Reviewed by: Cervantes’ PERSILES and the Travails of Romance ed. by Marina S. Brownlee Paul Michael Johnson (bio) Marina S. Brownlee, ed. Cervantes’ PERSILES and the Travails of Romance. Toronto: University of Toronto Press, 2019. 307 pp. ISBN-13: 978-1487504786. To employ a nautical metaphor befitting Los trabajos de Persiles y Sigismunda itself, this book is the latest treasure to wash ashore from the many quatercentenary celebrations in 2017 that commemorated Cervantes’s last work. Giving material form to a colloquium hosted at Princeton University, the volume gathers some of the foremost authorities on the text, along with a handful of emerging scholars who illuminate it with innovative new readings. Marina S. Brownlee’s brief introduction offers a concise summary of the critical [End Page 234] history of Persiles y Sigismunda over the past several decades, as well as an overview of the essays and thematic divisions that make up the edited collection. While looking back to the ancient model of Heliodorus’s Aethiopica, she also proposes that, insofar as it “rethinks geopolitical models of race, ethnicity, nation, and religion,” Cervantes’s take on the Greek romance “has never been more timely than today” (3). Travails of Romance begins with an essay by Frederick A. de Armas that engages Yi-Fu Tuan’s distinction between space and place, a theme that also informs the first section of the volume as a whole. By exploring the symbolic valences of four architectural structures in Rome, all unlikely sites for pilgrims to the Eternal City, de Armas reveals the dangers and comforts of these overlooked spaces, as well as their culturally and religiously charged meanings. It is the wider latitudes of barbarian North and Catholic South, and the inversion of their corresponding moral hierarchies, that concern Michael Armstrong-Roche’s contribution. Through its “Lucianic gaze” and “lexicon of the marvellous” (49), Armstrong disentangles the subtle means by which Persiles y Sigismunda estranges the familiar, rendering moral complexity a vector of edification as well as entertainment. Isabel Lozano-Renieblas rounds out the section with a meditation on the character of Auristela, whose chastity serves as a locus for discerning the symbolic registers of verisimilitude and adventure, suggesting that the inner religious journey of Auristela holds greater importance than the pilgrims’ overtly terrestrial wanderings. The following section of the book traces the “psychic dimensions” of the novel, starting with a contribution by Anthony J. Cascardi. Delving into what he calls the “character enigma,” or why the founder of the modern novel would culminate his literary career with a book full of ostensibly “un-novelistic” characters (83), Cascardi shows how, if we look beyond allegory, Cervantes leveraged the art of narrative to explore the psyche in far greater depth than the humoral and proto-psychological theories of his day. William P. Childers too vindicates for Persiles y Sigismunda a more modern conception of the self than perpetual comparisons to Don Quijote have traditionally precluded. If that novel revolves around a protagonist whose desires and behavior place him at odds with society, then Cervantes’s last work multiplies this problem with a group of characters who must negotiate their conformity, or nonconformity, with one another in what Childers calls a “full-fledged laboratory of individualities” (105). An abiding crux for critics of Persiles y Sigismunda has been the relationship between verisimilitude and the marvelous, and Javier Patiño Loira takes this debate in fresh yet historically responsive directions [End Page 235] with his essay on wonder. Through a study of how sixteenth-century poetic theorists approached the concept, in addition to its affiliation with cognition and emotion, he demonstrates that Cervantes was aware of yet superseded prevailing understandings of wonder and its Aristotelian strictures. The visual realm informs the next set of essays, beginning with Marta Albalá Pelegrín’s exploration of the diversity of pictorial genres represented in Persiles y Sigismunda. Focusing on representations of corporeal violence, she interrogates the aesthetic mechanisms by which visual imagery moved the reader as well as its connection to Catholic relics and other historical anxieties. Though the novel’s varied engagements with ekphrasis have caught the eye of many a reader, few have critically examined the images included in...