Chekhov COMMENTED DE ANTÓN CHÉJOV 
said
Chekhov Anton Chekhov
editing and foreword by Sergi Bellver
Comments: Jon Bilbao, Matías Candeira, Luis Alberto de Cuenca, Oscar Esquivias, Ignacio Ferrando, G Ippolito . Navarro, Víctor García Antón, Eduardo Halfon, Juan Carlos Marquez, Ricardo Menéndez Salmon, Elvira Navarro, Luis Salvador, Marta Rebón, Care Santos, Eloy Tizon and Paul Elder.
Translators: James and Marian Womack
Nevsky Prospects, 2010 318 pp
That
22.50 euros by now a classic is necessary it may seem little more than a truism. Much more if the classic is a nineteenth century Russian author and is Chekhov's last name.
I was able to attend the book launch Chekhov said that perhaps also served to presentation of the publishers, Nevsky Prospects, in Barcelona. There were translators, and Marian James Womack, his editor, Sergi Bellver, one of the commentators, Jon Bilbao, Fernando Clement and the writer as master of ceremonies. In his words, in the words of the editor, Sergi Bellver, and in these words, one finds the explanation to the question. Sure there who can ask, I do not know whether rightly or wrongly, what need was there to re-translation of Chekhov (1860-1904) and re-publish his works because we have already reached several editions and are also found in his pocket (I myself possess, at least a couple of editions of Chekhov's stories: Lady Dog and Other Stories , Ed Orbis, 1982 and Tales of Chekhov , Ed Vergara, 1964, in addition to a collection called Russian Teachers , in which the third volume of Chekhov stories also appear, ed. Planeta, 1962) Perhaps we should explain that marks the 150 anniversary of Anton Chekhov but also should go into the ultimate purpose of the book is nothing more than establish a vision of the Russian author from the perspective of sixteen contemporary writers. The eldest born in 1950, the youngest in 1984. And this view leads to different perspectives, reviews and even a story and a fun way of J'acuse . But do not get ahead of ourselves. Perhaps first say what we will find in the book. Initially the introduction of Sergi Bellver. Then a total of sixteen stories by Chekhov and also sixteen comments about those stories. Comments that come from the following authors: Jon Bilbao, Matías Candeira, Luis Alberto de Cuenca, Oscar Esquivias, Ignacio Ferrando, G. Ippolito Navarro, Víctor García Antón, Eduardo Halfon, Juan Carlos Marquez, Ricardo Menéndez Salmon, Elvira Navarro, Luis Salvador, Marta Rebón, Care Santos, Eloy Tizon and Paul Elder.
From the foreword by Sergi Bellver strongly recommend reading the last paragraph - actually recommend reading it all, but this particular - it is a supreme example of love of literature and a statement of intent. Suffice it to a small part of the text as an example: "We write because we believe that our readers can look light reality the same way in which we perceive or, better yet, in a different way but complementary to ours. We write to ask ourselves together "(p.24).
One may share or not the selection of stories. Some people will miss the dog lady, or perhaps someone else. I am particularly grateful for the publication of Sadness , Enemy, Misery and Oysters.
All of them find one of the key features of the Chekhovian narrative based on the importance of detail. Chekhov is a master at creating a narrative out of nowhere, for example in Pequeñeces or The clerk . In its thoroughness construction and not long ago spoke on the occasion of the review of Notebook, foam-Ed Pages Company, 2010 where we can find the intricacies of his writing. Secrets I'm going to try to highlight the stories of this Chekhov said. Because not only is a master of detail, it is also of psychology in the construction of the characters. The Fine presents us how a similar event caused us a different effect depending on the time when we arrive. In the story you get to see the psychological depth with which Chekhov presents his characters. I'm also with words of Luis Alberto de Cuenca your comment: "the habit does not beget sorrow, but renunciation, conformism, resignation" (p. 44). But Chekhov is primarily an author he walks with his feet on the ground, is a doctor and hates ignorance and superstition because it captures the damage it can do. The mystery is an allegation against fraud and ignorance. A complaint of his own stupidity. Even an important personality like Navaguin adviser, may be misled by superstition. As resolved Ignacio Ferrando is a "recognition of one's stupidity" (p 57).
Matiz to nuance we ran House mezzanine where Chekhov presents the impossibility of love between two opposite worlds: that of an artist, cultivated and elite, and the teacher, Lida, who lives the harshness of reality. Although not strictly women Missius, the painter who falls in love, but which prevents the pairing. The story also highlights the content of the heated discussions that keep the teacher and painter who shows the disparity of both worlds. In his commentary, Eloy Tizon Chekhov emphasizes the ability to "capture its fleeting nuances fine mesh" (p.87), those little nuances that the author used to build stories and which I have already spoken. And when the detail becomes the point that awaits final fatal comes I want to sleep . A story in which the reader comes to take the place of the protagonist, the nanny Varka, and justify the end that awaits, despite the cruelty because reality is too cruel. Slave day and night and unable to rest even one minute. Eduardo Halfon wonders if "Is not it a trifle raw material storyteller" (p. 100). Triviality and shade, tint which is more than reason to commit an act so despicable as murder but also is the only way to undo an injustice. In that cruelty is the protagonist of clad man , tells why a man is allowed to die be ridiculed. Luis Salvador rightly emphasizes the nature of a being "intractable, trapped by social norms and the" what-say "(p.129). Cruelty that justifies the actions of Yakob on Rothschind's violin and we unraveled a story of repentance. Marta Rebón relates the story's main character, Yakob, with the author, in both art gives them a sense of life as both Yakob, violinist, as the author himself living in two worlds: as a manufacturer Yacob Coffin and Chekhov as a doctor. Writing music and give them a reason for life, I argue that since we played in the story mezzanine House where the artist maintains a position in which the world stands by his love of art.
Chekhov is also common in the courteous satire that is manifested in many stories. In Moscow a bohemian author has only one thing to do in life. Suicide. Óscar Esquivias captures well the essence of storytelling to deconstruct it and create a new account, Tremble Philistines.
then come three of the stories that I really liked: Sadness , Enemies and Misfortune. In Sadness highlights the penalty that produces no knowledge of the loss suffered by the protagonist, a coachman, but the misfortune of not knowing heard by anyone. Chekhov avoids sentimentality, unlike what would a romantic author. Víctor García Antón highlights the resignation "to share his life with other men" (p. 177) to feel rejected by those around him.
Enemies In delves into the contradiction of two adverse circumstances. On the one hand the death of a child and the other the near-death of a wife. The author will draw the thread to show us the reason for this contrast in which Ricardo Menéndez Salmon points out in a superb analysis of the history of doom and the impossibility of forgiveness which crushes us literature and carveriana Chekhovian in a text of literary analysis highly recommended.
In Misery we move from quasi-terror doom with a gore point, even. And incident to a physician reappears figure of the doctor being the main character has been more of a story.
Grisha speaks of the tenderness of the discovery of reality by a child.
Confession leads to Paul Old to create a hardened against Chekhov's text as a J'acuse , whose home is more than a statement of intent by way of entertainment: "It happens too often that perhaps Chekhov, as the military of any country that has never engaged in combat, the value is presumed" (p. 261). Try the reader-agree or disagree with the commentator, follow the reasoning, at least literarily interesting exercise.
The last story, oysters, appears to be a premonition of Chekhov's immediate future after his death, as is highlighted Hipólito G. Navarro. Chekhov was transported after his death by a train loaded with oysters, whose car was deposited for preservation.
After this small but shallow tour of the contents of the book and after reading it and not to care, but with delight, I can say not only that Chekhov said is a good book, but I would say is one of those books that we can not ignore if we love literature, though we have the misfortune not to be Russian to read it in its original language.
I read that it was his most ironic and fun. But I tend to emphasize details that had not read in other works of Jane Austen, or at least that I remember. This is my fifth book Austen. 
