En cuanto a la traducción, en general me ha parecido correcta, pero… hay cositas, cositas aquí y allá como: Ya había leído a Joyce Carol Oates antes, así que si, conocía su enorme calidad literaria, pero por sobre cualquier tema técnico que se pueda decir de su estilo narrativo, hay algo que la caracteriza y es su gran y tremenda capacidad para transm

On St. Valentine's night 1976, after prom, Marianne Mulvaney goes to a party where she becomes intoxicated and is raped by an upperclassman, whose father is a well-respected businessman and friend of Mr. Mulvaney. Dopo che me ne sono andato quel giorno, quella domenica di Pasqua, ricordi? Mi sono svuotato. Il veleno che avevo nel sangue è colato fuori. Come fossi stato malato, infetto, e non me ne fossi accorto finché il veleno è scomparso. Però non rimpiango nulla. Penso che la vendetta debba essere bella. I greci lo sapevano. Sangue chiama sangue. Credo che l’istinto della “giustizia” sia innato, presente nei nostri geni. Il bisogno di ristabilire l’equilibrio.»Oates is working on a large canvas here. There are several biblical and mythical allusions; and much of the book has the inexorable feel of a Greek Tragedy. The idea of Darwinian evolution is also a big theme. And the book can also be read, quite convincingly, as one of those Death of the American Dream novels. When institutions fail people, you're left with the family unit. The book mostly concerns the subtle interworkings of a large family, from the oft-repeated anecdotes that capture a family member’s character to its big secrets. The last part of the book and the ending was very bittersweet. As much as you want to be happy you can't help feeling something is just not letting you achieve that. It's probably the same thing the Mulvaneys are feeling by the end. Somehow we've become the Mulvaneys by just a few chapters into the book, so truly whatever they're feeling, you're now feeling. That just got you all the more involved in the book, because of course you want to know everything that happens and why. It also makes the book that much harder to put down.

Describe the character development in We Were the Mulvaneys. How does Joyce Carol Oates use language and imagery to bring the characters to life? When the rape is revealed, Marianne refuses to press charges against the student (whose father is a well respected businessman, and a friend of Marianne's own father). She feels she can't be her own witness because she had been drinking and the entire night had turned into a blur. Sus sonrisas eran monedas de oro distribuidas descuidadamente en los corredores de la escuela, sus saludos – ‘Hola’ y ‘Qué tal!’ y ‘Cómo estás’ – eran melódicos como los gritos de las aves primaverales. Judd imagines but does not invent. He’s the intellectual and moral center of the novel, as it is presented in terms of language. It’s fitting that he’s a newspaper editor and writer. Many people in families feel themselves in repositories of the family narrative —as Judd says, he is assembling a kind of family album, not writing a “confession.” Michael Mulvaney, the family patriarch, exemplifies resilience in the face of challenges. His determination to protect and provide for his family drives his actions. Corinne Mulvaney, his wife, copes with guilt and grief in her own way, highlighting the diversity of responses to trauma. Marianne's journey toward healing and self-discovery showcases the human capacity for growth and survival in the aftermath of trauma.Why did you choose Judd, the youngest of the Mulvaneys, to narrate the story? Was it difficult to have him tell so much about the interior lives of characters he did not always understand? An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

We Were the Mulvaneys" offers insights into the intricacies of human nature. The characters' responses to tragedy reflect the spectrum of human emotions—grief, anger, guilt, and resilience. Oates portrays the imperfections of familial relationships, illustrating that even the closest bonds can be strained by external events and internal conflicts. After Marianne leaves, the family slowly dissolves. Mike Jr. moves out of the house, living in town and working for Mulvaney Roofing. He drinks and hangs around with a wild crowd, arguing constantly with his father. After a car accident which he survives, but which does serious injury to his fiancée, who is riding with him, Mike Jr. joins the Marines and is seldom heard from throughout the rest of the novel.The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year. Her latest book, Middle Age: A Romance, introduces just such a character, Adam Berendt, who dies trying to save a young girl from drowning. Berendt enters the wealthy New York suburb of Salthill-on-Hudson and, through the pureness of his heart, persuades its avaricious residents that it is not too late to change. Middle Age is intensely realistic, a facsimile of fraught modern America, particularly the women in it, "who are accustomed to not seeing imperfections in men, though anxiously aware of the smallest imperfections in themselves". Oates was amazed when some critics read it as a piece of satire. "When most people write about the suburbs of America, particularly the women of the upper middle class, they're very satirical and harsh. But I know these women and I see no justification for being cruel to them. They're actually very wonderful people. Some reviewer made the point that the characters were despicable, but that the author showed compassion for them, whereas I didn't feel they were despicable at all. In a world in which there are serial killers and genocide, these people are basically well intentioned."