Esta vez no busqué información del autor, no investigué sobre su vida, y para ser sincero ni siquiera tenía conocimiento de que era ruso por tanto, toda mi ignorancia generó malos resultados por no prepararme adecuadamente para conocer la pluma del autor. Esta vez me he equivocado porque actué precipitadamente, ya que me confié en exceso de que siempre tendría suerte leyendo un relato al azar de un autor desconocido. La culpa es completamente mía: Hay momentos donde elegimos bien, y otros donde elegimos mal, es lo más normal de la vida. ¡Qué pereza de cuento! No me ha gustado, pero para nada. And-speaking for one reader at least-I accepted it without thinking, and-from this point on-Gogol had on completely his spell. If the reader will accept this absurdity, he will accept anything. It owes much of its ineffable power, I believe, to its early, daring and dreamlike shift from a nose-sized nose to a human-sized nose stepping down from a carriage, a shift Gogol accomplishes without any attempt to explain or excuse the transformation. This is a miraculous piece of fiction, and-like all miracles-it doesn’t open itself readily to convincing explanations. But of course, although the nose may be self-referential, it is also phallic: what better symbol for a man deprived of the accoutrements of power than a missing, errant nose?

Why a nose? Well, Gogol had an odd shaped nose, which we know because he himself ridiculed its appearance in his letters, and I take that as pretty good evidence other people made fun of it too. But, worse than all this, is the fact that that his former nose is now wearing a uniform, and the nose’s rank is higher than that of the “Major” himself. Petersburg streets and spies what he is sure is his nose (also muffled) leaving a carriage and entering into the house of an important official. The story then shifts to the awakening Major Kolyakov, who soon realizes his nose has absconded, leaving behind nothing but a space in the middle of his face “as flat as a pancake.” Soon-muffled, concealing his shame-he goes out onto the St. Our tale begins as Yakovlevich the Barber cuts into his breakfast roll and recognizes-concealed inside his morning pastry-the wandering nose of “Major” Kolyakov the College Inspector, which he then discards surreptitiously, near the river. Petersburg (including the essential bridges, buildings and monuments), a savage criticism of the way petty bureaucrats jockeyed for position within Russia’s complex government classification system, as well as a critical examination of the nature of story-telling itself. Gogol’s “The Nose” (1835), is an early triumph of surrealism, daring and delightful in the way it jars and disjoins one reality from another, but it is also a vivid realistic depiction of the sights and sounds of early 19th century St.

The nose by nikolai gogol