Blood and Sand

by Vicente Blasco Ibáñez, W.A. Gillespie

Blood and Sand is a novel written by Spanish author Vicente Blasco Ib����������ez. The story is set in the bullfighting world of Valencia, Spain, and follows the rise and fall of Juan Gallardo, a young and ambitious bullfighter. Gallardo, who comes from humble beginnings, becomes a sensation in the bullfighting arena and enjoys immense popularity and success. However, his fame and fortune come at a price, as he becomes arrogant and begins to neglect his family and friends. He also becomes involved in a love triangle with two women, the virtuous and loyal Carmen and the seductive and manipulative Do�����a Sol. As Gallardo's personal and professional life spirals out of control, he must confront the consequences of his actions and face his own mortality in the arena. Blood and Sand is a gripping tale of passion, ambition, and tragedy, and is considered one of the greatest works of Spanish literature.1919. Ibanez, Spanish novelist and political activist, also wrote The Four Horsemen of the Apocalypse, which made him world famous. From the lowest ranks of poverty to unprecedented heights of riches and popular acclaim-thus was the career of Juan Gallardo, Spanish bull fighter. In telling his story, Ibanez has achieved a novel even more dramatic and powerful than his legendary Four Horsemen. From his boyhood Juan longed to be a bull fighter and, as he climbs the ladder step by step, the reader lives with him in the very atmosphere of the arena. No detail of the picture is spared-one can see and almost hear the actual battle-the crowds-the many characters that stream through the pages. And Juan himself, with his vanities, his superstitions, his daring attacks, his wounds and recoveries, emerges as real, vital and colorful as the sport to which he and many others dedicated their lives. See other titles by this author available from Kessinger Publishing.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Genres: Spain, Fiction, Spanish Literature, Classics, Novels, Literature

368 pages, Hardcover

First published January 1, 1908

About the author

Vicente Blasco Ibáñez (January 29, 1867 – January 28, 1928) was a Spanish realist novelist writing in Spanish, a screenwriter and occasional film director.

Born in Valencia, today he is best known in the English-speaking world for his World War I novel The Four Horsemen of the Apocalypse. He is also known for his political activities.

He finished studying law, but hardly practised. He divided his time between politics, literature. He was a fan of Miguel de Cervantes Saavedra.

His life, it can be said, tells a more interesting story than his novels. He was a militant Republican partisan in his youth and founded a newspaper, El Pueblo (translated as either The Town or The People) in his hometown. The newspaper aroused so much controversy that it was brought to court many times and censored. He made many enemies and was shot and almost killed in one dispute. The bullet was caught in the clasp of his belt. He had several stormy love affairs.

He volunteered as the proofreader for the novel Noli Me Tangere, in which the Filipino patriot José Rizal expressed his contempt of the Spanish colonization of the Philippines. He traveled to Argentina in 1909 where two new cities, Nueva Valencia and Cervantes, were created. He gave conferences on historical events and Spanish literature. Tired and disgusted with government failures and inaction, Vicente Blasco Ibáñez moved to Paris, France at the beginning of World War I.

He was a supporter of the Allies in World War I.

He died in Menton, France at the age of 61.

Reviews

[Jaidee · Rating 4 out of 5]

4.5 "machismo, relentless, vivid" stars !!

2020 Honorable Mention Read

This book is based on the 1908 book Sangre y Arena by Spanish author Vicente Blasco Ibanez. This current edition is a new English translation/adaptation by Ali Villaverde. I would like to thank Booksirens, the translator and Merci Beaucs for an e-copy in exchange for my honest review. This edition will be released in January 2021.

I was completely immersed in this novel from beginning to end that takes place in early 20th century Spain. The novel follows the rise and fall of Torero Juan Gallardo as he rises up from poverty to become one of the bullfighter heroes of Spain. Alongside him we have a large cast of characters from mother, wife, mistress, patrons, fans, hangers on, bandits and various Madonnas.

This novel is told in two alternating styles of hyper-realism that is sometimes contrasted with melodrama and sometimes merged with it. This gives the reader of being bombarded not only with bright colors, strong scents and loud operatic sounds but also with heightened emotions of love, lust, envy, anger and jealousy. The translation is both sensual and quirky with turns of phrase that are both charming and quaint.

Through this tale we begin to understand the class struggles, gender relations, religiosity and politics of Spain along with the honor, tradition and machismo. Our modern sensibilities may shake in wonder at how barbaric and cruel acts on animals serve a deep cultural purpose of that era and culture. Yet before we cast stones it is better that we understand for we are no better with our puppy mills and treatment of farm animals for economic gain.

This is a book that saturated me with a rainbow of colors, various uncomfortable emotions and a deepened understanding of the role that bullfighting played in Spanish and Latin Culture. An excellent novel that reinforces my desire for compassion and care to human, animal and plant forms.
"

[AiK · Rating 5 out of 5]

Мне понравился роман своей резкой критикой жестокого обращения с животными и людьми, участвующими в традиционном развлечении - корриде, которая устроена так, что либо бык, либо человек умрут или будут серьезно покалечены. Это настоящая игра со смертью. Шокирующе жестока сцена с лошадьми на арене цирка, она, пожалуй, самая тяжёлая в книге.
Работа матадором давала шанс выходцам из бедных слоев достигнуть славы и денег. Автор даёт широкую картину представителей испанского общества - от разбойника Плюмитаса до знатной аристократки доньи Соль. Бедный паренёк Хуан Гальярдо быстро достиг успеха, благодаря своему бесстрашию, но ранение во время боя с быком выбило его из колеи. Его подсознание, инстинкт самосохранения не позволяли ему с былым безрассудством идти прямо на быка, рука потеряла былую твердость, ноги сами уносили его от разъяренного животного. Толпа же требовала беспримерного героизма, сумасшедшей отваги, своими издевками, шуточками и свистом побуждая несчастного матадора вести бой на ее условиях. Она жаждала крови, острых эмоций, эффектных ударов шпагой.
Автор вводит полемику по вопросу приемлемости коррид. Доктор Руис высказывает точку зрения, что почти у всех народов есть развлечения, которые также жестоки для животных - от зоопарков до скачек и бегов и говорит о культурном значении корриды для Испании. Другой герой, Насиональ, помогающий Гальярдо в квадрилье, считает корриду реакционным явлением. Но своим кровавым финалом Ибаньес выносит обвинение корриде и выносит его публике, создающей спрос на услуги матадоров, пикадоров, бандерильеро и целой армии людей, обслуживающих корриду. Публике, алчущей лицезреть эту неимоверную жестокость, мгновенно забывающий об убитых или покалеченных любимцах, а тем более быков. Настоящий зверь в этом кровавом побоище - алчущие крови зрители, необузданная толпа.

[Lee Murray · Rating 3 out of 5]

Great start to the book, almost too good. When I got to the climax of the story and was not halfway through book, I knew there was a problem. I knew there was only one inevitable ending to the book before I was halfway through the story.

There were a couple of subplots, and the one involving The Feather seemed superfluous to me.

The book does involve the sport of bullfighting at the turn of the 20th century, and the last quarter of the story is extremely graphic and violent in describing the bullfights.

If you can stand the animal violence, it’s a good read—but it can be overwhelming. Be forewarned. I almost didn’t finish it.

I received an advance reader’s copy in exchange for a fair review.

[Laura Janeiro · Rating 5 out of 5]

Muchos de los comentarios a este libro mencionan lo "agresivo" que el libro les resultó. Creo que eso habla magníficamente acerca del autor. El libro es desde el inicio un alegato en contra de la crueldad como espectáculo. UNO de los recursos que usa es mostrar la violencia involucrada. Hay en el libro mucho más que eso.
Supongo que si los lectores pueden “sentir” lo descarnado del toreo, es que no está errando el objetivo, aunque quizás no consiga dar en el blanco. Supongo que quien no ve más que violencia en el libro no puede ver tampoco la intención de denunciar lo que hay detrás de un espectáculo destinado a fascinar masas.

Mis abuelos fueron españoles que migraron a Argentina. Crecí viendo muchísimas corridas de toros en tv en blanco y negro. Para mí fue una revelación el ver mi primera (y última) corrida de toros en color.
Nunca había reparado en la potencia del color rojo vibrante de la sangre sobre la piel negra de los toros. Esta novela me causó la misma impresión. Toda la imaginería mítica alrededor del valor del torero y los trajes de luces quedó opacada por la violencia y crueldad que se comercian para poner en acción el mito.

El autor pone en claro su alegato antiviolencia desde el inicio. Desde cuando presenta
"... el espacio circular de arena donde iba a realizarse la tragedia de la tarde para emoción y regocijo de catorce mil personas ..."
Tiene también otras menciones notables que hacen a la evolución de la sociedad española, con el punto de vista de un intelectual español que no se oculta de la política, como el pasaje del espectáculo de los Autos de Fe de la inquisición a los de las corridas de toros. Se educa en la violencia, el resto es abandonado.
Parece que parte de la tragedia del pueblo español ha sido que la violencia ha sido una emoción estimulada como marca patriótica y devenida en estigma.

“… ¿Que soy torero? Ya sé que es un ofisio bajo y reasionario, pero eso no quita que tenga mis ideas."...

"… La culpa de todo la tenía Fernando VII, sí señor; un tirano que al cerrar las universidades y abrir la Escuela de Tauromaquia de Sevilla había hecho odioso este arte, poniendo en ridículo al toreo. …”

“… Los autos de fe, seguidos de quemas de hombres, eran espectáculos fuertes que quitaban interés a unos juegos con simples animales montaraces. La Inquisición resultaba la gran fiesta nacional.
—Pero llegó un día —siguió diciendo Ruiz con fina sonrisa— en que la Inquisición comenzó a debilitarse. Todo se gasta en este mundo. Al fin se murió de vieja, …”

“… El auto de fe era sustituido por la corrida de toros. El que un siglo antes hubiese sido soldado en Flandes o colonizador militar de las soledades del Nuevo Mundo, convertíase en torero. El pueblo, al ver cerradas sus fuentes de expansión, labraba con la nueva fiesta nacional una salida gloriosa para todos los ambiciosos que tenían valor y audacia. …”.

Venía de leer “Por quién doblan las campanas” de Hemingway y quedar con la sensación de que algo no cuadraba y no sabía qué, pero que tenía que ver con la idiosincrasia de España y con los toreros. Buscando profundizar es que decidí leer Sangre y Arena. Había visto la película hace muchos años, y tenía pendiente de lectura a Blasco Ibáñez.
Este es un libro que se siente real, vivo, lleno de fuerza y color local verdaderos, no romantizados como en el de Hemingway.

[Stela · Rating 3 out of 5]

Je n'ai pas été capable d'aimer ce livre. Bien que je me soit rendu compte de la belle écriture et de la structure narrative impeccable, le fil épique n'a pas réussi à m'intéresser et j'ai juste feuilleté les dernières cent pages. Parfois c'est comme ça. ☹

[Lisa of Troy]

A Book Owned by F. Scott Fitzgerald: https://static-prod.lib.princeton.edu...

[Arwen56 · Rating 2 out of 5]

No se puede decir que sea una gran novela. Hay muchas repeticiones, algo pesado en la descripciones y unos hechos que parecen adjuntos sin razón alguna. Sin embargo es un escrito que llega a envolver, porque la prosa de Ibáñez es vigorosa, directa y muy varonil.

En concreto, la figura del espada Gallardo crece poco a poco delante de los ojos de los lectores y, a pesar de los defectos de la pluma del escritor, ofrece el retrato exitoso de un hombre de otro tiempo que vive sus propias contradicciones, sus desesperados deseos, su constante lucha contra algo o alguien. Porque si inicialmente era chico pobre que soñaba la riqueza, luego es matador rico y famoso que quiere, pero non consigue, ser aceptado por sus mayores. Desafía la muerte “para arrimarse a los buenos”, como diría el Lazarillo de Tormes. Desafía la muerte porque no acepta su propia vida tal como es. Desafía la muerte porque la insatisfacción es el signo que su suerte le ha destinado.

Parecerá raro, pero en algún trato Gallardo me ha acordado a Mastro Don Gesualdo de Verga. Hay un paso en la novela del autor italiano que es sublime, donde se ve este hombre alargar su mano porque desea tocar a su mujer, aquella hermosa y soberbia persona que ha sido obligada a ser su esposa. Pero no lo hace. Sabe que no puede. Se la han “entregado” por necesidad, pero él no tiene el derecho del amor para poderla llamar “suya”. Bueno, Gallardo, en cambio, lo hace. La situación no es la misma, porque Doña Sol es muy distinta de la mujer de Gesualdo, pero a nivel simbólico los dos hechos se equivalen. El sabio recato del primero le salvará de la derrota total, aunque la padezca de todo modo por otro motivo. La tierna rendición del segundo acaba para consignarlo al derrumbe final como un animalito sin defensa.

Sí, diría que sí, me ha gustado, no obstante toda pesadez y lo que hay de parecido a una telenovela. Es una especie de Götterdämmerung. Y cuando lo dioses caen, el ruido llena el entorno de aturdido silencio.

¡Descansa en paz, Gallardo!

[Czarny Pies · Rating 4 out of 5]

Les arènes sanglantes delivers brilliantly on its promise to bring its protagnist to a bloody end in the sand. Fans of Ernest Hemingway (particularly those who liked The Sun Also Rises and Death in the Afternoon) are sure to love this tale of hubris and nemesis involving the very macho art of bullfighting.
Vicente Blasco-Ibanez was both a contemporary of Hemingway as well as someone who shared his political ideas. Juan Gallardo the hero of Les arènes sanglantes has many of the qualities found in a Hemingway novel. He pursues danger, is a prodigious lover, a bad husband and a man determined to follow his tragic destiny to the end.
Les arènes sanglantes is however far from a melodramatic story of the death of a macho man. Blasco-Ibanez provides a brilliant portrait of Spanish Society in the opening decades of the twentieth century. His not terribly bright hero is a complex person capable of generosity and courage who acts with great dignity at all times. Although the author has the utmost contempt for hero's fans and hangers-on, he portrays them with great subtlety. The emasculating rich, bitch who appears to trigger the events that result in the hero's demise is certainly an alluring character who is not so much evil but like the hero determined to play her own designated role in the absurd tragedy.
Blasco-Ibanez greatest tour-de-force in this novel is the way in which he argues without every adopting a moralizing tone that the gory pastime of bullfighting (tauromachy) was fundamentally at cross purposes with a society that was evolving towards social and liberal democracy. Blasco-Ibanez may have admired the toreros as much as Hemingway did but he certainly detested the vocation that they adopted in life.

[Alessandra · Rating 4 out of 5]

“Escribo novelas porque no puedo evitarlo.”
Vicente Blasco Ibánez

[L. · Rating 4 out of 5]

¡Olé los hombres! Que vinieran allí todas las naciones del mundo a admirar a toreros como aquél y a morirse de envidia.

Menuda sorpresa me ha dado Blasco Ibáñez. La portada de la edición de Plaza & Janés anuncia: "algo más que una novela sobre el mundo de los toros"; y yo digo que no sólo algo más, sino mucho más. Efectivamente, aunque el "mundo de los toros" sea la ambientación de la novela, el autor nos proporciona un retrato crudo, minucioso, desvergonzado y profundamente triste de un país que llevaba casi un siglo siendo anímicamente "expoliado" para un corpúsculo europeo (principalmente francés, alemán e inglés) deseosos de acercarse a las románticas estampas de un país, en apariencia, casi primitivo. Es la segunda mitad del siglo XIX, el siglo de los tipos regionales y del "Semanario Pintoresco Español", y la fuerza arrolladora de lo "pintoresco" encontraría su continuidad hasta bien entrado el siglo XX, con el tipismo y el folclore de la "Nueva España eterna". Es impresionante cómo Blasco Ibáñez es tremendamente consciente de esta realidad y yuxtapone, basándose en el mundo de los toros, la antigua España popular que sólo parece quedar en estas graves provincias sin industrializar (territorio de toreros, bandoleros, pastores y mujercitas enmantonadas y floreadas) y la España moderna, bulliciosa, europeizada (y por lo tanto, dominada) que es principalmente Madrid. Ya lo dice doña Sol: para ella, Juan Gallardo y, por extensión, el bandolero Plumitas, no son diferentes a un rajá "indostano" exótico, colorido y salvaje que, fuera de Andalucía, de su postal cuidadosamente pintada, son poco más que muñequitos de fieltro sin interés. El propio autor participa irónicamente en este magnético retrato: las descripciones expertas sobre la dehesa andaluza y madrileña, los monólogos sobre el bandolerismo y el republicanismo, las gentes de uno y otro lado, y las digresiones etiológicas y apologéticas sobre la tauromaquia y las formas del entretenimiento de masas crean un tapiz complejo de impresiones e ideas que, en el siglo XIX, bullían tratando de dar sentido a un relato nacional.

Sin embargo, esta faceta del libro pasa prácticamente desapercibida hasta que no llegamos a la tardía adultez de Juan Gallardo, cuando su ya consolidada fama le lleva a relacionarse con una élite social moderna, diplomática e itinerante entre las capitales europeas, representadas todas en doña Sol, su padre marqués y sus acompañantes. Hasta ese momento del libro, la historia de Juan Gallardo se nos presenta como un relato realista de una sociedad andaluza empobrecida y profundamente religiosa; del espectáculo de masas andaluz por excelencia, el toreo (y, por qué no, la farándula católica) junto con todos sus engranajes productivos y gerentes, así como las vicisitudes por las que pasan los jóvenes pobres ansiosos por ser parte de ello. Parece que "la cosa" se quedaría en el trajín de contradicciones que es la vida de Gallardo: un pobre que se hace rico gracias a la temeridad y la ira que le da saber que su vida, como pobre y desgraciado, no vale nada si se la lleva por delante una bestia; y luego, un rico descorazonado y enfermo que, irónicamente, por primera vez teme porque por fin vale la pena no perder su vida. Pero es que todo el libro es una lucha de tensiones. Son interesantísimos todos los personajes que circundan a Juan Gallardo, desde su cuadrilla (El Nacional, evidente injerto del propio Ibáñez en la historia, un banderillero republicano federalista, consciente de la "bajeza de su oficio, reaccionario") hasta su familia, pasando por los bandoleros, los ganaderos, los médicos taurinos y apoderados... pero, sobre todo, la masa de la plaza, los consumidores del espectáculo. Ibáñez retrata la pulsión homicida del público de forma brillante y sobrecogedora (tres corridas completas de Juan Gallardo como matador afianzado se describen en la novela, y en las tres se mantiene uno aguantando la respiración). Los redondeles de arena, pisoteados por caballos cruelmente perforados y remendados y vueltos a remendar; los gritos ensordecedores, el comportamiento de las facciones de la plaza...

¡Pobre toro! ¡Pobre espada!… De pronto, el circo rumoroso lanzó un alarido saludando la continuación del espectáculo. El Nacional cerró los ojos y apretó los puños. Rugía la fiera: la verdadera, la única.

En definitiva: buen libro para los curiosos y antropólogos del hacer español. También para los fetichistas y enamorados de la mantilla y la flor, la montera y chaquetilla, de los antiguos hombres gallardos y las lozanas "gachís". Yo me lo he pasado estupendamente.

[Natia Morbedadze · Rating 4 out of 5]

რა არის კორიდა? ხუანის მსგავსი მატადორებისთვის სიღარიბისგან თავის დაღწევისა და მაღალ საზოგადოებაში თავის დამკვიდრების, მზემდე ამაღლების გზაა, მისი თანაშემწეებისთვის - ცოლ-შვილის გამოკვების, მისი ოჯახისთვის - უშრომელი ფუფუნების ან ყოველდღიური შიშის, მაყურებლებისთვის კი ექსტაზის, სისხლიანი სანახაობით გამოწვეული აღფრთოვანების წყაროა. არის კი ეს ესპანური სულის ნაწილი? უფრო ზოგადად ადამიანის ბნელი მხარეა, რომელიც გასისხლიანებული ქვიშის დანახვაზე სიხარულს განიცდის...

[Claudete Takahashi · Rating 4 out of 5]

"By the horns" is a true tale of a torero´s life in the early years of the 20th century. He was born in poverty and has risen to fame, glory, and money. He is followed by a throng of friends, admirers, thieves, women at a time that society had very strict rules and there was almost no place for someone who is illiterate and belongs in the low tiers of society. It´s a story full of color, as the descriptions of places, clothes, food, people, are richly written, as well as are narrated the stories of friendship, love, betrayal, and so on. A strong "machismo" feeling permeates it all as it is common in most Latin societies (even today) and I´m sure women do not feel adequately portrayed in this story. It´s a dense reading that cannot be made in a hurry. Entertaining.

I received a free copy of this book via Booksprout and am voluntarily leaving a review.

[Macauley · Rating 4 out of 5]

Four things I loved about this book:

Historical details feel authentic, and thorough – especially the passages on Spanish settings and traditions. The descriptions ofMadrid coming alive on the day of a bullfight and the ambience of Seville during semaina santa was intoxicating. If you have been in a big Spanish city where people are in party mood and go out in the streets, I (almost) guarantee moments like that will come rushing back at points in this book! On the other hand, the scenes in the bullring are shocking but powerful.

I learned a lot about bullfighting and the culture around it, like how much Spanish people went wild for their bullfighters. You can tell the author knew his stuff about it (even if he seems to not like it at all), so it doesnt feel like you're reading some cliche version of what bullfighting was.

Simple read, but has depth. I didn't find the writing got sameish or tired. The story is told with some nice bits of humor and plenty of deep moments.

Builds up to a hell of an finish. I wasn’t expecting this would be one of the highlights of the book. Once you’ve reached a certain point in the book, you kinda know what Juan Gallardos destiny is, but I wouldn’t say it is a predictible book. More that you’re strapped in for the bumpy ride of that destiny getting closer. And boy does it get bumpy!

I received an advance review copy for free (Booksirens), and I am leaving this review voluntarily.

[AD · Rating 4 out of 5]

Juan Gallardo is the matador at the heart of this story; a man from a humble background who rises to national fame as the greatest bullfighter in the country. He has everything, money, fame, respect, but it all hangs by a thread and flaws in his character and the temptations of his high-flying life threaten to bring him down. As often in Blasco Ibáñez there is a femme fatale, a woman from a different social class and with an exotic background, who ghosts the text and Gallardo's life. He has to keep getting back in the ring even though doubts assail him and the effects of injuries catch up with him. Blasco Ibáñez has done his research and the corridas are described in detail and with great authenticity. There is suffering for both man and beast, and it seems less than noble. Written over 100 years ago, Sangre y Arena is a chronicle of the cruelty we are still able to mete out on the more than human world in the name of sport and tradition.

[mark · Rating 4 out of 5]

Although the dialog is somewhat dated (written in 1908) or perhaps flavored in translation, Ibanez’ descriptions are visual and visceral. He vividly brings to life the pageantry and bloodlust of the corrida and in doing so presents a searing indictment of human nature on many levels. This metaphorical dance with death is saturated in testosterone, leaving the female characters of the novel as little more than rough sketches. Nevertheless, the grand sweep of this story makes for a good read that is at one time historical and timeless.

[Cody · Rating 2 out of 5]

maybe it's a stiff translation but i was terribly bored the vast majority of this book. the overall plot arc is pretty cool (dude getting mauled by bulls, repeatedly) it takes for ev errrrr to get through it and the dialogue is pretty flavorless in between.

[Tan August · Rating 4 out of 5]

Blood and Sand has it all, the tragic hero, the romance, the fighting, the action, and the death at the end. It's one of Blasco's best works and holds up well through the decades. It's a great work for Spanish culture and bull fighting enthusiasts.

[Darius · Rating 3 out of 5]

Rugía la fiera: la verdadera, la única .

[Matthew Gaughan · Rating 2 out of 5]

A very poor and old-fashioned translation of a book that manages to make such an exciting, controversial subject as bullfighting incredibly dull.

[Araceli.libros · Rating 2 out of 5]

2.5*

[Steven Townsend · Rating 5 out of 5]

great novel

Really gets to the heart of bullfighting, after reading it I wonder why people still engage in this barbarism, hopefully they will stop someday.

[Nikolay · Rating 3 out of 5]

I am reviewing this book while not having finished it in part because I feel familiar enough with Ibáñez's style to be able to judge the merits of this story from what I have read and in part because insufficiency and incompleteness are a major theme in this book about the rise and fall of a matador from a working class family. Nowhere is this theme more apparent than in the detailing of its female characters, which in relation to the main character Juan give some interesting diversions and dramatics but in isolation are poorly developed and uninteresting.

For example, the mistress of the story is a highly regarded diplomat who in her most expansive moments interrogates Juan, his friends, and his enemies because it is in her nature to be inquisitive - a charming and valuable trait, however she is never the better or worse for it. Like all the female characters, and unlike Juan whose valor is a decree of some divinity or fortune, her life and labor is never put into question itself. Even when faced with a brigand who murders relentlessly the wealthy classes, Doña Sol is protected by the kid gloves of inefficient narration. At no time is the brigand's revolver pointed at her.

Blood and Sand is a fierce interpretation of pride, economy, and sainthood. Juan Gallardo, the revered matador, is pitted against fortune often desperately making his escape from the bulls of the bullring. As the novel posits, perhaps no vocation is as manly, dangerous, and superstitious than the matador who risks his life at every moment for fame and fortune. He is pitted against the bulls and so he is regarded as quicksilver, a servant to the whims of the crowd and ultimately a servant to his own frail constitution, his failing body. He can make the crowds roar and the bull bow down, achieving what no other man can ever fathom. His every instance of competition is a crowning achievement of wit and fortune, his every wound is a display of bravery. The furthest reaches of his success are displayed by his extravagant spending. The only moments of peace afforded to him are between events. But he is displeased often by the vagaries of quiet life, because by nature he has been groomed to participate in fierce battle.

From the point of view of someone who has no knowledge of bullfighting and very little interest in sports, this novel is interesting for its humble appreciation of sportsmanship. The bull is idolized instead of being villainized, which is a happy thought and good interpretation from my POV. Nothing about the events is put into question except for the economy and celebrity of the ring, which are the most interesting parts of this sport. I enjoy reading the various descriptions of possible outcomes and the reactions they produce in the many personages involved in a bull fight. It's like reading a book by a friend who yearns to introduce you to the game, blood and sand and all. And like a good sportsman, he makes a fair game of it.

[Gemma entre lecturas · Rating 4 out of 5]

Esta novela está basada en la vida del torero Manuel García Cuesta, El Espartero, muerto por una cogida en la plaza de toros de Madrid en 1894. Juan Gallardo, un hombre de origen humilde que consigue alcanzar el triunfo y la fama gracias a su valentía en la plaza, vive agitado por las contradicciones que le vienen impuestas, su vida humilde, un donnadie, choca con la vida que le muestra su apoderado José, riqueza, frivolidad; también se le demanda que arriesgue más, un público exigente que roza la incoherencia al pedir que niegue la peligrosidad del toro en la arena. 

«Sus cuernos no le daban miedo. ¡Peores cornadas da el hambre!»  

Juan Gallardo conoce a doña Sol, su amante, él está casado con Carmen, una mujer que cumple a raja tabla lo que se espera de ella, cuando conoce a Sol, una aristócrata sofisticada, su vida da un vuelco. Por lo visto había más de una en aquella época, me dice el grupo de lectura, «hacían cosas insólitas, un poco ridículas». Sol es una mujer bastante frívola y hambrienta de aventuras por ese aburrimiento que se calza, la rutina es matadora para ella y huye como de la peste, se cansa de Sevilla, del torero, del bandolero y de ella misma. Es un personaje fascinante al que Blasco Ibáñez le dedica un buen perfil, su rasgo más característico de su temperamento es la búsqueda insaciable de la novedad, ¿por qué temperamento y no personalidad? Porque creo que es innata a ella, característica heredada, ¿no se ve el mismo rasgo en su tío, el marques? Además, se mantiene en el tiempo. A Sol le gusta lo desconocido, se siente atraída por aquello que la saque de su zona, como cuando conoce al bandido, es peligroso, un asesino, pero ella necesita no solo verle, le regala una flor, le provoca, se acerca y lo mira seductoramente, en esta escena nos da otro rasgo, impulsiva, caprichosa y carente de reflexión; son extravagantes, se alejan de lo socialmente correcto, para acabar marcamos lo anterior, son poco tolerantes a las frustraciones, se aburren en seguida y son iracundas. Impresionante el perfil.

 

Juan Gallardo y doña Sol, sus personalidades contradictorias y sus deseos insatisfechos los llevan a tomar decisiones impulsivas y a sufrir las consecuencias, uno más que otro.

 

 La novela no solo es una historia de amor y pasión, sino también una crítica a la sociedad de la época. Blasco Ibáñez explora temas como la #clasesocial, la #violencia, la #superstición y la doble moral. Realiza una crónica detallada de las costumbres y la sociedad de la época, desarrollando como pocos el naturalismo con escenas minuciosamente descritas como la Semana Santa sevillana, cómo se enfunda el torero su traje de luces y cuál es su ritual antes de salir a la plaza, y ofreciéndonos un retrato fiel de la Sevilla decimonónica, ignorante y supersticiosa, poblada de señoritos y bandoleros, una ciudad que vibra con las corridas, los toreros y sus éxitos y fracasos.

 ¡Se acabó, Sebastián! Puedes buscarte otro matador.

 

¡Feliz lectura!

[Kelly Thiessen · Rating 5 out of 5]

The ending hits you like a half-tonne bull!

By the Horns is both an easy read and a hard read, in all the right ways. Let me explain what I mean! The writing style is clear, so the story flows from the page at a quick pace. But, wow, some of the passages are intense! It's probably not the story for you if you're squeamish, though I wouldn't say any of the violence in the book is there just for the sake of it. It's more just one of the things that give the novel such a no-compromise, realistic feel.

The plot follows the life and career of a bullfighter called Juan Gallardo. He's a machismo-filled young man who had a wild, poor upbringing. On the face of it, he's driven by pretty simple things: women, riches, glory, the love of bullfighting fans, etc. But there's a surprising psychological depth to him as well, or at least to the portrayal of him. He's joined by a cast of colorful characters, including a mother who is baffled by the opulent lifestyle her son's fame thrusts on her, a free-spirited aristocrat who Juan becomes besotted with, a scheming weasel of a brother-in-law, a violent bandit who turns out not to be anything like the legend surrounding him, and (my favorite) a kind-hearted would-be revolutionary who, despite being a torero, has plenty of qualms about the ethics of bullfighting. They are all caught up in a story that starts out with a jolly, sunshiney feel but becomes darker and darker and ends up overwhelming, breathtaking.

It's a longish novel, but I managed to go through it in a COVID winter weekend.

I received a free copy of this book via Booksprout and am voluntarily leaving a review.

[Shuly · Rating 5 out of 5]

Léelo si quieres agregar y aprender algo diferente de lo que hasta ahora sabes. Leí este libro porque en mi juventud asistí a corridas de toros, me gustaba el ambiente taurino que las rodea, esa magia que impregna el aire donde todos hablan de cómo será el desempeño cada faena y me emocionaba ver tanto a gallardos toreros de renombre, como a las mejores ganaderías presentar sus mejores crías. No obstante nada sabía del ambiente interior, los preparativos, ni mucho menos detalles de todos los sentimientos envueltos en sus protagonistas, de todo lo que está envuelto en cada corrida. Gracias a este libro pude empaparme de ello y doy gracias al autor por tan excelente descripción de cada acontecimiento y cada situación que experimentan todos aquellos que viven día a día ese mundo, desconocido por los aficionados como yo, pero que para ellos lo es todo. Algo que me me impactó fue la frase final de la narración… ¿quien es la verdadera fiera? Pensé… el toro? el torero … no. Por supuesto, el público, exigente, impaciente, nunca enteramente satisfecho, quiere más. Y al final, la corrida debe continuar… ¡que viva el torero!!! el bravo, el valiente, el osado, el que se juega la vida por lo que ama hacer … torear… olé y olé !

[Ufuk Beyazova · Rating 4 out of 5]

Kan ve Kum / Blasco İbanez

Juan Gallardo bir matador. O gün boğa güreşine çıkacak. Uşağı onun saçlarını briyantinledi. Alnına perçemler indirdi. Toreadorların taktıkları saç örgüsünü taktı. Ucuna siyah bir kurdele bağladı. Ayak parmaklarının arasına ufak pamuklar yerleştirdi. Ayak bilekleriyle tabanlarının altına pamuklar koyarak sargı bezleriyle mumya gibi bağladı. Sonra kalçasını yarıya kadar kaplayan uzun ak çoraplarını giydirdi. Üzerine pembe ipek çoraplarını geçirdi. Tütün rengi altın sırma işlemeli ipekli elbisesini giydirdi. Uçları altın püsküller diz kapağına doğru sarkıyordu. Sonra göğsü incecik tül fırfırlı gömleğini giydirdi, kırmızı boyunbağını bağladı. En sonra 4 m.  lik kuşağı onun beline sardı. Üstüne altın şeritli yeleğini geçirdi ve kabarık parlak işlemeli ağır kısa ceketini giydi. Başına ponponlu başlığını taktı. Boğaları kızdırmak için giyilen pelerinini omuzuna attı. Güreş alanına girdiğinde halk onu çılgınca alkışlıyor, ''ole! Ispanya'' diye bağırıyordu. Bir eliyle kılıcını tutarak boğaya yaklaştı... Bir boğa güreşçisinin heyecan ve hüzün dolu öyküsü. Tabii boğaların ve atların da.

[VT · Rating 3 out of 5]

I would have appreciated if it had been more clear this is a new translation "and telling" (whatever that means?!) of Vicente Blascon Ibanez's 1908 Sangre Y Arena when I picked up a review copy to review.

Something that is interesting to note: Mr Ibanez co-directed a film version of this novel in 1916. (There have been three other film adaptions.)

While the style and content of this book didn't exactly enthrall me and it took me some time (almost three weeks) to finish reading it, I enjoyed reading it a little bit at a time. It is a detailed historic glimpse into another culture. Despite initial appearances, as the book progresses it becomes clear this story (at least in this translation) is written with an anti-bullfighting message. To be fair, bullfighting is still considered a culturally important activity by many. The last few chapters in particular are grisly depictions of the harm inflicted upon horses, bulls and men by this blood sport, and are clearly written in a fashion which condemns this sport rather than for its glorification. Some of it is hard to read.

[Patricia Ibarra · Rating 5 out of 5]

Una novela que ocurre en España, obviamente, y cuyo tema central son las corridas de toros y la "cultura" que las rodea. Me impresionó la manera tan certera del autor para pintar a la sociedad española, a los fanáticos de la tauromaquia, a los toreros y todas las personas involucradas. Describe todos los pasos que se siguen con gran detalle: el momento en que se viste el torero, lo que pasa tras bambalinas con los criadores de estos animales y con los caballos, la adoración hacia los toreros y los cambios que ocurren cuando se vuelven famosos. No soy fanática de las corridas y de nada que lastime a los animales y sin lugar a dudas creo que es uno de los libros más crueles que he leído y que me hace despreciar aún más esta práctica tan salvaje. Es un tema controversial, lo sé, pero es mi opinión.

[Ali Stephens · Rating 3 out of 5]

Easy reading: aside from the utterly incessant gore of the bull fighting, there are a few interesting sub plots around religious fanaticism (especially the passage on the Good Friday celebrations), the history of Spanish federalism + the inquisition and the aristocracy vs the working people, especially of Seville. Also some really well developed passages on the Andalusian countryside. Dialogue is very mediocre, especially of Gallardo’s obsession over the femme fatale Doña Sol. Ending to me felt extremely abrupt even despite it being quite obvious, and somehow didnt feel very polished (could be a translation thing), and so a midly satisfactory book overall. Has made me want to sink my teeth into something a bit more challenging

[Kim W · Rating 3 out of 5]

I read it in Spanish, so I undoubtedly missed nuances, however I enjoyed the story. There were pages of repetitious detail to the point where I thought I had accidentally reread pages. But I loved the interplay of egos, the slightly sarcastic descriptions of the Semana Santa parades and the interplay of the Marquesa and the torero. The details of the bull fighting were gripping. Worth reading. I will probably read it again when my Spanish is a little better.