The Cemetery of Forgotten Books is a Cello Concerto
To say that I loved Carloz Ruis Zafon’s The Cemetery of Forgotten Books tetralogy is an understatement. I am literally stuck in a reading slump because of it. It has raised the bar so high that other novels seemed dull and void compared to the gorgeousness of Zafon’s writing.
Apart from listing superlatives like majestic, superb, gripping, fascinating, etc., I am not going to talk in details about the the intricate plot, the enchanting characters or the atmospheric and gothic Barcelona of the books. I will leave it to you to discover. I would rather talk about the form.
The four installments of the series can be read individually in any order. That was one the author’s promises. However, stopping at one book, especially the first one, The Shadow of The Wind, will prevent you from appreciating to a full extend the ingenuity of Zafon. The same as stopping at the first movement of a concerto will not allow you to savor it completely.
For me, The Cemetery of Forgotten Books is a four movements cello concerto. Namely, Edward Elgar’s Cello Concerto in E minor, played by Jaqueline Du Pre.
The first movement, Adagio — Moderato, opens with a gripping and unforgettable cello solo followed by a clarinets answers. Like the beginning of The Shadow of The Wind, it sets the tone for the whole concerto. The main theme is enchanting and unforgettable. Played back and forth between the cello and the orchestra, it leads to a more lyrical middle section. We are in the middle of the book, following Daniel Sempere in his peregrinations in a haunted and gothic Barcelona, which lead to a repetition of the main theme and a beautiful finale.
The second movement, Lento-Allegro molto, is different. Its energy reminds me of the third book, The Prisoner of Heaver, which I read directly after The Shadow of The Wind. The short cadenza played masterfully by Jaqueline Du Pré resembles the delightful tirades of Fermín Romero de Torres, an unforgettable character that made his appearance in the book.
The third movement is slow, melodic and melancholic. It echoes the tragedy of David Martin, the main protagonist of the second book, The Angel’s Game. It is perhaps the less appreciated of the four tomes. However, it is, in my opinion, essential to the whole structure of the series.
Finally comes the apotheosis of the fourth and last movement. It is longest of the fours movements, like the colossal Labyrinths of Spirits with its 800 pages. It starts with a new beautiful and enigmatic theme like the haunting Alicia Gris. The new theme leads to a slow transition then catches up with the main theme in a majestic grand finale. Exquisite !
