impossibilia-8-octubre-2014

his mouth that never lets a secret out) and simultaneously foretel the kind of stuf Peter’s subsequentdreams wil be made on.Each chapter of the book is in fact sealed by a smal image intended to sum up its content but,instead of visualy glosing the comforting outcome of the protagonist’s adventure as one would expect,these pictures tend to recal one of its unsetling details: the plastic arm of the Bad dol, the untidy kitchendrawer, the broken glas left by the thief.Elsewhere, the inal image represents the central igure of the story, as in the case of the cat and thebaby, whose very esence it intends to capture: cat Wiliam is portrayed in a tired, melancholy pose,perfectly suitable to a gentle old pet, whereas cousin Kenneth is playing with a tiny toy house, in an ironicalreversal of Peter’s own metamorphosis which also preigures his next transformation into a “giant”.Browne’s ilustrations efectively catch thedisquieting atmosphere of McEwan’s stories and they do so by introducing alien elements in an everydayseting: this is the case with the two wrinkled hands groping over the ledge of the window in “he hief” orwith the indecipherable black spot that is half hidden in the lower part of the house interior in “VanishingFerari, Roberta. “Metamorphosis of a genre: he Daydreamer by Ian McEwan”. Imposibilia Nº8, Págs. 46-63 (Octubre 2014)Artículo recibido el 29/07/2014 – Aceptado el 10/09/2014 – Publicado el 30/10/2014.58