By Javier Marías

Una novela sobre el deseo, el rencor y los angeles arbitrariedad del perdón.
Libro del año 2014 según Babelia.

Así empieza lo malo cuenta l. a. historia íntima de un matrimonio de muchos años, narrada por su joven testigo cuando este es ya un hombre plenamente adulto. Juan de Vere encuentra su primer empleo como secretario own de Eduardo Muriel, un antaño exitoso director de cine, en el Madrid de 1980. Su trabajo le permite entrar en los angeles privacidad de los angeles casa time-honored y ser espectador de los angeles misteriosa desdicha conyugal entre Muriel y su esposa Beatriz Noguera.

Muriel le encarga que investigue y sonsaque a un amigo suyo de media vida, el general practitioner Jorge Van Vechten, de cuyo indecente comportamiento en el pasado le han llegado rumores. Pero Juan no se limitará a eso y tomará dudosas iniciativas, porque, como él mismo reconoce desde su edad madura, -los jóvenes tienen el alma y los angeles conciencia aplazadas-. Así descubrirá que no hay justicia desinteresada, sino que está siempre contaminada por el rencor own y por los propios deseos, y que todo perdón o castigo son arbitrarios.

«Es un libro sobre el deseo, como uno de los motores más fuertes en l. a. vida de las personas, que a veces lleva a pasar por encima de cualquier lealtad, consideración e incluso respeto en el trato con los demás. Otro de los temas de l. a. novela es l. a. impunidad y l. a. arbitrariedad del perdón y del no perdón. Cómo los angeles concept de justicia que l. a. gente reclama a veces tiene mucho que ver con que el acto en sí nos afecte o no.»
Javier Marías

La crítica ha dicho...
«No es una novela autobiográfica, pero sí tiene vivencias de los angeles juventud del autor. No es una novela política, pero sus resonancias están allí. No es una novela sobre los años eighty, pero los angeles acción transcurre en esa década. No es una novela histórica, pero las esquirlas de l. a. posguerra Guerra Civil, en los años forty y 50, alcanzan a sus personajes. No es una novela de amor, pero sí de l. a. desdicha del matrimonio protagonista. No es una novela de venganzas, pero sí sobre los angeles impunidad y l. a. arbitrariedad del perdón.»
Winston Manrique, El País

«Javier Marías es un escritor maravilloso.»
John Banville

«Javier Marías es uno de los más grandes escritores vivos.»
Claudio Magris

«Independientemente de nuestras expectativas, al leer elegimos pasar tiempo en compañía de un autor. En el caso de Javier Marías, se trata de una buena decisión: su mente es profunda, aguda, a veces turbadora, a veces hilarante, y siempre inteligente.»
Edward St Aubyn, the recent York instances e-book Review

«Un escritor profundamente necesario, un caballero andante, divertido, punzante, lleno de ira y amor.»
The Guardian

«De una inteligencia deslumbrante y cautivadora, parece que no haya nada que Marías no pueda conseguir con los angeles ficción. No es extraño que se lo mencione continuamente como potencial Premio Nobel.»
Kirkus Reviews

«Hechizante... evoca a creadores de acertijos como Borges, y las tramas de Marías, ingeniosas como jugadas de ajedrez, traen a l. a. mente al gran maestro estratega del siglo XX, Vladimir Nabokov.»
Los Angeles Times

«Una de las obras mayores de l. a. literatura contemporánea... Tiene que abrir este libro.»
Ali Smith, The Sunday Telegraph

«Javier Marías es, en mi opinión, uno de los mejores escritores europeos contemporáneos.»
J.M. Coetzee

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Extra info for Así empieza lo malo

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And by the same token, many of the constitutive features of high postmodernist texts—generalized irony, self-reflexivity, intertextuality, formal play, pastiche—have become standard features of many movies and television shows. The dialectic that bound the high and low together, as rivals and antagonists, thus gives way to wholesale mixing, with a consequent unsettling of the categories by which the practices of high and low are carefully sorted, categorized, and patrolled. Stated thus, the patterns of cultural discrimination and interaction are greatly simplified, yet this argument in favor of seismic shifts in the landscape of evaluation helps one understand a number of other important postmodernist claims.

Postmodern culture, in its eclecticism and relentless superficiality, might offer its consumers a serial or schizophrenic set of intensities, but it does little to cement identities or community alliances. The abstraction of such an account, which contrasts with the pleasure cultural studies takes in the specific, lends an air of the privative, of lack, loss, and absence, to the proceedings, and suggests that the dissolution in question allegorizes that of the modern agent of cultural authority.

It is associated with the image, with ephemerality and fragmentation, with intense but unrelated instants of perception, and with space, albeit of a peculiar and almost inconceivable kind. The emblematic postmodern experience is that of the schizophrenic, for whom meaningful unities of perception, subtended by the continuity of conscious identity, are broken apart, splintered into fragments of heightened sensory experience. Postmodernism’s paradoxical form of relation is through difference, rather than the unfolding causal patterning of narrative.

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