By Rainer Maria Rilke
«El colorido y los angeles plasticidad de las descripciones, los angeles reproducción prolija y cuidadosa del trasfondo de l. a. época y los angeles asombrosa legibilidad son tres de los rasgos que distinguen este libro de un narrador tan sabio como sereno.» Marcel Reich-Ranicki
En 1902 Rainer Maria Rilke llegaba a París para conocer a Auguste Rodin, de quien acabaría siendo secretario durante un año. El disgusto y el sentimiento de desubicación que le produjo los angeles ciudad le inspiraron un proyecto de novela en primera personality que acabaría construyéndose alrededor de una identidad en peligro: un joven descendiente de un aristocrático linaje danés, pero pobre, atemorizado, sin familia ni amigos, que deambula por un París ruidoso y masificado, lleno de enfermos y mendigos que parece que le acosan y le ofrecen una visión de l. a. miseria de l. a. que se huye pero que finalmente hay que mirar de frente. Este personaje sería al fin el sujeto de un libro con un sentido de l. a. composición inédito en su día pero que hoy, más de un siglo después, relacionaríamos con los llamados «géneros fronterizos». Problematizando su condición de novela por su distanciamiento con el yo íntegro y satisfecho de los angeles tradición decimonónica, recreando los angeles falta de unidad de un cuaderno de notas −«como si se encontraran en un cajón una serie de papeles desordenados y, de momento, hubiera que conformarse con lo encontrado»−, mezclando recuerdos de infancia con evocaciones literarias e históricas −reyes locos, mujeres amantes y no amadas, hermanos en discordia, santos−, Los apuntes de Malte Laurids Brigge (1910) ha llegado a considerarse, según el poeta Hans Egon Holthusen, «una de las obras más rupturistas de l. a. literatura moderna». Esta nueva traducción de Juan de Sola recupera el poder y el misterio del lenguaje indagador de Rilke y transmite su sentido en l. a. actualidad.
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Kuei-ch’ing. See Li Kuei-ch’ing. Kung Kuai (1057–1111), left provincial administration commissioner of Shantung. K’ung, Auntie, go-between in Ch’ing-ho who represents Ch’iao Hung’s family in arranging the betrothal of Ch’iao Chang-chieh to Hsi-men Kuan-ko. K’ung family of the Eastern Capital, family into which P’ang Ch’un-mei is reincarnated as a daughter. Kuo Shou-ch’ing, senior disciple of Shih Po-ts’ai, the corrupt Taoist head priest of the Temple of the Goddess of Iridescent Clouds on the summit of Mount T’ai.
Kou Tzu-hsiao, professional actor from Su-chou who specializes in playing male lead roles. Ku, Silversmith, jeweler in Ch’ing-ho patronized by Li P’ing-erh and Hsi-men Ch’ing, employer of Lai-wang after he returns to Ch’ing-ho from exile in Hsü-chou. Kuan, Busybody. See Kuan Shih-k’uan. Kuan-ko. See Hsi-men Kuan-ko. Kuan Shih-k’uan, Busybody Kuan, a dissolute young scamp upon whom Hsimen Ch’ing turns the tables by abusing the judicial system. Kuan-yin Nunnery, abbess of, superior of Nun Wang, frequent visitor in the Hsi-men household.
See Li Kuei-chieh. Kuei-ch’ing. See Li Kuei-ch’ing. Kung Kuai (1057–1111), left provincial administration commissioner of Shantung. K’ung, Auntie, go-between in Ch’ing-ho who represents Ch’iao Hung’s family in arranging the betrothal of Ch’iao Chang-chieh to Hsi-men Kuan-ko. K’ung family of the Eastern Capital, family into which P’ang Ch’un-mei is reincarnated as a daughter. Kuo Shou-ch’ing, senior disciple of Shih Po-ts’ai, the corrupt Taoist head priest of the Temple of the Goddess of Iridescent Clouds on the summit of Mount T’ai.
