October book review: 'The Shadow of the Wind', by Carlos Ruiz Zafón

 Image credit: Subterranean Press

Book: The Shadow of the Wind, Carlos Ruiz Zafón

Publication date: 2001

WCRG meeting:  28 October, 2015

Group rating: 8.6

The Wolfson Contemporary Reading Group convened in Plommer A for its October meeting, where all enjoyed a lively discussion of Carlos Ruiz Zafón’s 2001 bestselling novel, The Shadow of the Wind.

High praise was given for Zafón’s evocation of Barcelona and his ability to distil the essence of the city and the volatile period in history. Those among our number who are familiar with the city were very impressed by Zafón’s attention to detail, and felt that he skilfully captures the sights, sounds and smells of the Spanish capital. For those to whom Spain is less well-known, Zafón’s lavish descriptions brought the city to life. Zafón’s Barcelona is a city of blood and dust, of bitterness and despair, rather than a picture-perfect representation of the city sold to tourists. Two of our number read the book in its original Spanish and appreciated the richness of Zafón’s prose and his injections of humour into the narrative. One member, who had also read the book in its English translation, remarked on the quality of the translation, although some felt that the colloquialisms did not always translate well, and that there were one or two instances where modern terminology was used incorrectly given the mid-twentieth century setting of the novel (a fault of the translator rather than the author, however).

A reader familiar with Spanish literature noted that Zafón’s novel pays homage to many of the Spanish literary greats; with Zafón alluding to characters and themes which a Spanish reader would recognise and appreciate. In particular, Galdós’ Fortunata y Jacinta was felt to be an inspiration for the novel’s focus on revenge and illicit love affairs. Zafón began his writing career in children’s fiction, and this clearly informs his writing style. As with Paver’s Dark Matter (a book previously read by the Reading Group), where the author had also written children’s stories, Zafón’s clear and engaging manner of storytelling owed a lot to his previous writing projects, which many appreciated.

All agreed that the book was a ‘page turner’, which built up the anticipation and excitement of the reader throughout. Zafón’s strong characterisation was also remarked upon - some felt it was Dickensian in its abundance of detail and commitment to fleshing out all of the characters, even the minor ones. Every character was vivid and authentic, although some disappointment was expressed at the under-usage of Daniel’s father. Fermín proved a particular favourite as a tragi-comic character, and all were moved by his relationship with Daniel and the willingness of Daniel’s father to take in a fellow Republican sympathiser, who had been beaten for his beliefs. One member in particular commented on the character of Clara, who is not the stereotypical character of the gentle, angelic blind girl. Daniel strove to create an ethereal facade for Clara, but his discovery of her relationship with the music teacher revealed that she is a flesh and blood woman, with the same human desires and flaws as everyone else.

History and memory were felt to be very strong themes in the novel. Although some were of the opinion that the backdrop of the Spanish Civil War was oversold in promotional blurbs for the book, most agreed that the effects of the war were used subtly throughout the story. The parallel stories of Daniel and Julián highlighted the mirroring of events through time, the dangers of history being repeated, and the opportunities for change. Lessons were learned from a war in which brother fought brother, and a character like Bea’s father exemplified why it could be better to compromise one’s principles in order to keep one’s family, rather than slavishly following those principles into ruin. However, the power of the past could be seen in Daniel’s dead mother’s ghostly presence in the story and in Fumero’s obsessive quest for destruction fuelled by past grievances. The Cemetery of Forgotten Books was largely dispensed with early on in the story, but its allusions to memory and lost generations was powerfully felt throughout the novel.

Some of the group found Zafón’s style of writing a little too verbose and florid, and one member memorably remarked that Zafón ‘missed using the delete button’. The painstakingly drawn-out conclusion and the repetition of details, especially in the device of Nuria’s letter, was felt to be rather tiresome by some members. Some were also disappointed with the ending, feeling that everything was concluded too neatly. One member also expressed disappointment at the fact that Julián Carax’s famous novel was never described in detail - what was so great about it to make it inspire so many people?

Great enthusiasm was expressed for this novel by first-time readers and most of those who were reading it for a second (or third) time expressed their continued fondness and admiration. ‘The Shadow in the Wind’ scored a very impressive 8.6, not simply in response to Zafón’s writing style, but as a result of the sheer enjoyment experienced while reading it.