By Javier Moro
El 30 de noviembre de 1803, una corbeta zarpa del puerto de l. a. Coruña entre vítores y aplausos. En su interior viajan veintidós niños huérfanos cuya misión consiste en llevar l. a. recién descubierta vacuna de la viruela a los territorios de Ultramar. Los acompaña Isabel Zendal, encargada de cuidarlos. Los héroes de esta descabellada expedición, dirigida por el médico Francisco Xavier Balmis y su ayudante Josep Salvany, sobrevivirán a temporales y naufragios, se enfrentarán a los angeles oposición del clero, a l. a. corrupción de los oficiales y a l. a. codicia de quienes buscan lucrarse a costa de los desamparados. Si al ultimate esta aventura se convirtió en los angeles mayor proeza humanitaria de los angeles Historia, se debió no sólo al coraje de aquellos niños que se vieron abocados a salvar las vidas de tantísima gente, sino también al arrojo de los dos directores, hombres sin miedo que se disputaron el amor de l. a. única mujer a bordo. A raíz del descubrimiento de l. a. identidad de Isabel Zendal, Javier Moro, autor de Pasión india y El imperio eres tú, reconstruye una prodigiosa epopeya de l. a. mano de un personaje femenino inolvidable. Los protagonistas de A flor de piel, desgarrados entre l. a. pasión de salvar al mundo y l. a. necesidad de salvarse a sí mismos, son como luces en el horizonte oscuro del ultimate de una época.
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Additional info for A flor de piel
Their rival, competing works attest to a state of literary trench warfare, a Darwinistic contest over realistic representation as well as the very nature of reality itself Meckier's model has much in common with Levine's notion of realism as an evolutionary and evaluative mode; however, one benefit of Meckier's paradigm is that it strives to maintain the specific generational and historical divisions that Levine's seems to erase. For Levine, 26 • Introduction realism becomes an exceptionally fluid and assimilative mode, constantly enfolding its previous manifestations.
As the conclusion to the present study discusses, Martin himself continues to scrutinize his relationship to mimesis and postmodernism, continuing his dialogues with literary tradition and his father. TheAmises, Tradition, and Influence 29 For these reasons, the Amises' unique version ofgenealogical dissent ultimately eludes classification within Bloom's, Eliot's, Levine's, or Meckier's parameters. Although Kingsley and Martin share Eliot's reverence for tradition, they impose themselves much more actively upon it in works that are potent expressions of literary personality.
34 Realism thus exhibits a progressive, not static, impulse: it moves from thesis to antithesis to synthesis, constantly begetting its opposite and internally generating its generic environment. In addition, it becomes necessary to speak of plural realisms for the simple reason that depictions of reality constantly war with previous, outmoded versions. Finally, there exists an intrinsic moral value to such debates: the modernist rallying cry of art for art's sake, which underlies Eliot's ideas, for example, was always more than an artistic dictum or parodic reappraisal; it was also a potent social weapon and an ideological imperative, an affront to previous literary evolutions.