Лучшие книги Томаса Мартинеса

Хулио Мартель поет танго, но никогда не записывает своих выступлений. Лучшего в мире певца можно услышать только вживую! В погоне за его голосом американский аспирант, пишущий диссертацию о статьях Борхеса, посвященных танго, покидает Нью-Йорк и открывает для себя Буэнос-Айрес - город литературы, любви и насилия, город, в котором подвал скромного пансиона может скрывать знаменитый борхесовский алеф - точку, содержащую все точки и все мгновения вселенной.

-

“One of the most original and entertaining books to come out of Latin America in recent years.”—Mario Vargas Llosa

On June 20, 1973, General Juan Peron, the most revered—as well as the most hated—dictator in the history of Argentina, returned to his homeland after eighteen years of exile. His arrival was the occasion for a fratricidal massacre. Less than a year later, Peron was dead. The throngs that filed past his body as it lay in state were as vast and impassioned as those that had mourned his wife, Evita, the music hall performer Peron had turned into Argentina’s secular saint and who embalmed corpse he had turned into his personal talisman.

Out of the facts of this enigmatic despot’s life, the Argentine journalist and novelist Tomas Eloy Martinez has created a novel who fantasy only heightens its humanity. For in The Peron Novel the mask of history is lifted to reveal a tragically hollow man who was a born follower until the moment he found himself transformed into a leader. The result is a tour de force, the most audacious and compelling meditation on absolute power since Gabriel Garcia Marquez’s The Autumn of the Patriarch.

“A brilliant image of national psychosis. Vividly written.”— The New York Times Book Review

El todopoderoso director de un diario de Buenos Aires se obsesiona por Reina Remis, una periodista de talento a la que dobla en edad. Su soberbia le impide ver que los sentimientos ajenos no están bajo su dominio, y esa ceguera lo sume en una historia de amor de la que saldrá transfigurado. A partir de esa intriga clásica, Tomás Eloy Martínez construye una novela irresistible.

Purgatorio is Martínez's most moving, most autobiographical novel and yet it is also a ghost story, the ghost story which has been Argentina's history since 1973. It begins, 'Simón Cardoso had been dead for thirty years when Emilia Dupuy, his wife, found him at lunchtime in the dining room of Trudy Tuesday.' Simón, a cartographer like Emilia, had vanished during one of their trips to map an uncharted country road. Later testimonies had confirmed that he had been one of the thousands of victims of the military regime - arrested, tortured and executed for being a "subversive." Yet Emilia had refused to believe this account, and had spent her entire life waiting for him to reappear. Now in her sixties, the Simón she has found is identical to the man she lost three decades ago. While skirting around the mystery, Eloy Martínez masterfully peels away layer upon layer of history -both personal and political. Just as Simón's disappearance comes to represent the thousands of disappearances that became such a common occurrence during the dictatorship, so Emilia's refusal to accept his death mirror's the country's unwillingness to face its reality.

El 20 de junio de 1973, Juan Domingo Perón regresa a la Argentina tras un largo exilio. En Madrid deja años de desprecio por parte del régimen de Franco y el recuerdo de una triunfal Eva Perón cuyo cadáver momificado descansa en su propia casa. Lo espera la mayor multitud jamás congregada, mientras sus seguidores luchan encarnizadamente por apoderarse del símbolo que aún representa el anciano general. En esta novela llena de acción, Tomás Eloy Martínez resume la historia argentina del último siglo a través de la biografía de un hombre que encarnó la esperanza de su pueblo, al mismo tiempo que indaga en las múltiples caras que presenta la verdad y el poder que tiene la ficción para crear puentes entre todas ellas. “Un texto increíble, casi perfecto. Borges o Cortázar habrían dado su mano derecha por escribirlo.” Augusto Roa Bastos