just finished Lost. Over the years his writers told stories mixing different genres (adventure, romance, espionage, science fiction, fantasy, police, horror, comedy) and using narrative strategies borrowed from cinema, literature and comic. Thinking involved taking any final of these references to elevate it to a metanarrative level and from there to close something that by nature should continue (as in the serial story.) We discuss the election, but not for the reasons already beginning to hear in forums and chats. The most important criticism that can be done to their creators is that they were very conservative when it comes to close its history. Because they decided to tap into one of the most respected sources of literature. But many may find that critical praise. Lost
term refers to the work of an author critical of American popular literature of the nineteenth century: Ambrose Bierce. With an adventurous life, fought in the Civil War and seventy-one he went to fight the Mexican Revolution and has not been heard from him, "Bierce is considered by many contemporary authors as a master of short story. His most famous stories are set during the civil war, but is also considered a landmark in fantasy literature. It's just a story that combines both aspects which have taken the creators of Lost to think the end of the series, or even global structure that we believe the time had clear from the beginning the story six years ago, I refer to "Event at the bridge over the river OWL [owl]."
The story has three parts. In the first an omniscient narrator tells us in great detail the military ceremony in which federal troops are by hanging a civilian. On the railway bridge, between two beams, a plank, the silence, his last thoughts ... until the man falls. Here begins the second part of the story (which only takes ten pages in the edition of Valdemar): a flashback in which we learn that Peyton Farquhar is called and who was a wealthy farmer trapped by federal troops when they pretended to perform an act of sabotage . We are half. Begins the third part. Peyton falls, but cut the rope, fell into the river and escape his captors. Through a forest and gets home-away from enemy troops. When about to embrace his wife in the last lines of the story "white light blinding him on fire all around him ... A moment later, all was darkness and silence. "And he gets the final paragraph, two sentences at the beginning and give us back what we already knew (although our desire to believe otherwise take us to flee with Peyton for a few pages):" Peyton Farquhar was dead. His body, with a broken neck, hung and swayed gently to and fro under the wooden bridge over the River Owl. "
If we had lived in the nineteenth century would experience first hand what it meant to be sentenced to die on the gallows, nobody, except extremely rare cases, survived the gallows. Because we live in XXI century we do not have that experience, but we have other similar. We know that nobody, except extremely rare cases, survives a plane crash. But in both stories we cling to what is possible and we fully improbable in the game to us by the creator of fiction (with the generous help of course). We follow their adventures because we believe they will defeat death, something that unites us deeply because we live and we care about a bunch of bullshit imbued with the same blind faith.
The series begins by showing a shot in the forest Jack opened his eyes after a plane crash. He gets up and lives six years of adventures shared with people who knew or had seen and others who wanted to know (a bit like arming the history Suspects arrested in the movie Usual). But the story ends a few minutes later when he closes his eyes and dies. The last plane of the series is not Jack's eye closed, but the drawings that accompany the titles and where we see the remains of the wrecked plane strewn on the beach. No survivors.
This is a fantastic story of a classical. Explore the interstices of reality and is far more disturbing than those stories that we propose alternative realities where there are monsters, aliens, gods or technological gadgets scientifically impossible. All these things exist because we tell stories about them. And the best are those stories that we reserve to deceive ourselves. Which enable us to cope how much or little we have left.
The creators of Lost took their story to safe ground, decided not to risk the final. (Another thing is the shaping of the narrative, and description of the ninth before the final end, which can certainly lead to much more acidic criticism.) But from a structural point of view the decision seems correct, because it makes living all the mystery and magic of the stories it contains. What is unoriginal? I ask, what human cultural product can meet the criterion of originality is often assumed that when you ask that question to criticize anything? Posts that can not be original, at least be inspired by the best models available.
For years the island and its characters gave us a lot of stories-some good, some very bad. Jack (named after the hero of almost all anonymous fables that shaped our childhood) has shared with us a lot of stories that could cheat death. What are stories featuring dead? What is fiction? There seems a big problem. Does anyone question The Thousand and One Nights because all his stories turn out to be an invention of the desperate Scheherazade to postpone the time of his death? Can we blame the creators of Lost Jack to make him do the same for six seasons? We can but it would be unfair to them.
