In his new book The Birth of Sequel, William H. Hinrichs offers an accurate, specific and chronicling evolution of the sequel since the fourteenth century Spanish literature. The study not only demonstrates the sequel evolution as a literary device, also explores the esthetic and social dimensions to show that this strategy was in the most important works of the Golden Age, as the author mentions in the preface to his work, when he alludes to the significance of the novel Don Quixote de la Mancha (1605-1615) and stands it as a prime example of the evolution of the sequel. However, following the birth of the long predates the work of Cervantes and its evolution is the objective that Hinrichs seeks to outline in this work. The perspective that interprets the work of Cervantes as a genuine initiator of the following is rejected by Hinrichs: “Literature scholars ignore Because we do not sequels to understand them” (p. vii). From this perspective, the meaning of the sequence or the importance of addressing then is brought by the author´s perspective, which solves the literary significance of these dynamics. In fact, it states that the fullness of the following is Don Quixote, but it begins with the work of Fernando de Rojas and his novel La Celestina (1499). The purpose of W. H. Hinrichs is to make a genealogy of the continuation and, from this, look into the objectives that each element contributes to each form below for the various canons of literary genres: “This investigation Focuses on the Golden Age narratives That invented the sequel and That on the novelistic genres in turn invented the sequel, from the views and the Celestinesque novels, to the pastoral and the picaresque ” (p. ix). This inquiry allows thematic and argumentative review of the works, a key to understanding the evolution of stories and then the Golden Age literature because the review became part of the gender.
The most interesting thing of the work is the deep study of Hinrichs about the subject of sequels and continuations, the scope and the importance in them, and the dynamic force of prose evolve within the various genres that arise in the Golden Age. Hinrichs explores in these genres and shows how these stories make one with the first parts. In short, the author understands these amendments or continuations as “fixes” of the stories, disagreements that arise in various ways and that are specifically intended for an ideal reception. It’s nice and consistent with the study the idea of Hinrichs about the continuation of the work: readers who return an unhappy history in order to improve it from their perspective. In the literary circuit of the Golden Age, it involved tools and structures that enriched the works, authors and genres that Hinrichs finally takes, uses, and shows on time on his work The Birth of Sequel; a book that deserves to be read to understand the necessary steps to create the modern novel and its consolidation with Don Quixote. And it is in Don Quixote where, according to Hinrichs, we find the paradigm of the modern novel in its “dialogue” with the works that preceded it.