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Solitaire of Love
From Publishers Weekly
The Uruguayan-born author of 20 novels (Dostoevsky's Last Night; A Forbidden Passion) offers a slim but intellectually rigorous meditation on the slippery, often illusory nature of love and the ways in which lovers alienate each other through words, sex and obsession. Peri Rossi shows how desire can at once marginalize, destroy and construct a sense of identity, using the vehicle of an affair between her unnamed male narrator and his beloved, Aida. Consumed by passion, the narrator becomes isolated from society and reality and is facing a self-destruction he seemingly craves. At the same time, it is his relationship with Aida that gives him an identity, as her body becomes the only thing he understands as real, though he projects so many unbalanced fantasies onto this body that he effectively reimagines Aida as an impossibility. He tries to create an inner paradise by imagining himself as Aida's unborn child; other times, he wants to be her husband, her worshiper, her possessor. The story unfolds in a fluid, nonlinear, poetic fashion, and Peri Rossi magnificently combines intense sexual imagery with a lucid and enigmatic philosophy of erotic love. The nature of language, especially the inadequacy of language to express sexuality, is also cleverly examined throughout: words are repeated and meanings explained so often that they lose their effect and intent as surely as the narrator loses his identity. This hyperintelligent language play may alienate readers unfamiliar with the novel's underpinnings of psychoanalytic theory, but those who enjoy the intellectual and sensual pleasures of Duras or Kundera will appreciate this treatment of alienation, sexuality and power. (Aug.) Copyright 2000 Reed Business Information, Inc.
From Library Journal
A Uruguayan writer living in Spain, Rossi offers a first-person narrative of sexual obsession. The narrator is fatally fixated on the body of the forcefully named Aida, whose conversation is made up of meaning-laden statements, as reported by the narrator. Most of the book consists of detailed descriptions of Aida's body in various states of dress and undress but includes the narrator's preoccupation with his own sexuality and variously interpreted vignettes of the narrator's encounters with Aida's young son, her ex-husband, and a shadowy confessor. The narrator's solipsism oscillates between adult and adolescent eroticismDhis use of the word key for the male organ, for example, is exceedingly symbolicDwhich makes the book intermittently sexy and exasperating. In the end, Aida inexplicably breaks off the affair, refusing to see the narrator. The reader is left with a portrait of self-eroticism in which the object takes little part. Recommended for readers interested in the European art novel.DHarold Augenbraum, Mercantile Lib., New York Copyright 2000 Reed Business Information, Inc.
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