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Adventurous,
Dramatic,
Brilliant

6 reviews

The Shadow of the Wind
by Carlos Ruiz Zafon

Published: 2005-01-25
Kindle Edition : 506 pages
161 members reading this now
69 clubs reading this now
118 members have read this book
Recommended to book clubs by 6 of 6 members
"Gabriel García Márquez meets Umberto Eco meets Jorge Luis Borges for a sprawling magic show." --The New York Times Book Review

A New York Times Bestseller

Barcelona, 1945: A city slowly heals in the aftermath of the Spanish Civil War, and Daniel, an antiquarian book dealer’s son who ...
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Introduction

"Gabriel García Márquez meets Umberto Eco meets Jorge Luis Borges for a sprawling magic show." --The New York Times Book Review

A New York Times Bestseller

Barcelona, 1945: A city slowly heals in the aftermath of the Spanish Civil War, and Daniel, an antiquarian book dealer’s son who mourns the loss of his mother, finds solace in a mysterious book entitled The Shadow of the Wind, by one Julián Carax. But when he sets out to find the author’s other works, he makes a shocking discovery: someone has been systematically destroying every copy of every book Carax has written. In fact, Daniel may have the last of Carax’s books in existence. Soon Daniel’s seemingly innocent quest opens a door into one of Barcelona’s darkest secrets--an epic story of murder, madness, and doomed love.

“ Anyone who enjoys novels that are scary, erotic, touching, tragic and thrilling should rush right out to the nearest bookstore and pick up The Shadow of the Wind. Really, you should.” --Michael Dirda, The Washington Post

"Wonderous... masterful... The Shadow of the Wind is ultimately a love letter to literature, intended for readers as passionate about storytelling as its young hero." --Entertainment Weekly (Editor's Choice)

"One gorgeous read." --Stephen King


From the Trade Paperback edition.

Editorial Review

No editorial review at this time.

Excerpt

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Discussion Questions

From the publisher's reading guide:

1. Julián Carax's and Daniel's lives follow very similar trajectories. Yet one ends in tragedy, the other in happiness. What similarities are there between the paths they take? What are the differences that allow Daniel to avoid tragedy?

2. Nuria Monfort tells Daniel, "Julián once wrote that coincidences are the scars of fate. There are no coincidences, Daniel. We are the puppets of our unconscious." What does that mean? What does she refer to in her own experience and in Julián's life?

3. Nuria Monfort's dying words, meant for Julián, are, "There are worse prisons than words." What does she mean by this? What is she referring to?

4. There are many devil figures in the story—Carax's Laín Coubert, Jacinta's Zacarias, Fermín's Fumero. How does evil manifest itself in each devil figure? What are the characteristics of the villains/devils?

5. Discuss the title of the novel. What is "The Shadow of the Wind"? Where does Zafón refer to it and what does he use the image to illustrate?

6. Zafón's female characters are often enigmatic, otherworldly angels full of power and mystery. Clara the blind white goddess ultimately becomes a fallen angel; Carax credits sweet Bea with saving his and Daniel's lives; Daniel's mother is actually an angel whose death renders her so ephemeral that Daniel can't even remember her face. Do you think Zafón paints his female characters differently than his male characters? What do the women represent in Daniel's life? What might the Freud loving Miquel Moliner say about Daniel's relationships with women?

7. Daniel says of The Shadow of the Wind, "As it unfolded, the structure of the story began to remind me of one of those Russian dolls that contain innumerable ever-smaller dolls within" (p. 7). Zafón's The Shadow of the Wind unfolds much the same way, with many characters contributing fragments of their own stories in the first person point of view. What does Zafón illustrate with this method of storytelling? What do the individual mini-autobiographies contribute to the tale?

8. The evil Fumero is the only son of a ridiculed father and a superficial, status-seeking mother. The troubled Julián is the bastard son of a love-starved musical mother and an amorous, amoral businessman, though he was raised by a cuckolded hatmaker. Do you think their personalities are products of nature or nurture? How are the sins of the fathers and mothers visited upon each of the characters?

Suggested by Members

https://mppl.org/check_it_out/book-discussion-questions-the-shadow-of-the-wind-by-carlos-ruiz-zafon/
by barblibrarian (see profile) 08/23/16

What books would you recommend for the Museum of Forgotten Books?
This book had several characters with questionable backgrounds, which one surprised you, which one did you think deserved more or did you not like?
by ccroft78248 (see profile) 05/25/15

Notes From the Author to the Bookclub

Author Carlos Ruiz Zafón, thirty-nine, grew up in Barcelona and currently lives in Los Angeles. The Shadow of the Wind has spent more than a year on the Spanish bestseller list, much of it at number one, and has sold in more than twenty countries.

Author Q&A from the publisher:

The Shadow of the Wind takes place in the atmospheric, and very palpable, setting of Barcelona—and in fact, this city becomes one of the novel’s more prominent characters. Why did you choose to locate your story here?

Barcelona is a complex virtual world of Dickensian lights and shadows, beautiful and mysterious. I wanted to bring its history, its soul, alive in this story in a very cinematic, sensorial way. A poet once called Barcelona “the great enchantress.” I was born, raised, and have lived most of my life here and wanted to use my hometown not merely as a backdrop, but as an organic character—to convey its romantic and seductive, yet sometimes dark and dangerous allure.

You chose post-Spanish civil war Barcelona rather than the contemporary city. Why is that?

The first half of the 20th century was a time of tremendous dramatic and historic significance, not just for Barcelona or Spain, but the entire world. I wanted to use this rich, complex historical canvas to explore themes and issues that are as, or even more, relevant today than they were then.

You’re a screenwriter as well as a novelist. How has that influenced your fiction?

Writing screenplays forces you to consider elements of story structure, and a variety of narrative devices, that can be adapted to the more complex demands of a novel. I believe the modern novel should try to capture the scope and ambition of the 19th century classics while making use of the narrative tools the 20th century has left us, from the avant-garde to the images and sounds of the golden screen.

I also think that this book, being a novel of novels and a book within a book, has the reader bring his own literary and cultural references—from classic Greek tragedy to genre fiction to the classics to the language and images of modern advertising or film—and project them into the story. All of these things come together within the texture of the novel and, I hope, will allow each reader discover something of himself in the stories within stories—their hopes and fears, their own humanity mirrored. I think the reader will enjoy the ride, the images, the language, the humor, the suspense, the sense of adventure, and above all the thrill of pure storytelling.

Where did the ideas for The Cemetery of Forgotten Books come from?

This formidable labyrinth of books was the first image that came to my mind for this novel, the first brick in the building. It’s a metaphor of all the vital and important things, ideas, and people we tend to forget or neglect in favor of the banal, empty, and often self-destructive elements in our lives.

Why books? I’m a voracious reader, and I like to explore all sorts of writing without paying attention to labels, conventions, or critical fads. I learn a little from everything I read, from genre fiction to the classics, though if I had to choose a particular pantheon I’d say the great 19th century giants have yet to be beat or even remotely approached. Dickens, Tolstoy, Dostoyevsky, Balzac, Hugo, Hardy, Dumas, Flaubert & Co. Dream Team indeed. The Shadow of the Wind uses elements of the mystery novel, the historical thriller, the grammar of film and image storytelling, metafiction, romance saga, gothic literature, the comedy of manners, and many other narrative devices to create a new genre that goes beyond the sum of its parts. My aim was to allow the reader to experience this world and these characters in a sensory, cinematic, tactile way.

This book has become quite an international phenomenon—still at the top of Spain’s bestseller list, where it was first published in Spanish, and #1 in Germany. Clearly it crosses cultural and national boundaries. Who do you see as the ideal reader for this novel?

I hope this is reading for those who love, really love, to read. I drew on the Dickensian model of creating a complex world populated by intriguing places, peculiar creatures, and infinite details at work. A good novel begins with a universe that should feel to the reader as real and fascinating, if not more so, than the one he inhabited before he picked up the book. This is a novel for those who love to lose themselves in that kind of universe.

Every translation needs some fine-tuning to adapt certain aspects of the context and double meanings. However, I tend to think readers, and lovers of books in general, have a secret nation of their own, and their understanding and intellectual curiosity goes beyond languages, passports, or even the fine points of slightly different cultural and historical contexts.

What do you hope readers of The Shadow of the Wind will take away from your book? I think novels should be an experience. I want my readers to be thrilled, to be moved, to laugh, to cry, and to be terrified. To be stimulated. I want them to have the time of their lives and at the same time to look at the world, and themselves, in a different light. Many readers have told me that The Shadow of the Wind made them fall in love again with books and reading. If my book accomplishes that, I’ll be more than happy.

What can we hope to see from you next?

I’m working on a new novel that picks up the mix of genres and techniques of The Shadow of the Wind and tries to take it to the next level. It is the second in a cycle of four books that I’ve planned in this “gothic Barcelona quartet,” a sort of narrative kaleidoscope of Victorian sagas, intrigue, romance, comedy, mystery and “newly” fashioned old fashioned good storytelling.

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