By Herman Melville
Bartleby, el escribiente es una de las narraciones más originales y conmovedoras de l. a. historia de los angeles literatura. Melville escribió este relato a mediados del siglo xix, pero por él no parece haber pasado el tiempo. Nos cuenta los angeles historia de un atypical copista que trabaja en una oficina de Wall road. Un día, de repente, deja de escribir amparándose en su famosa fórmula: «Preferiría no hacerlo».
Nadie sabe de dónde viene este escribiente, prefiere no decirlo, y su futuro es incierto pues prefiere no hacer nada que altere su situación. El abogado, que es el narrador, no sabe cómo actuar ante esta rebeldía, pero al mismo tiempo se siente atraído por tan misteriosa actitud. Su compasión hacia el escribiente, un empleado que no cumple ninguna de sus órdenes, hace de este personaje un ser tan extraño como el propio Bartleby.
El libro está ilustrado por Javier Zabala, Premio Nacional de Ilustración 2005.
«Bartleby, que facts de 1856, prefigura a Franz Kafka. Su desconcertante Protagonista es un hombre oscuro que se niega tenazmente a l. a. acción. El autor no lo explica, pero nuestra imaginación lo acepta inmediatamente y no sin mucha lástima. En realidad son dos los protagonistas; el obstinado Bartleby y el narrador que se resigna a su obstinación y acaba por encariñarse con él.»
Jorge Luis Borges
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Additional resources for Bartleby, el escribiente (Mini Ilustrados)
Or is it rather, as Kathryne V. 41 The very desire to put the question in that form, however - either the democratic masses or the writer - is, as we shall see, one of the central targets of Pound's early project. It is true that in his early work the model for the healthy, unalienated individual is usually (sometimes implicitly) the artisan. But that is a long way indeed from saying that Pound's early critique is elitist (as the storied history of the artisan figure in the annals of Marxist criticism ought to make clear).
S. 72 This is significant, I think, because it indicates that his efforts on Frost's behalf were conducted not because Frost's work held up a mirror to his own proclivities but rather because this worn American had achieved an individuality of voice and production as far as could be from Pound's own, one that needed not only to be respected but to be actively promoted because of, not in spite of, its difference. 73 It is the lack of aesthetic common ground between the two men that makes these two short pieces particularly revealing in the context of Pound's early project.
How else to explain the unmistakable echo in Pound's essay on James of what Emerson himself had articulated so eloquently seventy years earlier in the essay "Politics"? There, he had written, "Whenever I find my dominion over myself not sufficient for me, and I undertake the direction of [my neighbor] also, I overstep the truth, and come into false relations to him. . " James possessed that will toward particularity and precision which would form the political text not only of lmagism writ large but also of the judiciously cadenced portraits of Hugh Selwyn Mauberley, Pound's self-professed attempt to condense the James novel.