The first pages of this novel is written in the middle of a riot that squashes lexical: terms taken from the high culture, mixed with erotic images are in clear prose but a bit convoluted. If you are used to brief narration of the facts or more everyday language, it must make efforts to overcome those initial lines and into the main conflict of this novel Potdevin Phillipe, who has already been awarded his work Metatron. The Ottoman tells the story of a professor who falls in love Scipino Morgan, a teacher who comes to the Upper Meuse, gathering place of intellectuals. Towards the beginning of the work, Scipino stealing some personal documents Morgana in which she says she feels sexual pleasure only if abducted or taken violently. Scipino establishes a relationship with the teacher and, in fact, submitted through exercises that combine sexual violence. But Morgan decided to leave Scipino suddenly begins to have premonitions that something bad will happen. She decides to visit her one night in his cabin and on that journey he meets Edward Telmo and who will reveal some secrets of women. The ending is a bit predictable and involves a death.
Since the use of language and treatment of actions, the novel exploits the erotic and delight in the word and as a combination of life and death in the sexual act. In the first case uses metaphors are trying to escape the commonplace, when it comes to erotic relationships, although sometimes, as when comparing a sword with the penis-the attempt seems to fail.
The language is suggestive and sexual relationship viewed from the approach of the bodies and the waste of the senses rather than from the stark intercourse. Even in scenes that mix sex and violence, the narrator is careful to avoid exceeding the limits of the descriptions that reveal, in what would be a real pornotexto-all amorous mysteries.
In this sense, the actions take the slow pace of contacts who want to dwell on the detail of the skin and eyes. Thus, the relationship of the narrator Scipino Morgana and slows down the moments of meeting, focusing on the little things that run to get pleasure. The slowdown produces anxiety in the reader-voyeur casual, whom the story has no accelerations. The best scenes in the novel are specified at the time in which the discovery of the climax is preceded by erotic rituals.
However, neither the lexical knowledge, or the speed of the narrative just manage to hide some weaknesses. First, occasionally soporific exaggerated topographic description becomes a narrative that could have been more dynamic. Fixation in securities or the atmosphere of the place, succumbing ends force the central story among teachers. A discussion that should join them full of scholarship that at times are not articulated with the axis of the work.
But the most uncomfortable is the sudden force of two characters-Edward and Telmo, at the end of the novel. It is true that we have talked about both in the narrative, but his actions consistently obscured by the narrator, end up being an excessive importance to the final. The reader feels as compared to the old storytellers of detective novels that concealed important facts in the aftermath of the novel, take them out from under his sleeve and try to impress. It is a strategy that, as artificial, is uncomfortable.
Perhaps these two items should add a third which is the predictable end: a death in the games generated between sex and violence, that is, a pleasant death. Would seem to confirm that you are talking about eroticism, which, from Bataille is, in general, the combination of life and death. The above elements
I suggest a reading of erotic novel as a work of balance, which at times amounts but which is also perceived gaps. For average readers can scare the novel by the profusion of terms and little acceleration in the actions; for lovers of the erotic scenes are worth, for academics, maybe there in The Ottoman gaps and commonplace. Leonardo Monroy Zuluaga
Book Details:
Potdevin, Phillip. The Ottoman. Bogota: Colombia Metro, 2005.
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