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Introduction: The Imagery of Interior Spaces and the Hazards of Subjectivity

  • Dominique Bauer (author)
Chapter of: The Imagery of Interior Spaces(pp. 21–34)

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Metadata
TitleIntroduction
SubtitleThe Imagery of Interior Spaces and the Hazards of Subjectivity
ContributorDominique Bauer (author)
Landing pagehttps://punctumbooks.com/titles/the-imagery-of-interior-spaces/
Licensehttps://creativecommons.org/licenses/by-nc-sa/4.0/
CopyrightBauer, Dominique
Publisherpunctum books
Published on2019-03-29
Long abstractIn Benito Pérez Galdós’s first and little known novel La Fontana de oro (The Golden Fountain, 1870), the señoras de Porreño y Venegas, descendants of an illustrious noble family, live in a humble, insignificant and decaying house on the Calle de Belén in Madrid. The exterior does not seem anything much and does not reflect the impressive lineage of its dwellers, as Galdós notes in his typical ironic tone. The interior is depressing, dirty and dusty. The walls of the anti-chamber are filled with portraits of five generations of Porreños. Some of these have holes in the ancestors’ faces, or have lost their color. All of them are covered in that kind of “classical dust the antiques dealers like so much.” Time stands still in the humble house of the Porreño family. The clock in the house had stopped ticking at midnight on December 31st of the year 1800, and ever since, every moment is that very last moment. The frozen-in-time clock prevents the interior from evolving into the new century and the new political reality that is central to the novel. In a sense, since the last tick of the broken clock no further new “moments” in the Porreño house have passed. Everything in the house has become a lengthened here-and-now of a secluded past, long vanished in the turbulent and aversive world outside that opposes the conservative Porreño interior, so distinct from its insignificant exterior.
Page rangepp. 21–34
Print length14 pages
LanguageEnglish (Original)
Contributors

Dominique Bauer

(author)