In the tumult of the queue, the two accidental friends hugged each other, held hands, kissed and left tangled without entering the concert.
She was wearing her school uniform and a parka because the exit had come suddenly I had acne and I was a little sad in life because nobody paid attention to him in his family of eight siblings. One night, Lulú was going with Pablo, the friend of one of her brothers, to a concert by a singer-songwriter in the old Real Madrid Pavilion, north of La Castellana. Therefore, 32 years after its publication, it is still disturbing.Ī summary: at the beginning of the novel, Lulú is also called María Luisa, Pato and Marisa and she is a teenager whom assails as revealed truth the certainty that sexual pleasure, love, humiliation and pain are rooms that are communicated through secret doors, just like it happens in the mansions of horror movies.
The word realistic has come out and it is fair to say yes, that The ages of Lulu has something deeply realistic about his story, but he’s not conformist like much of the literature of that time back to order. In front of them, The ages of Lulu it was a historical leap: Through eroticism, Grandes spoke of the society and politics of Spain in the 80s, drew a novel of initiation to adulthood alien to all topics and, in his realistic zeal, renounced figurative language, more or less less painter: Lulu talked about pussies and cocks and not about clappers or cat flaps. On the other, the elitist and Frenchified literature of all the admirers of Bataille and Sade who had come out of the Spanish universities of the 60s and 70s. What was understood by “culture of eroticism in Spain” before The ages of Lulu? Two things: on the one hand, the great vein of uncovered cinema, vaudeville, comical and a bit uncouth. The Madrid writer, who died today in Madrid at the age of 61, debuted in 1989 with The ages of Lulu, an erotic novel that reached 25 editions (that’s not counting their later lives in Tusquets, already out of the collection) and that changed the culture of eroticism in Spain. However, all his best sellers they were female: Wilhelmine Shroeder-Devrient, Mercedes Abad, Elizabeth McNeill, Pauline Réage … And, above all, Almudena Grandes. An almost funny contradiction: according to data taken from a doctoral thesis by Estrella Díaz Fernández on the La Sonrisa Vertical collection, only one out of every six books published by the pink label was written by women.
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