Tittler not only acknowledges Puig's innovative narrative techniques, but reveals the crucial link between his style and thematic. He declares that Puig's innovation in the novel consists in his incorporation of mass-entertainment products and in his replacement of the patriarchal ethereal discourse by a polyphonic decentered one, that not only eliminates the hierarchy of the narrative but also attacks the absolutist society and its power structures.
Puig, through an already deviated narrative form, questions the proper novelistic discourse and experiments with new strategies. Colloquial language becomes literary and the idiom of Hollywood is used to express the  sublime. The first transgression is the fragmentation of the textual totality.
In Heartbreak Tango, the parts, the isolated effects, are more important than the whole. Pubis Angelical 's dream scene, according to Tittler, encloses a very strong metatextual statement. It is the answer to the patriarchal resistance to change.
Eternal Curse on the Reader of These Pages makes the erasure motif a central theme. Tittler shows us how Puig continues to try new ways of conveying meaning in a world where, in many cases, the image is stronger than the word. There is no doubt that Jonathan Tittler has long pondered what he so clearly develops here.
The volume concludes with a brief, two-essay segment on the oral literary tradition in Mexico. By and large, the intellectual and scholarly quality of the thirty-two essays is very good, and the two volumes are meticulously proved and attractively bound. Some of the strongest essays are penned by guest-contributors. The conscious decision to present the widest-ranging scope of the current research interests of the CELL faculty necessarily results in a lack of a cohesive focus in the collection, both in the individual volumes themselves and in the subsections of each volume.
Likewise, there is a perhaps understandable lack of balance in the section of the Literature volume dedicated to literature in Spanish from the Colonial period to the present, since seven of the thirteen essays in question deal with Mexican topics. This is neither a reference grammar of Spanish nor an inquiry into the nature of grammar itself. Instead, it is a discourse on some areas that tend to prove problematic for the English-speaking student of Spanish. The book consists of ten chapters of grammatical analyses and exercises, to which are appended seven short stories as foci and exemplars of the linguistic arguments expounded in the body of the text.
There is in addition a useful Instructor's Manual of thirty eight pages. For some reason this is in English, even though the rest of the text is in Spanish and one presumes that the class discussions will be in Spanish. The first section in each chapter is titled Para Empezar.
This often includes a translation exercise Spanish to English that dwells on the problems to be tackled in the chapter. This is really the core of each chapter. It offers grammatical explications as well as exercises specific to the points being discussed.
The exercises here could usually be handled either as written or oral. In this part students are required to find and interview native speakers of Spanish in an attempt to elicit various speech patterns. The authors maintain that finding native speakers is rarely a problem if students spend enough time looking. While this might be true in large areas of the country, it is still quite untrue for even larger areas.
Hence these exercises would have to be ignored or adapted when compliant native speakers of Spanish prove impossible to find. Finally, an attempt is made to apply the grammar in Lecturas , the seven short stories  included at the end of the text. Quite a few of the sample sentences used throughout the book to exemplify particular grammatical points are drawn from these readings. The concentration is on uses of the language in these short stories, rather than characterization or theme, but for many instructors the presence of these short stories could provide opportunities for introductory literary analysis.
Not all the other selections are of outstanding intrinsic interest. Though one might hope that all students at this level would possess their own Spanish-English dictionary, it might have been useful to offer a more comprehensive gloss of the words used in the readings. The book does offer a glosario, but this is used for defining grammatical terms, not for the lexicon used in the readings. Regrettably, the book provides no index of topics treated.
Apart from the literary readings, each chapter uses sentences or whole paragraphs to exemplify particular points. These selections can be a little grating. For instance, is a long paragraph on the British royal family or fairy tales such as Little Red Riding Hood and Goldilocks appropriate for this kind of book?
The Instructor's Manual, too, is marred from time to time by a slightly patronizing attitude to teachers of Spanish, e. It is probably inevitable that some elements in extensive discussions of grammar such as contained in this or any book will provoke less than unanimous agreement among readers. Several formulations offered by Lunn and DeCesaris are at least highly debatable, if not erroneous.
Does any native speaker of Spanish really construe the future tense as employed in a Spanish weather forecast to be the future of probability 13? Of course there are. They are usually identical in form with the infinitive, but they are still subjunctives, e. Or think of a doublet such as I insist that Patrick works here versus I think that Patrick work here.
There are other cases where at least one reader would differ from these authors. For instance, they follow the old analysis of deriving command forms haga algo from a putative underlying form such as yo quiero que usted haga algo. But if this is valid, how is it that affirmative familiar commands don't obey the paradigm? The authors see their book as oriented towards advanced students. However, quite a few of the topics dealt with do not appear too advanced. For instance, there are two pages on the formation of adverbs, not exactly a difficult matter in Spanish.
And the exposition of hay seems unnecessarily long. For students of Spanish at this level, is it really necessary to point out that usted and ustedes behave like third person pronouns? The level of discourse when treating other topics is sometimes less than advanced.
There are lots of good things in the book, and the authors illuminate many subtleties of Spanish that rarely receive comment. David McKee. Survey courses in Spanish literature are common college offerings but good published anthologies for them are rare. Madrid: Alfaguara, Indica asimismo que ha escondido su obra por los infinitos recovecos del archivo para que su suerte quede al arbitrio del azar. Apart from the literary readings, each chapter uses sentences or whole paragraphs to exemplify particular points.
These common expressions are seldom introduced in our elementary and intermediate texts, and a student can go through an entire program in Spanish without ever coming across them. Here too might have fitted an extended treatment of gustar , a construction which even our best undergraduate students never appear to master. There are many other cases where one feels that the book might have offered the advanced student a somewhat richer diet. As for the subjunctive: the book does add somewhat to explanations which students will have previously encountered in beginning and intermediate textbooks.
For instance, it ties together para que and antes de que. Even those non-native speakers of Spanish who think they know all the rules are sometimes surprised by a native speaker's choice of aspect in the past tense. The authors offer an interesting but short exposition on journalistic uses of the preterite and imperfect, but a book at this level could have expanded on these non-paradigmatic uses. There are lots of good things in the book, and the authors illuminate many subtleties of Spanish that rarely receive comment. Take their treatment of the distinction between simple future and ir a future And it is an interesting insight to link verbs that always carry the reflexive pronoun, such as quejarse , atreverse , with a verb like suicidarse that is explicitly reflexive.
The treatment of se is very comprehensive, though students at this level need to be alerted to the morphology of a phrase like se le vio. The book's production quality is good, the only misprint noticed being matromonio The Spanish-language and punctuation -in which the book is written would scarcely be typical of that of a similar book produced in Spain, but only one Anglicism stands out Lunn and DeCesaris believe that a detailed linguistic study of a language will yield long term benefits in both listening and speaking. In their view this book will help students not just in the acquisition of Spanish but also in the ability to think and make generalizations about language itself.
One can differ with some of their formulations and disagree with choices and emphases the authors have made. However, this should not cloud the fact that Lunn and DeCesaris have produced a workman-like text that provides a welcome addition to our rather sparse shelf of advanced grammar textbooks. Divided into sixteen chapters organized around a variety of themes, such as the family, student life, and tourism, each chapter contains dialogues, one or two communicative functions, a grammar section, a reading, and dialogue translations. A Spanish-English dictionary and a grammar index round out the text.
No answer key is provided. Grammar topics have been carefully chosen and limited, and include, for example, the present, the present progressive, the preterite and imperfect, formal commands, present subjunctive, and the essential pronouns. Grammar presentations are contrastive and given in English. Explanations are simple, minimal and explicit, and tend to be followed immediately by an application, usually a drill. Lecturas begin in chapter 1 and gradually increase in length and complexity.
Readings and dialogues often have footnoted information of cultural interest, given in Spanish after the first  chapter. Supporting cultural learning as well are the numerous newspaper ads and print realia interspersed throughout the text. Active vocabulary is presented in complete Spanish sentences in Palabras en contexto at the beginning of each chapter.
Students unable to intuit word meaning by context can turn to the dictionary for an English equivalent and the number of the chapter where the word first appears. Graphic images are imprecise.
Typographical errors include incorrect capitalization in the Table of Contents iii. Viernes 42 and pomelo are active lexical items not found in the text dictionary. Maja appears in a dialogue, but no meaning or translation is given. One dialogue translation is missing an entire line compare with , while another is mistranslated.
Survey courses in Spanish literature are common college offerings but good published anthologies for them are rare. Compiling one is daunting for any individual because he or she will inevitably be forced to work beyond his or her own area of expertise. It is distinctive in several ways. First, there is a marked preference for prose over poetry. Machado, seven pages by Lorca and six by Aleixandre. Second, the anthologist minimizes material from medieval and Renaissance Spanish literature in favor of more contemporary selections, especially from twentieth-century authors whose works fill the last third of the book.
She may cover fewer of the big names, but students should be able to get a feel for the style and message of the writers whose thoughts they do read. She is certainly correct that women writers have been systematically denied their just access to the public and to academic i. Her title, Texto y vida , is meant to allude  to a student's need -and a teacher's responsibility- to take critical stock of this material.
A course in Spanish literature should not be simply another language class with antique examples.