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Neither the family nor authorities have revealed the cause of death. WikiLeaks founder Julian Assange immediately tweeted the following message: The story I wrote about Manning, and which I insistently offered to my editors in the summer of , was headlined: Manning whose first name is now Chelsea following sex-reassignment surgery revealed to Lamo that she was the source who had given WikiLeaks a video showing a helicopter air strike in Baghdad where 12 civilians had died, and of a air strike against the Afghan locality of Garani that resulted in around civilian deaths.
Faced with a hermetic response from the Pentagon, which would only admit that Manning was in Kuwait awaiting a court-martial, I decided to search for Lamo online. I sent off several desperate messages to all the accounts I could find with the name Adrian Lamo. To my surprise, he replied immediately through a Google service, we briefly chatted through Gmail, and he later phoned me from a private number.
He told me that it had been a tough decision to make, that he had thought about it for a long time, and that he still had to come to terms with it. The names of undercover agents, the names of informers, secret locations that may now be attacked.
Buy Las tormentas del Versión completa (Spanish Edition): Read Kindle Store Reviews - donnsboatshop.com Obra Poetica Completa. Edited by Antonio Spanish version: Hutoria de la Literatura "Reflejos italianos en LOs tormentas del " Studi Lipanici .
That was my first impression of Manning, not because of what Lamo told me, but because of the chat logs of their conversations dating back to May , and which Lamo shared with me. This is how it began:. On other occasions the conversation revealed great vulnerability, to the point of casting doubt on Manning's mental health. Lamo later explained to me that he detected something frivolous and unwitting about Manning, and that this was what led him to turn Manning in: Lamo felt that Manning had not properly gauged the potential effects of cooperating with WikiLeaks.
It made me very doubtful. What I did was not easy. Of course, Beramendi's view of the events in July is close, firsthand, and confused; in his eyes, what happens in the streets of Madrid is noble and heroic. The novel ends with the four days' fighting at the barricades brought ruthlessly under control by General San Miguel, who represents the Progessive political faction which had used the revolt for its own ends. The Revolution of was thus a brief "parenthesis in the conservative hegemony of Isabelline Spain. It did nonetheless ignite the hopes of the Spanish lower classes for democratic rule and improved economic conditions.
But quite unlike the optimism Hugo is able to find in the temporary defeat of the insurrection of in France, Beramendi in his memoirs can see nothing but inevitable defeat for the pueblo 's heroic struggles and its high hopes. Although Beramendi's search for Virginia, which leads him to be present at some of the important historical moments of the period, accounts for much of what goes on in the novel, on the more important thematic level, the novel is a record of Beramendi's quest for something in which to believe in the Spanish world and for a way out of his paralyzing ironic attitude toward that same world.
He desperately longs for his nation to transcend its eternal, fruitless political squabbling and to move toward a better society. His memoirs are a record of his temporary discoveries of movements and events in Spain he thinks will help make the nation better; but his optimism is nearly always followed by crushingly disillusioning events. However, this pattern of despair is broken at the end of the novel when at last he discovers a locus of permanent value—the pueblo.
Existence for him "becomes the "abyss" and he is filled with nausea and despair. Two weeks earlier, the Pentagon had arrested a year-old analyst named Manning, and I had reported on that case, resorting to what little information I was able to glean from my sources at the US Defense Department. Virginia's letters are filled with scorn for the world she has abandoned. She wants him to avoid writing in the tragic mode to protect his precarious emotional and mental balance but also to avoid the suggestion that something is fundamentally wrong with the Spanish government and the nation. He is a highly ironic individual, like Hyacinth in The Princess Casamassima ; but, unlike Hyacinth, his sense of the ironic can become so overpowering that the world, particularly the Spanish portion of it, can begin to look grotesquely farcical, absurd, and meaningless.
But his vision of the pueblo is unlike anything encountered in previous chapters of this study, because however excellent and noble the Spanish pueblo may be, there seems little hope of its transforming Spanish history by its revolutionary struggles. At the beginning of the novel, Beramendi describes himself as a man prone to severe periods of depression, which make him seriously ill both physically and emotionally:. Let Posterity know that for two years I have suffered changes in my health, whose development and symptoms have caused great confusion to our house doctors, and which have so disconcerted me that my beloved wife and mother-in-law had come to believe that I had lost my mind, or that my tenacious melancholias and disgust with everything was rapidly making me lose my health.
He is a highly ironic individual, like Hyacinth in The Princess Casamassima ; but, unlike Hyacinth, his sense of the ironic can become so overpowering that the world, particularly the Spanish portion of it, can begin to look grotesquely farcical, absurd, and meaningless.
The despair and horror he feels at these moments lead to his depression and illness. The rise and the fall of his emotional and physical health is carefully tied to the general health and outlook of Spain. The early parts of the novel trace Beramendi's increasing conviction concerning the need for a sweeping social revolution in Spain, not just a change of leaders at the top. At first his response to the attempted assassination of Isabel II seems that of a rank sensation-monger; he calls it Translation to come But this taste for the lurid is actually a fierce desire to find portents of major change in Spain's political and social conditions which will improve his psychological condition.
He looks everywhere for hopeful signs on the Spanish landscape. Beramendi longs for a total revolution that will not simply replace one dictator with another but that will renovate Spanish society from top to bottom. He believes that upheaval of practically any sort in Spain will be a positive good:. He becomes overjoyed and even ecstatic once O'Donnell and the other opposition generals have pronounced against the government: But will simply produce another pronunciamiento as Beramendi sadly leams midway through the novel. Until that moment, however, he sees the revolution in those sweeping, apocalyptic terms of a romantic populist from the 's, as satirized by Henry James in his The Princess Casamassima: In all these moments leading to the disillusioning battle, Bermendi is oddly breathless, scrambled and disjointed in his expression, suggesting the impracticality of his visionary hopes.
He sees the revolution as coming straight from the pueblo , as involving all the common people, not just the politicians and the generals, not just a palace revolution.
This state of mind is so strongly contrasted to his normal one of cynicism and irony, established fully in the early pages of the novel, that his high hopes seem only a momentary illusion soon to be destroyed. Like the typical romantic revolutionary, he is ready for the kingdom of God, or some anarchic version of it.
For some reason the revolutionists believe that Beramendi is the civilian leader of the revolt; Translation to come But from the moment the actual killing starts, Beramendi is shocked and disillusioned: Beramendi abruptly returns to his ironic view of things. The little old peasant women with whom be finds himself watching the battle, much in the same atmosphere of the Waterloo episode in Stendhal's La Chartreuse de Parme , echo his own fallen spirits; one of the women welcomes it all greedily because the troops bring money to the village, the other chimes in greedily too that revolutions enable the poor to ransack the rich and the convents and to profit from the destruction and the chaos.
At length the battle begins to appear Translation to come The exhausted, discouraged troops return to the village like savage barbarians no longer filled with faternal idealism and grab whatever food they can in complete reversal of the spirit that had marked their behavior toward the pueblo before the battle. Just as everything in the area of disillusioning battle begins to taste dry and powdery, like the "yeso" from the city walls blasted by cannon fire, so the generals attempt to whitewash their poor performance and to see it as a victory.
Beramendi turns away from this historical moment disgusted and contemplates the calm and indifference of the horses and dogs in the street outside the generals' meeting place. With his hopes for real social and political change again dashed, Beramendi returns to Madrid as depressed and nauseated as ever; he suffers a complete relapse into his emotional problems, and again there is a gap in his memoirs.
He wonders as does his wife, Translation to come What he feels after the battle and back in Madrid is simply Translation to come No espero nada; no creo en nada Once again Beramendi has returned to his totally ironic view of things: When the rebellion begins in Madrid, it is not certain that he will concern himself with it at all, but he continues his search for Virginia and Leoncio.
Even in his search through the city for the couple, he cannot keep himself out of the streets despite his wariness: But there is in his attitude now a reluctance to become involved emotionally after the lesson his earlier experience had taught him about placing any hope in movements promising change: As Beramendi wanders the streets in search for Virginia and Leoncio he begins to absorb the revolutionary excitement, and the lack of food, the fiery plebian liquor, the euphoria of the uprising, and the excitement of meeting Virginia and Leoncio at last take their toll on him.
He claims in his memoirs that he blacked out and that he came to his senses later wearing working class clothing black with the powder of gunfire. He is told also that he had been fighting vigorously and heroically on the barricade, but rather like a sleepwalker. At the end of the novel, at the end of this section of his memoirs, Beramendi is curiously buoyant and cheerful at a moment which in the past would have found him once again deeply dejected.
The popular revolution has failed, Spain is still the same, nothing has improved, but he has now found something to be optimisitic about—the existence of the pueblo. It does not seem to matter to him that the pueblo 's struggle fails and seems destined for continuing failure. His pain at what he views as the absurdity of Spanish politics and Spanish history is now softened somewhat by the existence of the pueblo , regardless of their lack of accomplishments; their spirit, idealism, and heroism redeem the Spanish world for him. Beramendi's search at long last culminates in his discovery of the heroic, tragic pueblo.
Central to Beramendi's populist sociology is his recognition that nothing has changed and that most likely nothing will ever be changed: Y yo a mi casa" III, p. To Beramendi, Translation to come Beramendi realizes that Translation to come It is as if the revolution had no other goal than this: What Beramendi discovers that is admirable in the pueblo is its capacity to struggle for a better life in spite of the certainty of failure:.
Beramendi senses in the pueblo an idealism bordering on fantasy and illusion; however, quite unlike the way in which these half-dream visions are treated in Zola's fiction, for example, those of Florent in Le Ventre de Paris , they become admirable, a source of heroism, and the only element that redeems an otherwise absurd world in Bermendi's eyes:. As in the case of populists discussed in previous chapters, both Beramendi and Virginia discover in the plebian world what they lack in their own.
The pueblo becomes a projection or a satisfaction of their needs. Virginia on the other hand is the thoroughly romantic type who acts out all the classic phases: It is no coincidence that in some of her phases Virginia reminds us of certain female characters in the romances of George Sand; Le Compagnon du Tour de France and Le Meunier d'Angibault are two stories in which aristocratic ladles spurn their comfortable milieu and take up the humble plebian life. Beramendi makes it clear in his journalistic musings about this marriage that Virginia must be asphyxiated by the excessive wealth, fashion consciousness, and modem gadgetry that so preoccupies her new family.
In words reminiscent of the Princess Casamassima's, she calls on Beramendi to become "salvaje" and defines her act as a journey to the pueblo and to the heart of Spain:. Viviendo en ella y con ella es como nos instruimos. Clearly, her rebellion against high society and her discontentment with life there shape the way she views the pueblo. In her call to Beramendi to go to the people, she repeats that traditional rejection of intellectualism and repeats that traditional romantic notion of the different cognitive processes by which the common folk knows things—both features of the populist romance.
To Beramendi's eyes Virginia successfully becomes plebian: Though Beramendi is filled with the same criticism and disaffection for Spanish society, Virginia's act represents to him throughout the novel the rebellious step he himself cannot take; she acts upon their mutual disaffection. Her rebellion, her act of dropping out of the wealthy, fashionable, and highest circle of Madrid society, is an explicit criticism of that world: Virginia's letters are filled with scorn for the world she has abandoned. For example, Virginia imagines that her sister Valeria must be unhappy still trapped in that world: As these passages show, her populism is filled with as much preoccupation for the world she has rejected as for the world she has embraced.
Beramendi on the other hand has a great deal of sympathy for the pueblo but cannot bring himself to follow the classic course of action that Virginia does. He is too ironic to believe that he can transform his identity; he knows the pueblo is doomed to failure; and he knows history is a chaos or a stasis.
As a man thoroughly familiar with the literature of his time, no doubt the populist quest is to a certain extent hackneyed in his eyes. Also, Beramendi, quite unlike the other populists as we have seen in this study, has a deep sense of love and responsibility toward his wife and family and simply cannot "go to the people" at a moment's notice. Most important is Beramendi's pessimistic outlook, however. Unlike the romanticism of Virginia which propels her into action and commitment with fiery passion and with practically no doubts or misgivings, the ironic Beramendi is paralyzed into inaction and doubt.
This reserve is ultimately broken down in the euphoria of the street fighting in Madrid at the end of the novel; he loses his critical, ironic faculties temporarily and becomes for a while the typical populist. Once the fighting is over and he has returned to his senses, Beramendi resumes his former nonplebian identity. Like Virginia, Beramendi's populism is built upon discontentment with his own social class.
However, that feeling extends to himself: And living in idleness, threatening my laziness with the recreation of watching the comings and goings of men and things, the people launch themselves into the making of events, to shove forward life in general, and to throw off its axels the cart of History. They give their meager houses and their lives, not for the benefit and improvement of the class to which they belong, but for the improvement of all of society.
If something good comes from this revolution, it will not be for them, they who will continue poor, obscure, and crude as before, while the??? Y viviendo en la inactividad, amenizando mis ocios con el recreo de ver pasar hombres y cosas, ellos se lanzan a la hechura de los aconticimientos, a impulsar la vida general, y a desenmohecer los ejes del carro de la Historia. Beramendi feels worthless in the presence of the pueblo ; he has nothing of the pueblo 's heroic idealism to struggle for; he views himself over-refined, inert, sterile, egoistic, uselessly erudite, and terribly small in comparison.
His quest for the pueblo is one in which he searches for regeneration, a quest such as Michelet in Le Peuple had called on the French middle and upper classes to make. Similarly Beramendi's populist sociology is built as much upon a loathing of his own social world as upon a real perception of the plebian world: The pueblo , as the English working classes were for the Princess, is simply Beramendi's context within which he catalogs his own self-criticisms.
Everyone other than the tragic pueblo belongs to humanity. Beramendi feels painfully inferior to the pueblo after the uprising is put down in Madrid:. Ellos marchan; yo permanezco apegado al suelo como un vegetal. Despite his admiration for the pueblo , his scorn for himself and his own social class, Beramendi is too ironic, too self conscious to carry out the pattern of rebellion, exile, and identity transformation achieved by Virginia.
The fact that he does become the character type of the romantic populist during the uprising in Madrid because of the stress and the excitement of the moment suggests that some part of him greatly wants to go to the people. Although he calls that temporary state of delirium on the barricades a Translation to come The origins of the attack which transforms Beramendi into a member of the "clase humilde" are certainly physical in origin: In many other ways during his delirium, his identity is transformed into that of the common pueblo.
His complete transformation for the short period may be another explanation for his inability to remember any of what he did or said: During the uprising, "Rodrigo, his "escudero," claims he was like an Translation to come Sin apreciar la causa impulsora ni darse cuenta de sus efectos. Rodrigo tells him he had eaten the standard pueblo fare: If part of the tradition of the populist romance is a dream of identity, and if this drama can be found in the various populist movements and to-the-people movements in history, then naturally it would also appear in the fictional literature of the populist romance.
The guilt-ridden as veil as the idealist and the bored populist attempts to throw off or conceal evidence of his origins in the more comfortable classes and adopt the mask and disguises of the common people. In these moments Beramendi becomes, though only temporarily, the typical romantic populist, against his ironic impulses.
Convinced of the excellence of the pueblo and the rightness of its cause, he joins them for awhile at the barricades and transforms his identity into a plebian one. However Beramendi cannot remain the populist: In his account of his adventures in the streets of Madrid during the uprising, there are many elements that draw a parallel between Beramendi and Don Quixote; in fact, Beramendi himself points to the analogy specifically: Like the Don, Beramendi has only a delicate psychic balance at best, and the literature he has read, members of his family believe, has added to his instability as it seemed to have done to Don Quixote:.
In the end, once he is back from the streets at home and over his delusions, he reneges upon his commitment to the revolution and its ideals in a way quite similar to that in which Don Quixote renounces his role: After the uprising, he attempts to pass his actions off as "raras turbaciones," of which he has been cured. Drawing the parallel to Don Quixote however serves to give the actions of the revolutionary pueblo an aura of that quixotic idealism that borders on fantasy and impracticality. One cannot look upon the struggles for the ideal of either Don Quixote or the pueblo in this novel and simply scoff.
In the populist romance, the view of history is generally an expression of both the nature of the populist and his ideas about the people, his partisan "sociology. For Michelet, the peuple is the positive element in society and therefore the natural agent of the progressive movement.
Hugo on the other hand modifies that perspective to the extent that the romantic populist must go to the people to save them from their misery, to enlighten and lead them forth to the new eden. Zola retains the progressive idea of history but sees the peuple as not contributing to that process. The agent of progress must come from some other source: Henry James takes a decidedly conservative view of history: Popular revolution is associated with the destruction of value, located for James in civilization, particularly in its cultural achievements.
To be sure, neither James nor Zola is hostile to the common people but simply refuses to see them as any better or in fact any different from any other segment of society. Just as the romantic world of knighthood and chivalry was dead in Don Quixote's time, that romance of revolutionary progress and triumph of the people, dreamed by the radicals up until the failures of , was also spent.
As Don Quixote had expected reality to fit his ideal conception of it, Beramendi seems to be a caricature of the historian searching confusedly for a pattern in history, preferably the romantic revolutionary, progressive one. In this respect, Beramendi is a caricature of that general type of historicist-visionary that Michelet and Hugo represent.
However noble, excellent, and deserving it may be, the pueblo cannot change history. In many respects, Beramendi is an anti-historian: However this very chaos and confusion characterize history itself; Beramendi may be far more accurate a historian than it seems. Beramendi must give rather embarassed excuses for the lacuna in his memoirs. More importantly he recognizes the confused, incompetent nature of those memoirs, Translation to come There is high comedy in his attempt to be a historian just as there is high comedy in Don Quixote's attempt to be a knight.
But, if the memoirs read as if they have been strewn by the wind along a dusty road, it is also because Spanish history particularly in the nineteenth century reads in the same confused, and scattered way. Beramendi also represents the interesting combination of henpecked husband and historian. The obedient husband reflects that Translation to come At moments during the time period covered by the novel, he can scarcely bring himself to keep his memoirs at all:.