Niebla

In The Great Chiasmus, Paul R. Olson explores the use of the chiasmus in the work of Miguel de Unamuno. The chiasmus, a reversal in the order of words or parts of speech in parallel phrases, appears on a variety of levels, from brief microstructures (blanca como la nieve y como la nieve fria), to the narrative structures of entire novel. Olson even suggests the chiasmus encompasses the stages in Unamuno's novelistic work, forming a chiasmus that can be schematized as ABC: CBA. As a phenomenon of enclosure, the chiasmus is related to other enclosing phenomena such as the image of Chinese boxes and the mise en abyme. These structures, three-dimensional version of the chiasmus, are also frequent in Unamuno's texts. The chiasmus is also found on the conceptual level, in which Unamuno regards apparent contraries as freely reversible and thus identical. From early adulthood he was fascinated by the Hegelian idea of the identity of pure Being and pure Nothingness, and that concept provides the structure underlying a wide variety of his paradoxes and verbal conceits. In this connection, Unamuno explores concepts usually considered opposites, such as mind and body or spirit and matter. Olson's close readings of the texts in terms of this structure lead to observations on Spanish history, events in Unamuno's life, the psychological dimensions of his characters, and the authorial self that is found within his texts.

Mist (Niebla), published in 1914, is one of Miguel de Unamuno's key works; a truly Modernist work of Europe-wide significance which aims to shatter the conventions of fiction, using the novel as a vehicle for exploration of philosophical themes. The plot revolves around the character of Augusto, a wealthy, intellectual and introverted young man and his love affair with Eugenia, which eventually ends in heartbreak. Augusto decides to kill himself, but decides that he needs to consult Unamuno himself, who had written an article on suicide which Augusto had read. When Augusto speaks with Unamuno, the truth is revealed that Augusto is actually a fictional character whom Unamuno has created. Augusto is not real, Unamuno explains, and for that reason cannot kill himself. Augusto asserts that he exists, even though he acknowledges internally that he doesn't, and threatens Unamuno by telling him that he is not the ultimate author. Augusto reminds Unamuno that he might be just one of God's dreams. Augusto dies and the book ends with the author himself debating to himself about bringing back the character of Augusto. He establishes, however, that this would not be feasible. Following on from his translation of Abel Sanchez , John Macklin's edition provides a much needed new English translation, alongside the Spanish text, together with a substantial introduction.

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First published in 1928, this classic -- a study of the megaliths of Spain, ancient writing, cyclopean walls, sun worshipping empires, hydraulic engineering and sunken cities -- is now back in print after 60 years. Learn about the biblical Tartessus, Atlantean city at Niebla, the Temple of Hercules and the Sun Temple of Seville, Libyans and the Cooper Age, and more.