future and greater profit: a wealthy heir from Chicago who would give her everything she deserved.
I didn't doubt it when I found myself in her gorgeous Georgian colonial mansion, but I also understood immediately that her large, athletic husband--"hulking," as she called him, driving him mad--could not provide the sophisticated emotion she sometimes needed. (Sophisticated, yes, she considered herself sophisticated though she was only twenty-three.) Luxe and calme, with no volupté. Perhaps she sensed that, five years earlier, in a moment of lucidity--or was it remorse?--the night before her wedding, when she drank a bottle of Sauternes, became drunk for the first--and last--time, and threw the gift from her future husband into the wastebasket: a pearl necklace worth, if my calculations are correct, $350,000. (But she needed to be free, freed from her possessive family.) After a cold bath and a few sniffs of spirits of ammonia, she recovered her senses and the necklace, which she displayed at the marriage supper. The wedding was lavish and they lived happily ever . . . until five years later, when her former impoverished lover made his appearance, transformed into a magnetic magnate endowed with great powers of attraction. Money is a powerful magnet. The mysterious magnate bought a huge gloomy mansion in West Egg--the less fashionable of the two Eggs--an almost exact, extravagant replica of some medieval Hôtel de Ville in Normandy with a tower on one side, all of it right across the bay from the cheerful East Egg red and white ma...
Product details
- Publisher : Knopf; 1st Edition (April 28, 1998)
- Language : English
- Hardcover : 243 pages
- ISBN-10 : 0375400583
- ISBN-13 : 978-0375400582
- Item Weight : 1 pounds
- Dimensions : 6 x 1.25 x 8.75 inches
