With this book, Restrepo won the prestigious Premio Alfaguara de Novela in Delirium opens when its main protagonist, an ex-English professor turned traveling Purina salesman named Aguilar, discovers that while away on a four-day business trip his wife Agustina endured an experience that provoked a severe dissolution of her sanity. The book chronicles Aguilar's search for answers and his efforts to rehabilitate his young, beautiful and admittedly singular wife through the use of alternating narrative styles that, as the novel progresses, shed further light on the mysterious events that took place during Aguilar's absence as well as the nature of Agustina's family and childhood, both of which precipitated Agustina's struggle with mental illness.
Delirium is organized and constructed through the utilization of a narrative pattern that proceeds in the following order: Aguilar, Midas Agustina's ex-lover , Agustina, Aguilar, third-person narration of Nicholas and Blanca Portulinus Agustina's grandparents. This pattern is repeated throughout the majority of the novel and helps to streamline and isolate the progression of several distinctly different, albeit entirely connected, storylines that are never eager to lend the reader immediate access to their secrets.
Upon arriving at the hotel Aguilar finds Agustina in her room with a strange man, existing only as a bombed out shell of her former self. Once home Agustina remains incredibly distant, sometimes even hostile, too preoccupied with abnormal purification rituals and rantings about her dead father's impending visit, to the leave the apartment or even get dressed. Driven by his love for his wife, and aided by the unexpected arrival of Agustina's Aunt Sofi, Aguilar refuses to give up, however, and sets out to discover exactly what happened to Agustina.
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Aguilar cannot unravel the events of that weekend or resuscitate Agustina's sanity without help and thus he enlists the aid of an alluring hotel employee, named Anita, who lets Aguilar know that whoever his wife was with that weekend their behavior was in no way romantic and provides Aguilar with some of Agustina's belongings that she had left at the hotel. Even more integral to the success of Aguilar's investigation, however, is Aunt Sofi, who, in conjunction with Agustina's narratives about her childhood and the narrative depicting Nicholas Portulinus' own struggles with insanity, helps Aguilar to better understand Agustina's past, which helps to better explain her present behavior.
The reader comes to discover Agustina's childhood was not a typical one. Own or manage this property? Claim your listing for free to respond to reviews, update your profile and much more.
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Reviewed July 23, Lovely for an afternoon break. Date of visit: July Thank JasWilliams.
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Write a Review Reviews Traveller rating. Show reviews that mention. All reviews lunch food was fantastic beers ginza waitress atmosphere yen. Review tags are currently only available for English language reviews. Read reviews in English Go back.
Debra C. Reviewed October 14, Total hospitality!
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Date of visit: October Thank Debra C. Reviewed May 26, Excellent beer in great location. Date of visit: May Reviewed March 14, The Groucho walk is in evidence as early as when Florentino is in his 40s, which brings up another nagging feature: The characters move as though stiff and hobbled at 50, which makes no sense at all. True, people had shorter life expectancies a hundred years ago, but that only means that fewer people saw old age, not that it arrived any earlier.
Such nagging imprecisions could be called minor, but they're distracting. Taken together they have a distancing effect, though a case could be made that they'd matter little if the movie got the big things right.
Unfortunately, as played by Bardem, Florentino's lifelong love for Fermina seems merely neurotic, and we observe it as mere spectacle. He's too strange to take seriously, just as the man Fermina does marry, a respected doctor played by Benjamin Bratt, is too stiff and normal. There's no opportunity for an emotional response. The film only becomes affecting when Mezzogiorno moves front and center, in the movie's last section. She becomes the no-nonsense carrier of the story.
She provides the clear, unsentimental, truth-telling performance that yanks the audience right into the pain of a year-old woman, whose life was good and who knows it - but who also knows it was not quite as happy, nor as grand, nor as transcendent as she was capable of experiencing. This year-old actress does it with no gimmicks and no Groucho walk.
She makes a convincing septuagenarian by finding the year-old inside her, and she finds the story's emotion by resisting the tug of the movie into grandeur. When Mezzogiorno, always tough but full of feeling, finally gets to show what she can do, she takes "Love in the Time of Cholera" to the place it needed to go in its first minutes. Caption Close. Image 1 of 3.