By Reynaldo Sietecase

¿A cuántos hay que matar? Esa inquietante pregunta es el disparador de un relato duro y perturbador que no se detendrá hasta que los angeles respuesta a ese interrogante se cumpla inexorable. Quien pregunta es Mariano Márquez -el abogado y protagonista de l. a. exitosa Un crimen argentino-. Quien responde es un poderoso empresario que no cejará hasta vengarse de los secuestradores y asesinos de su único hijo.

La nueva novela de Reynaldo Sietecase expone los dilemas que plantea l. a. justicia por mano propia, y pone al descubierto el afán económico, los angeles ambición mezquina y el odio, pasiones profundas que cruzarán los destinos de un preso que se niega a recuperar su libertad, de un periodista en procura de reconocimiento a cualquier precio, de fiscales y policías que pierden de vista el issue humano, de una bella y enamorada stripper, de un asesino a sueldo eficaz y refinado, de un héroe civil nacido de una tragedia familiar.

Como en Un crimen argentino, como en Pendejos -sus narraciones anteriores-, como en los mejores ejemplos del género policial, esta n ovela se hunde en los rincones más oscuros de los angeles sociedad hasta lograr un retrato impiadoso de los angeles condición humana. Y no persigue el triunfo de l. a. justicia sino revelar el entramado de locura y violencia que los hombres son capaces de urdir.

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Its origin is very precise: “The matrix has its roots in primitive arcade games, (. . ) in early graphics programs and military experimentation with cranial jacks” (Idem, Ibidem: p. 64). Thus the cyberspace has been conceived the model to explain the communication, control and information space dimension, something Gibson explained in Neuromancer, published in 19849 . The cyberpunk imaginary owes pretty much to the fact of Gibson having deepened his researches after Blade Runner, although it is known that he also had inspired on the colored images of Heavy Metal, a well-known comics magazine.

An evolution from the “A” of Anarchy, which meant alienation, to the @ of Access to cybernetic information networks, which means integration, happened. By solidifying hybridity, because it is multidimensional, cyberpunks have inaugurated total connectivity among all machines. Contemporary figures like DJ Lee “Scratch” Perry reincarnate anarchy, chaos and articulate “rhizomatically” the technological hiper-ramification of rules. Cyberspace, global telecom and computer music appears the 80s with new instances allowing a reinterpretation of anarchy.

0: Fiction and Contemporary vented the idea of the “Real”, alleging like K. Dick that we “are living within a huge novel”. It was important to the cyberpunk writers to understand how the “real” reality became prosthesis of itself. Ballard, which related to the New Wave, in Crash (1973) has referred that “the small reality nodule that we still have available is located inside our heads”, argument taken by the cyberpunks when they defended the necessity of an outside. This kind of statements were defined as proto-cyberpunk, when in the 80s decade the cyberpunks writers began to name their predecessors.

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