{"id":115,"date":"2015-04-23T01:28:00","date_gmt":"2015-04-23T01:28:00","guid":{"rendered":"https:\/\/aedecanarias.eu\/dia-del-libro-2"},"modified":"2015-04-23T01:28:00","modified_gmt":"2015-04-23T01:28:00","slug":"dia-del-libro-2","status":"publish","type":"post","link":"https:\/\/aedecanarias.eu\/?p=115","title":{"rendered":"D\u00cdA DEL LIBRO"},"content":{"rendered":"\n<div class=\"twitter-share\"><a href=\"https:\/\/twitter.com\/intent\/tweet?via=aedecanarias\" class=\"twitter-share-button\" data-size=\"large\">Twittear<\/a><\/div>\n<div style=\"color: #333333; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 14px;\">\n<div>\n<h1 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 32px; font-weight: normal; letter-spacing: -1px; line-height: 41px; margin: -3px 0px 10px;\">Los 23 libros destacados por Babelia en lo que va de 2015<\/h1>\n<div>\n<h2 style=\"background-image: url(http:\/\/ep01.epimg.net\/iconos\/v1.x\/v1.4\/varios\/bolillo_subtitulo.png); background-position: 0px 8px; background-repeat: no-repeat no-repeat; font-family: Roboto, sans-serif; font-size: 13px; font-weight: normal; line-height: 20px; margin: 0px 0px 1px 15px; padding: 0px 0px 0px 9px;\">Las cr\u00edticas de los t\u00edtulos m\u00e1s valorados por los cr\u00edticos, los que m\u00e1s han abierto debate y los fen\u00f3menos editoriales m\u00e1s importantes del primer tercio del a\u00f1o<\/h2>\n<\/div>\n<\/div>\n<div style=\"font-family: Roboto, sans-serif; margin: 0px;\">\n<ul style=\"margin: 0px; padding: 0px;\">\n<li style=\"background-image: url(http:\/\/ep01.epimg.net\/iconos\/v1.x\/v1.4\/varios\/bolillo_subtitulo.png); background-position: 15px 9px; background-repeat: no-repeat no-repeat; font-size: 13px; line-height: 20px; list-style-type: none; margin: 0px 0px 1px; padding: 0px 0px 0px 24px;\"><a href=\"http:\/\/elpais.com\/tag\/libros_del_ano\/a\/\" style=\"color: #ddb119; outline: none; text-decoration: none;\"><strong>Los mejores libros de 2014<\/strong><\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<div style=\"border-bottom-color: rgb(235, 235, 235); border-bottom-style: solid; border-bottom-width: 1px; border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; color: #757575; font-family: Roboto, sans-serif; font-size: 11px; line-height: 16px; margin: 15px 0px 0px; padding: 4px 0px 3px 5px; text-transform: uppercase;\"><span style=\"float: left; font-weight: bold; width: 500px;\"><span style=\"border-right-color: rgb(214, 214, 214); border-right-style: solid; border-right-width: 1px; margin: 0px 6px 0px 0px; padding: 0px 5px 0px 0px;\"><a href=\"http:\/\/cultura.elpais.com\/autor\/el_pais\/a\/\" rel=\"author\" style=\"color: #757575; outline: none; text-decoration: none;\" title=\"Ver todas las noticias de El Pa\u00eds\">EL PA\u00cdS<\/a>&nbsp;<\/span><a href=\"http:\/\/cultura.elpais.com\/tag\/fecha\/20150422\" style=\"border-left-style: none; color: #757575; margin: 0px; outline: none; padding: 0px; text-decoration: none;\" title=\"Ver todas las noticias de esta fecha\">22 ABR 2015 &#8211; 18:41<span style=\"color: #757575;\">&nbsp;<\/span><abbr style=\"border-left-style: none; color: #757575; margin: 0px; outline: none; padding: 0px; text-decoration: none;\" title=\"Central European Summer Time\">CEST<\/abbr><\/a><\/span><\/div>\n<div style=\"color: #333333; font-family: Roboto, sans-serif; font-size: 12px; line-height: 17px; margin: -1px 0px 0px;\">\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; max-height: 37px; overflow: hidden; padding: 3px 0px;\">\n<ul style=\"display: inline; margin: 0px; padding: 0px;\">\n<li style=\"display: inline; list-style-type: none;\"><\/li>\n<\/ul>\n<\/div>\n<p><span style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; display: block; height: 1px; margin-top: 3px;\"><\/span><\/div>\n<div style=\"color: #333333; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 14px; margin: 0px 0px 40px 100px; min-height: 650px; overflow: visible; padding: 20px 0px 0px; width: 460px;\">\n<div style=\"clear: both; display: inline; float: left; margin: 0px 0px 0px -100px; padding: 0px; position: relative; z-index: 2;\">\n<div style=\"clear: both; margin: -5px 0px 0px; padding-bottom: 15px; width: 560px;\">\n<div><img loading=\"lazy\" decoding=\"async\" alt=\"\" height=\"373\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429720726_noticia_normal.jpg\" style=\"display: block; margin: 0px auto;\" title=\"\" width=\"560\" \/><\/p>\n<div style=\"border-bottom-color: rgb(224, 224, 224); border-bottom-style: dotted; border-bottom-width: 1px; color: #b2b2b2; font-family: Roboto, sans-serif; font-size: 11px; line-height: 17px; padding: 4px 0px 5px 100px;\">Pie de Foto: Casetas preparadas para el D\u00eda del Libro en Valencia. \/&nbsp;<span style=\"color: #999999; font-size: 10px; line-height: 12px; text-transform: uppercase;\">MANUEL BRUQUE&nbsp;(EFE)<\/span><\/div>\n<\/div>\n<\/div>\n<div>\n<div style=\"clear: both; float: none; padding: 0px; position: absolute; width: 87px;\">\n<div style=\"border-bottom-color: rgb(224, 224, 224); border-bottom-style: solid; border-bottom-width: 1px; float: none; position: relative;\">\n<ul style=\"list-style: none; margin: 0px; padding: 0px;\">\n<li style=\"background-image: none; background-position: initial initial; background-repeat: initial initial; border: none; float: left; padding: 0px; position: relative;\"><span style=\"background-image: url(http:\/\/ep01.epimg.net\/iconos\/v1.x\/v1.4\/varios\/correo.png); background-position: 1px 50%; background-repeat: no-repeat no-repeat; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; box-sizing: border-box; color: #666666; display: block; font-family: 'Roboto Condensed', sans-serif; font-size: 11px; line-height: 29px; opacity: 0.5; padding: 0px 0px 0px 24px; width: 87px;\" title=\"Tienes que estar registrado en EL PA\u00cdS y haber iniciado sesi\u00f3n para poder enviar por correo electr\u00f3nico\">Enviar<\/span><\/li>\n<li style=\"background-image: none; background-position: 2px 50%; background-repeat: initial initial; border-top-color: rgb(224, 224, 224); border-top-style: dotted; border-top-width: 1px; float: left; padding: 0px; position: relative;\"><a href=\"http:\/\/aede-canarias.blogspot.com\/\" style=\"background-image: url(http:\/\/ep01.epimg.net\/iconos\/v1.x\/v1.4\/varios\/imprimir_2.png); background-position: 4px 50%; background-repeat: no-repeat no-repeat; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; box-sizing: border-box; color: #666666; display: block; font-family: 'Roboto Condensed', sans-serif; font-size: 11px; line-height: 29px; outline: none; padding: 0px 0px 0px 24px; width: 87px;\" title=\"Versi\u00f3n para imprimir\">Imprimir<\/a><\/li>\n<li style=\"background-image: none; background-position: initial initial; background-repeat: initial initial; border-top-color: rgb(224, 224, 224); border-top-style: dotted; border-top-width: 1px; float: left; padding: 0px; position: relative;\"><span style=\"background-image: url(http:\/\/ep01.epimg.net\/iconos\/v1.x\/v1.4\/varios\/icono_guardar.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; box-sizing: border-box; color: #666666; display: block; font-family: 'Roboto Condensed', sans-serif; font-size: 11px; line-height: 29px; opacity: 0.5; padding: 0px 0px 0px 24px; width: 87px;\" title=\"Guardar la noticia para leer m\u00e1s tarde. Tienes que estar registrado en EL PA\u00cdS y haber iniciado sesi\u00f3n\">Guardar<\/span><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<div style=\"margin-top: 71px; position: absolute;\">\n<div style=\"background-position: 0% 3px; text-align: center;\"><\/div>\n<\/div>\n<\/div>\n<div style=\"font-size: 15px; line-height: 24px;\">\n<div style=\"line-height: 23px; margin-bottom: 15px;\">Con motivo del D\u00eda del Libro, el 23 de abril,&nbsp;<em>Babelia<\/em>&nbsp;re\u00fane las cr\u00edticas de los 23 t\u00edtulos m\u00e1s destacados del primer tercio de 2015. La lista, que incluye t\u00edtulos en espa\u00f1ol y traducidos, se ha elaborado con los&nbsp;<em>libros de la semana<\/em>&nbsp;de cada n\u00famero de Babelia, los que mayores debates han provocado y los fen\u00f3menos literarios m\u00e1s importantes desde el pasado 1 de enero, ordenados desde el m\u00e1s reciente (en publicaci\u00f3n en el suplemento) hasta el primero del a\u00f1o.<\/div>\n<div style=\"clear: both; margin: 20px 0px;\"><a href=\"http:\/\/aede-canarias.blogspot.com\/\" name=\"sumario_1\" style=\"color: #ddb119; outline: none;\"><\/a><\/p>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429719116_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/04\/16\/babelia\/1429182975_382605.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Cicatriz&#8217;, de Sara Mesa<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">La nueva novela de Sara Mesa ancla su perturbadora historia en dos personajes tan impares como complementarios, y evoca la asfixia dostoievskiana. Por ANA RODR\u00cdGUEZ FISCHER<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429721724_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/04\/08\/babelia\/1428503099_161002.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Desfile de ciervos&#8217;, de Manuel Vicent<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">En sus art\u00edculos, el autor se cuenta a s\u00ed mismo asomado a la vida espa\u00f1ola. Hay en \u00e9l un crep\u00fasculo mediterr\u00e1neo, sin quejido ni ajuste de cuentas, cargado de elegancia coqueta. por DAVID TRUEBA<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429721792_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/04\/09\/babelia\/1428593683_113662.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;N\u00famero Cero&#8217;, de Umberto Eco<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">En &#8216;N\u00famero Cero&#8217;, Umberto Eco escribe una parodia feroz sobre el periodismo y la pol\u00edtica. Por JES\u00daS CEBERIO<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428920739_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/04\/09\/babelia\/1428579437_069602.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;La oculta&#8217;, de H\u00e9ctor Abad<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Tradici\u00f3n y violencia, \u00e9tica y dinero son algunos de los ingredientes de &#8216;La oculta&#8217;, novela del colombiano H\u00e9ctor Abad Faciolince, un juego de voces en torno a una finca familiar. Por MARTA SANZ<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428923501_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/04\/01\/babelia\/1427895872_258661.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Virginia Woolf. La vida por escrito&#8217;, de Irene Chikiar Bauer<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">La monumental biograf\u00eda de la autora muestra un lado comunicativo que sorprende. Bauer nos descubre el lado xen\u00f3fobo y clasista entre una profusi\u00f3n de detalles y documentos. Por MARTA SANZ<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428936579_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/04\/01\/babelia\/1427898944_648836.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;La habitaci\u00f3n de Nona&#8217;, de Cristina Fern\u00e1ndez Cubas<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Han pasado casi diez a\u00f1os desde su anterior libro de cuentos, pero los lectores de Cristina Fern\u00e1ndez Cubas (Arenys de Mar, 1945) enseguida comprobar\u00e1n que la autora sigue fiel a su mundo narrativo. Por CARLOS PARDO<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428923644_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/03\/23\/babelia\/1427129772_071781.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Mi cuerpo tambi\u00e9n&#8217;, de Raquel Taranilla<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Desde los primeros s\u00edntomas y los dolores sin nombre hasta el diagn\u00f3stico final, Raquel Taranilla relata su historia personal evocando a poetas, fil\u00f3sofos e historiadores. Por NORA CATELLI<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428923930_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/03\/18\/babelia\/1426701668_519065.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Filosof\u00eda accidental&#8217;, de Jos\u00e9 Mar\u00eda Ridao<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Con madurez y plenitud, Ridao defiende una filosof\u00eda accidental que explica la cr\u00edtica cultural ante el relato oficial. Por JORDI GRACIA<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428924116_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/03\/10\/babelia\/1426004993_489427.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Isis. El retorno de la yihad&#8217;, de Patrick Cockburn, y &#8216;El f\u00e9nix islamista&#8217;, de Loretta Napoleoni<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Aunque violento, el Estado Isl\u00e1mico no es estrictamente un grupo terrorista, sino todo un proyecto pol\u00edtico. Patrick Cockburn y Loretta Napoleoni tratan de explicar su auge. Por LLUIS BASSETS<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428937565_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/03\/11\/babelia\/1426079217_318910.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Hombres Buenos&#8217;, de Arturo P\u00e9rez Reverte<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">P\u00e9rez-Reverte es un h\u00e1bil constructor de personajes, que se erigen ante nuestros ojos, convincentes, por lo que hacen y por los di\u00e1logos en que participan. Por DAR\u00cdO VILLANUEVA<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div style=\"clear: both; margin: 20px 0px;\"><a href=\"http:\/\/aede-canarias.blogspot.com\/\" name=\"sumario_2\" style=\"color: #ddb119; outline: none;\"><\/a><\/p>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429718867_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/03\/03\/babelia\/1425398965_783247.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Hombres sin mujeres&#8217; de Haruki Murakami<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">El japon\u00e9s vuelve con su mundo de personajes aislados sin oportunidad de encajar. La b\u00fasqueda de identidad atraviesa unos relatos que nos recuerdan que es un gran escritor. Por CARLOS ZAN\u00d3N<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429718830_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/02\/23\/babelia\/1424714665_991621.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;La historia de la escritura&#8217;, de Ewan Clayton<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">La fascinante y bien documentada ruta que propone el cal\u00edgrafo y exmonje brit\u00e1nico Ewan Clayton repasa la evoluci\u00f3n del alfabeto latino, desde el pincel hasta los p\u00edxeles. por JOS\u00c9 ANTONIO MILL\u00c1N<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428937782_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/03\/05\/babelia\/1425575869_847959.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Una herencia inc\u00f3moda&#8217;, de Nicholas Wade<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Wade traza un argumento agudo y pol\u00e9mico que introduce la evoluci\u00f3n en la historia. Hay que leerlo sin dogmas. por JAVIER SAMPEDRO<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428937942_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/02\/16\/babelia\/1424101998_038735.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Las buenas intenciones&#8217;, de Amity Gaige<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Inspirada en un caso real, &#8216;Las buenas intenciones&#8217;, de Amity Gaige, novela la historia de un trastornado brillante y enamorado, que recuerda el secuestro de su hija. Por FERNANDO CASTANEDO<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429718767_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/02\/11\/babelia\/1423660356_062520.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;El mundo deslumbrante&#8217;, de Siri Hustvedt<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Siri Hustvedt demuestra en su \u00faltima novela, todo un homenaje a Ibsen, que es m\u00e1s noruega que norteamericana. Por \u00c1NGELA MOLINA<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428938050_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/02\/10\/babelia\/1423566417_240406.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;La ley de la ferocidad&#8217;, de Pablo Ramos<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Con &#8216;La ley de la ferocidad&#8217;, el argentino Pablo Ramos rescata a su personaje Gabriel Reyes, enfrentado ahora a la muerte de su padre y a la exploraci\u00f3n de sus zonas m\u00e1s abyectas. Por FRANCISCO SOLANO<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428938346_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/02\/11\/babelia\/1423658631_697394.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Distintas formas de mirar el agua&#8217;, de Julio Llamazares<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Llamazares logra una convincente caracterizaci\u00f3n de cada personaje y una trama fascinante. Por JOS\u00c9-CARLOS MAINER<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428938221_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/02\/04\/babelia\/1423055012_821459.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Cabaret Biarritz&#8217;, de Jos\u00e9 C. Vales<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Los premios ya no son ninguna garant\u00eda, pero este a\u00f1o el Nadal ha descubierto a Jos\u00e9 C. Vales. Su &#8216;Cabaret Biarritz&#8217; mezcla magistralmente investigaci\u00f3n criminal y parodia social. Por FRANCISCO SOLANO<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428939053_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/01\/28\/babelia\/1422459780_676574.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Donde no est\u00e1s&#8217;, de Gustavo Mart\u00edn Garzo<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Mart\u00edn Garzo apunta en su nueva novela &#8216;Donde no est\u00e1s&#8217; a los muertos que no sabemos enterrar. Dibuja el milagro como natural, con una prosa fragante. Por CARLOS ZAN\u00d3N<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1428939151_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/01\/20\/babelia\/1421757381_266161.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Tambi\u00e9n esto pasar\u00e1&#8217;, de Milena Busquets<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">Milena Busquets gestiona en &#8216;Tambi\u00e9n esto pasar\u00e1&#8217; lo profundo del dolor, la ausencia, la muerte y las complicadas relaciones con su madre con elegante ligereza y oficio. Por CARLOS ZAN\u00d3N<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div style=\"clear: both; margin: 20px 0px;\"><a href=\"http:\/\/aede-canarias.blogspot.com\/\" name=\"sumario_4\" style=\"color: #ddb119; outline: none;\"><\/a><\/p>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429718483_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/01\/14\/babelia\/1421235797_034267.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;El monstruo de Hawkline&#8217;, de Richard Brautigan<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">El novelista estadounidense decidi\u00f3 parodiar en los setenta los g\u00e9neros populares que m\u00e1s le gustaban. &#8216;El monstruo de Hawkline&#8217; se acerca al &#8216;western&#8217;. Su estilo genera adicci\u00f3n. Por CARLOS ZAN\u00d3N<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429718463_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2015\/01\/07\/babelia\/1420649898_638962.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;Para Isabel. Una mandala&#8217;, de Antonio Tabucchi<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">&#8216;Para Isabel&#8217; fue escrita dos a\u00f1os despu\u00e9s de &#8216;Sostiene Pereira&#8217; y permaneci\u00f3 inexplicablemente in\u00e9dita hasta hoy. Por JAVIER APARICIO MAYDEU<\/div>\n<\/div>\n<\/div>\n<div style=\"border-top-color: rgb(235, 235, 235); border-top-style: solid; border-top-width: 1px; clear: both; display: inline; float: left; margin: 0px 0px 10px -101px; padding: 10px 0px 0px; position: relative;\">\n<div style=\"border-left-color: rgb(235, 235, 235); border-left-style: dotted; border-left-width: 1px; margin: 0px 0px 0px 91px; min-height: 80px; overflow: visible; padding: 0px 0px 0px 9px; width: 460px;\">\n<div style=\"display: inline; float: left; margin: 1px 0px 0px -100px; position: relative; width: 80px;\"><img loading=\"lazy\" decoding=\"async\" alt=\"foto\" height=\"80\" src=\"http:\/\/ep01.epimg.net\/cultura\/imagenes\/2015\/04\/13\/babelia\/1428920580_842566_1429718447_sumariofototexto_normal.jpg\" style=\"display: block; height: auto; width: 80px;\" width=\"80\" \/><\/div>\n<h3 style=\"color: #222222; font-family: 'Majerit Text Regular', sans-serif; font-size: 18px; font-weight: normal; letter-spacing: 0px; margin: 0px 0px 5px;\"><a href=\"http:\/\/cultura.elpais.com\/cultura\/2014\/12\/30\/babelia\/1419944327_087282.html\" style=\"border-bottom-color: rgb(0, 0, 0); border-bottom-style: dotted; border-bottom-width: 1px; color: #ddb119; outline: none; padding-bottom: 1px; text-decoration: none;\">&#8216;La cripta de Franco. Viaje por la memoria y la cultura del franquismo&#8217;, de Jeremy Treglown<\/a><\/h3>\n<div style=\"font-size: 14px; letter-spacing: 0px; line-height: 20px; margin-bottom: 15px; padding: 0px;\">El brit\u00e1nico Jeremy Treglown indaga en las huellas que han dejado la guerra y la dictadura en la cultura espa\u00f1ola actual. Por ENRIQUE MORADIELLOS<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Los 23 libros destacados por Babelia en lo que va de 2015 Las cr\u00edticas de&#8230;<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-115","post","type-post","status-publish","format-standard","hentry","category-hemeroteca"],"_links":{"self":[{"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=\/wp\/v2\/posts\/115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=115"}],"version-history":[{"count":0,"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=\/wp\/v2\/posts\/115\/revisions"}],"wp:attachment":[{"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=115"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=115"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aedecanarias.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}