{"id":289251,"date":"2025-12-15T00:25:29","date_gmt":"2025-12-15T00:25:29","guid":{"rendered":"https:\/\/theprisma.co.uk\/?p=289251"},"modified":"2025-12-15T00:52:42","modified_gmt":"2025-12-15T00:52:42","slug":"sola-pero-no-solitaria","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2025\/12\/15\/sola-pero-no-solitaria\/","title":{"rendered":"Sola, pero no solitaria"},"content":{"rendered":"<p><em>Los rechazos acosaron a la novelista brit\u00e1nica Barbara Pym, pero la lectura de dos de sus novelas posteriores confirma un talento que no fue apreciado en su momento.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/www.theprisma.co.uk\/es\"><strong><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-289254\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/front-cover1.jpg\" alt=\"\" width=\"285\" height=\"405\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/front-cover1.jpg 271w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/front-cover1-141x200.jpg 141w\" sizes=\"auto, (max-width: 285px) 100vw, 285px\" \/>Sean Sheehan<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Pym escribi\u00f3 seis novelas durante las d\u00e9cadas de 1950 y comienzos de 1960, hasta que su editorial rechaz\u00f3 inesperadamente la s\u00e9ptima y, como consecuencia, desapareci\u00f3 de la escena literaria durante\u00a0diecis\u00e9is a\u00f1os. Debi\u00f3 de ser un golpe devastador para su autoestima y, aunque no dej\u00f3 de escribir, se convirti\u00f3 en una figura olvidada hasta que la injusticia de aquella situaci\u00f3n fue reconocida por admiradores influyentes. Entonces, con gran reconocimiento de la cr\u00edtica, <em>\u201cThe sweet dove died\u201d<\/em> y <em>\u201cQuartet in autumn\u201d<\/em> se publicaron en la d\u00e9cada de 1970.<\/p>\n<p>Tres de las novelas anteriores, y la sutileza de su arte narrativo, son el objeto de <em>\u201cThe rhetoric of women\u2019s humour in Barbara Pym\u2019s fiction\u201d<\/em>. Su autor interpreta acertadamente el humor de Pym como una forma de cuestionar los lugares comunes sobre el g\u00e9nero, mediante la h\u00e1bil construcci\u00f3n de protagonistas que socavan el humor tradicional, masculino. Tres de sus novelas se analizan desde esta perspectiva: <em>\u201cSome Tame Gazelle\u201d<\/em> (1950), <em>\u201cExcellent women\u201d<\/em> (1952) y <em>\u201cJane and prudence\u201d<\/em> (1953). La iron\u00eda y la ambivalencia operan aqu\u00ed de manera discreta, subvirtiendo las convenciones patriarcales mientras se ensalza a mujeres de mediana edad, autosuficientes, que afrontan la cotidianidad de la vida.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-289256 alignright\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/Front-Cover-3.jpg\" alt=\"\" width=\"281\" height=\"425\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/Front-Cover-3.jpg 281w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/Front-Cover-3-132x200.jpg 132w\" sizes=\"auto, (max-width: 281px) 100vw, 281px\" \/>Es plausible que los editores hombres \u2014\u00bfes la suposici\u00f3n de que fueran hombres una especulaci\u00f3n desmedida?\u2014 que rechazaron repetidamente su obra en la d\u00e9cada de 1960 no estuvieran en sinton\u00eda con esto y que, en cambio, encontraran lo que ellos consideraban una excesiva cursiler\u00eda.<\/p>\n<p>Sus admiradores fieles no fueron tan sordos al tono y supieron apreciar una corriente subterr\u00e1nea cr\u00edtica y afilada en sus relatos c\u00f3micos sobre solteronas asiduas a la iglesia. La acerada discreci\u00f3n de Pym madur\u00f3 y se desarroll\u00f3 hasta convertirse en el ingenio mordaz y la inteligencia que hacen de <em>\u201cThe sweet dove died\u201d<\/em> y <em>\u201cQuartet in autumn\u201d<\/em> obras tan notables.<\/p>\n<p><em>\u201cQuartet in autumn\u201d<\/em>, quiz\u00e1 su mayor logro, aborda la vida de cuatro personajes que comparten un lugar de trabajo en una oficina. Todos se acercan a la edad de jubilaci\u00f3n y, para dos de ellos, Marcia y Letty, esta es inminente. Marcia es exc\u00e9ntrica, pero ha mantenido esa faceta en privado hasta que la jubilaci\u00f3n acent\u00faa su senilidad y su franca extravagancia. Letty es la m\u00e1s amable de las cuatro y el lector acaba admirando su entereza. Al igual que sus tres compa\u00f1eros de trabajo, Letty no est\u00e1 casada y tiene conocidos, pero no familia cercana ni amigos \u00edntimos. Los cuatro est\u00e1n solos en la vida, pero no se sienten solos y, como todo el mundo, tienen sus peque\u00f1as y absurdas maneras de distraerse de la finitud y de un universo carente de sentido.<\/p>\n<p><em><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-289258\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/Front-Cover-2.jpg\" alt=\"\" width=\"293\" height=\"445\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/Front-Cover-2.jpg 293w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2025\/12\/Front-Cover-2-132x200.jpg 132w\" sizes=\"auto, (max-width: 293px) 100vw, 293px\" \/>\u201cThe sweet dove died\u201d<\/em> es la m\u00e1s oscura de sus novelas, magn\u00edficamente construida, y su historia sobre la posesividad y el ego\u00edsmo est\u00e1 finamente afinada. El t\u00edtulo procede de unos versos que uno de los personajes cita:<\/p>\n<p><em>I had a dove and the sweet dove died;<br data-start=\"453\" data-end=\"456\" \/>and I have thought it died of grieving<br data-start=\"494\" data-end=\"497\" \/>O, what could it grieve for? Its feet were tied<br data-start=\"544\" data-end=\"547\" \/>With a single thread of my own hand\u2019s weaving<\/em><\/p>\n<p><em>\u201cThe rhetoric of women\u2019s humour in Barbara Pym\u2019s fiction\u201d<\/em> es publicado por <a href=\"https:\/\/cup.columbia.edu\/book\/the-rhetoric-of-womens-humour-in-barbara-pyms-fiction\/9783838215037\/\">ibidem Press<\/a>; <em data-start=\"689\" data-end=\"712\">\u201cThe sweet dove died\u201d<\/em> por <a href=\"https:\/\/www.panmacmillan.com\/authors\/barbara-pym\/the-sweet-dove-died\/9781529091892\">Pan Macmillan<\/a>, y <em data-start=\"734\" data-end=\"755\">\u201cQuartet in autumn\u201d<\/em> tambi\u00e9n es publicado por <a href=\"https:\/\/www.panmacmillan.com\/authors\/barbara-pym\/quartet-in-autumn\/9781035038923\">Pan Macmillan<\/a>.<\/p>\n<div class=\"twttr_buttons\"><div class=\"twttr_twitter\">\n\t\t\t\t\t<a href=\"http:\/\/twitter.com\/share?text=Sola%2C+pero+no+solitaria\" class=\"twitter-share-button\" data-via=\"\" data-hashtags=\"\"  data-size=\"default\" data-url=\"https:\/\/theprisma.co.uk\/es\/2025\/12\/15\/sola-pero-no-solitaria\/\" data-dnt=\"true\" data-related=\"\" target=\"_blank\">Tweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Los rechazos acosaron a la novelista brit\u00e1nica Barbara Pym, pero la lectura de dos de sus novelas posteriores confirma un talento que no fue apreciado en su momento. &nbsp; Sean Sheehan &nbsp; Pym escribi\u00f3 seis novelas durante las d\u00e9cadas de 1950 y comienzos de 1960, hasta que su editorial rechaz\u00f3 [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":263469,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-289251","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - 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