Miau

Front Cover
Miau es un magnífico alegato contra el mundo cerrado y agobiante de la España de la Restauración, en el que por un cambio de gobierno, el funcionario Ramón Villamil es cesado en su puesto a dos meses de su jubilación, pierde la pensión y, víctima de la desesperación, de la carencia de medios, del desprecio y del egoísmo, acabará perdiéndolo todo. MIAU es un decisivo punto de inflexión en la preocupación casi obsesiva que sintió Galdós desde sus inicios como escritor por ocuparse de los males de España y de sus soluciones, novela con la que consiguió una de sus obras más complejas y logradas.
 

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A Spanish superior official tries unsuccessfully like a modern Don Quijote to obtain his pension in a corrupt administration Read full review

Contents

I
9
II
55
III
71
IV
81
V
95
VI
105
VII
112
VIII
122
XXIV
283
XXV
294
XXVI
305
XXVII
316
XXVIII
327
XXIX
336
XXX
348
XXXI
357

IX
130
X
137
XI
151
XII
161
XIII
173
XIV
184
XV
195
XVI
203
XVII
210
XVIII
220
XIX
227
XX
238
XXI
247
XXII
257
XXIII
270
XXXII
367
XXXIII
375
XXXIV
388
XXXV
398
XXXVI
405
XXXVII
413
XXXVIII
422
XXXIX
432
XL
444
XLI
452
XLII
460
XLIII
473
XLIV
484
XLV
492
Copyright

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About the author (2003)

Perez Galdos was Spain's outstanding nineteenth-century novelist. At a time when most Spanish novelists were limited by their regional backgrounds, Galdos possessed the intellect and vision to embrace the Spanish people as a nation. In 1873 he began the Episodios nacionales (National Episodes), a 46--volume series of historical novels in which he was concerned less with details and facts of history than with their impact on the lives of ordinary people. His works are sometimes divided into two periods: novels of the first period and contemporary Spanish novels. His early novels, Dona Perfecta (1876), Gloria (1877), Marianela (1878), and The Family of Leon Roch (1879), may be characterized as realistic with touches of romanticism. The novels are united by common characters and themes in the manner of Balzac's Human Comedy. Dona Perfecta is a denunciation of intolerance. Marianela explores the irony and tragedy of the destruction of love by scientific progress. Fortunata and Jacinta (1886-87), a four-volume masterpiece of the second period, contrasts two women - Jacinta, wife of the wealthy middle-class Juanito Santa Cruz, and Fortunata, his mistress. Both are admirable characters, but it is Fortunata who bears a son, demonstrating the vitality of the lower classes. The character of Maxi reveals Galdos's interest in mental illness and his naturalistic strain. Born and educated in the Canary Islands, Perez Galdos studied law briefly and spent most of his adult life in Madrid. His study of lower-class Spanish life and his attempts to improve it led him to the advocacy of more equal distribution of wealth and outspoken opposition to the Catholic church. While always popular with the people, he fared less well in literary circles. In 1889 he sought admission to the Royal Academy, an honor he was refused until 1897, and the Nobel Prize went to a contemporary, Jose Echegaray, a writer of considerably less talent. Galdos died poor and blind. Although the government refused him a state funeral, the entire Spanish nation mourned him. English translations of his novels now out of print are The Disinherited Lady (1881), Miau (1888), Compassion (1897), and Tristana.