GENDER, NARRATOR, DESCRIPTIONS, DIALOGUE The novel, despite the fact that Carmen Laforet denied it was an autobiography, contains elements of the genre, not only by the first person, but by the similarities between Andrea and the writer (the author's age and the narrator as well, both have traveled to Barcelona to study Arts, staying at the house at Aribau and eventually go to Madrid). Andrea is the narrator of the story, and therefore their view is subjective, omits details and select the details of reality that interest you or you want to highlight. So, hidden information from the different stories that intertwine in the story. And not only are stories that are not complete, since some final chapter are not explained, leaving an image of mystery. His vision is becoming more introspective and thoughtful, consistent with their personal maturation. In addition, Andrea is not an omniscient narrator, but a witness who seek to reconstruct the memory of a time. In the novel, as claimed by Juan Ramón Jiménez, just nothing happens, so it belongs to the novels without issue. Stand descriptions, often subjective, as in the description of the housing Aribau Street, which seems typical of a Gothic tale. The impact is such that the narrator comes to feel fear, it creates an atmosphere close to the tales of terror. This murky reminds the black paintings by Francisco de Goya nightmare situations, the monstrosity of the figures and the darkness that characterize the floor of the street Aribau. In contrast, external descriptions appear bright, and Andrea's attitude toward them is that of contemplation and admiration. To dominate the slow pace and the descriptions, there are many times imperfect, adjectives and abstract nouns.
In addition to the descriptions, we cite also the dialogues, some of them noted for their naturalness, as the time when Andrea, who has the flu, talk with your grandmother.
STYLE Since its inception, was praised Nothing plain and simple style of his prose. However, the simplicity lies a sophisticated design with a predominance of high strength plastic images of light and color. Therefore, the style is impressionistic, attempts to capture a fragment of stagnant life without air, dirt, a bitter taste, a strange light, as they say the verse of Juan Ramón Jiménez leading the novel. The narrator tells his feelings, his impressions, and readers, as it does to an impressionist painting, with his eye reconstructs the strokes that are on the table. Subjectivity and the reflection of the feelings of Andrea are manifested in the presence of verbs of doubt, perception and reflection (note, apparently have the impression ....) The description recalls the world of sensations at times to Prout and his novel In Search of Lost Time. At other times however the expressionist style is the strain to submitting the description of the environments (especially the family home or some characters), which comes to the cartoon, or animalization and commodification to which subjects characters (remember that men and animals live on site and are identified on occasion). This aesthetic of dark and strange, it allows the author to build a stuffy atmosphere. In this regard, noted the influence of Goya's Black Paintings, in particular whims of the novel. In some passages, Andrea describes hooked and flattened faces, as in Goya's whim, and there are scenes that resemble the covens.Furthermore, in the imagination of Andrea are numerous witches, and may also result from the vagaries bats, skeleton hands, shouting, madness and death. In fact, the title of the novel can be a reference to the desolation and nothing to leave behind war, "Nothing" which gives title to one of the etchings of Goya. The prose is simple yet imbued with lyricism and rhetorical figures such as comparisons (eg, as if ...), ("the pain that living like worms swarming," "those nights that ran like a black river"), the synesthesia (blending of sensations corresponding to different directions, "wet blues"), personification ("the thrill of the nerves"), the ellipsis of the verb ("silence. In the street, from time to time, the steps of vigilante ... ), metaphors continuous throughout the work (cite the example of the significant image of line to say what twists in the course of a life or an instant and it has become final) .... We can also include symbols, For example, the need of a shower Andrea continuously, with the value purifier having this event, compared to the moral degradation that surrounds it. Water away from the fault, the rain is cleansing and regenerating the friendship of Andrea and Ena after the arrival of the first in the attic of Roman. Andrea is looking for a refuge in the cool shower, and the beginning of the novel, after discovering the body of Roman. In other places, predominantly natural in style and conversational tone, especially the passages of conversation with Gloria (oh, girl ...)
TOPICS Nothing is a novel of existential tone, reflecting the bleak postwar world from a pessimistic outlook. Through his characters, environment and narrative in general, shows the disastrous effects of civil war in Spain in the 40's lack of freedoms, life choices, especially for women, are also evident in subjects this novel. These figures reflect an image of the selfless woman, submissive and self-sacrificing, as reflected in the character of Gloria. The consequences of civil war also outlined the economic difficulties suffered by the characters. In the novel, hunger, poverty and economic need are hard facts to which Carmen Laforet referred on several occasions, particularly in the character of Andrea, the protagonist. Hunger appears in the second half of the novel, and comes to unbalance Andrea, compared to the wealth of the bourgeoisie of the family of Ena. In the novel by Carmen Laforet, there are several allusions to the Catholic religion. For example, when Angus farewell blessing to the family as a saint and later, when leaving the train he was traveling, he crosses himself. However, it is a religion not truly lived, as the religious aspects are determined by historical and political situation after the war. In the story, Carmen Laforet emphasizes the role of the family, environment, psychology, the way of being and conduct of the characters and the social milieu in which they operate. The novel tells a vital piece of existentialist court, since it is doomed to loneliness and nothingness. This word is the title of the novel appears in several passages of the work, the first when play listens to his uncle Román and claims to feel nothing. At other times, and after dancing with Pons, reflects on his role in life and breaks into tears.Andrea's personal project, love and friendship, are a failure and are full of trouble. In the end, when he leaves home and takes stock end of his stay, he reiterated the feeling of emptiness. The theme of the play is also present in the poetry of Juan Ramón Jiménez leading the novel. However, that has nothing for her a deep sense, since it contains a profound experience it through the eyes of a teenager. The reader is captured by the depth of the absence that Andrea lives, not the shallowness of many things going on around them. That "drown in the blue" refers to all the content is within itself, in its literary word, not your relationships with others. In this sense, we can also say that nothing has happened to Andrea in a year, but emotionally much has changed. Miguel Delibes in his article "An interpretation of Nothing" says nothing is pessimistic, but not hopeless and notes as the main merit of the novel: "The experience of incorporating the reader to the creation."
It is often pointed out how the novel is an autobiography of Carmen Laforet. In fact, there are similarities between Andrea and writer: the age of the author and the narrator are similar, both have traveled to Barcelona to study Arts, is staying with family in the street Aribau and eventually go to Madrid. However, she reiterated several times that the novel did not move to Barcelona experience. Nothing is a novel of personal growth and search for identity by Andrea, the protagonist. This has the need to recognize as a human being in front of a world faced with a society and, above all, against itself. The Andrea's story is a teenage girl is faced with many situations that require a continuous look and evaluated. But there is another Andrea, voiceover that since this looks to the past. The story, well, is a movement inward toward the intimate and writing. Andrea's narration is presented often filled with unknowns, voids. The family home is moral decay, affordability and Andrea is always trying to escape its influence. When he finally gets leave to go to Madrid, he is completely freed of that environment, as reflected in the final paragraph of the novel. Andrea is shown as an observer of what happens around him. It is she who is setting up the spaces and characters in the novel. Has an extreme sensitivity and simplicity, are impressionable and unstable. Describe your feelings with a strong poetic charge. We know of his love of literature because in the beginning, he describes his luggage, he said that was almost full of books. In the past, Andrea is not much data, is an orphan who comes from a small town where he has been under the tutelage of her cousin Elizabeth. The name of his mother, Amalia, is written on the back of one of the photographs that my grandmother kept in a drawer. Has completed the Bachelor of a convent school, in the words of Angus, the family of his father "has been rare." As stated by Carmen Martin Gaite, the protagonist is a rare odd girl, tight. Just have data on their physical appearance (are others who described his dark complexion and light eyes). She as the narrator describes his experiences not even realize their projects. After release of Sorrows, trying to break into the world of the University, friends and lives his failures of love, first with Gary, for whom he feels a sudden revulsion, and then Pons, Andrea Cinderella because that is rejected and opulent bourgeois world . It has sometimes been suggested a possible lesbian attraction to her friend Ena. The