Read Target in the Night by Ricardo Piglia Sergio Waisman Online

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"Ricardo Piglia may be the best Latin American writer to have appeared since the heyday of Gabriel García Márquez."—Kirkus ReviewsA passionate political and psychological thriller set in a remote Argentinean Pampas town, Target in the Night is an intense and tragic family history reminiscent of King Lear, in which the madness of the detective is integral to solving crimes."Ricardo Piglia may be the best Latin American writer to have appeared since the heyday of Gabriel García Márquez."—Kirkus ReviewsA passionate political and psychological thriller set in a remote Argentinean Pampas town, Target in the Night is an intense and tragic family history reminiscent of King Lear, in which the madness of the detective is integral to solving crimes. Target in the Night, a masterpiece, won every major literary prize in the Spanish language in 2011.Ricardo Piglia (b. 1941), widely considered the greatest living Argentine novelist, has taught for decades in American universities, including most recently at Princeton....

Title : Target in the Night
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ISBN : 9781941920169
Format Type : Paperback
Number of Pages : 288 Pages
Status : Available For Download
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Target in the Night Reviews

  • s.p
    2019-03-06 19:29

    The investigation always starts with a victim, he is the first trace, the dark light.An infectiously charming American man arrives in a small Argentinian town with a suitcase full of money and the beautiful local twin sisters on his arm. Just as the town is engulfed in the dazzlement of such a provocative scene, the stranger Tony Durán is found dead in his hotel room, victim of an apparent and brutal murder. This all probably sounds like a fill-in-the-blank murder mystery, crooked cops and all, and it hardly needs mention that the sisters come from a wealthy and powerful family that is, as is to be expected of the genre, currently is a state of financial distress. Ricardo Piaglia, however, blows the dust off this presumably stiff genre tale and gives it a rich and vibrant life in Target in the Night. Winner of theRómulo Gallegos Novel prize¹, Target in the Night remains on the outside looking in, being less a plot-driven police investigation but a metaphysical investigation of truth in a complex conspiratorial web. The web seems to have attached itself to all manner of Argentinian politics, industry and sport, spinning and weaving a knot of power where 'there are no values left, only prices' Told in a very textured and layered style while dexterously toying with the intricacies of narrative time, Piglia threads through the narrative to pull Target together in its shocking and unexpected finale, creating an outstanding and reflective novel where the real mystery is the nature of mystery and clues themselves.What we write on the walls is the debris of memory.The murder in Target in the Night is the sensationalist outburst that draws attention to a much larger drama, the dusk-jacket blurb for an intricate novel. While the police investigation and bureaucratic drama makes up a large portion of the plot, Piglia invites us to step back and pay more attention to the hands directing the strings in this web of marionette violence. Emilio Renzi, a journalist who features in several of Piglia's novels and in this episode is sent to cover the murder case, makes an apt narrator for Target by approaching the events in a broad scale journalistic endeavor instead of an up-close, nothing-but-the-crime-scene-clues investigation. Presumably narrated a full decade after the events, Renzi moves back-and-forth about the timeline as if it were a chessboard he was arranging towards a checkmate, delivering his narration in the form of a reflective novel (the novel at hand is his novel, effectively) complete with footnotes to explore avenues that would dead-end in the plot. The method propels the story in an exciting withhold-and-reveal manner and all the exciting post-modern hallmarks employed by Piglia open plenty of free space to assess the information at various angles. While the style is exciting and alive in a playful post-modern fashion, all the looping never causes the novel to mistakenly bite at its own tail in digressive meta-fictional self-assessment as is common with the territory, the style being beneficial in grounding the story in an addressable time and space without having to itself be an aspect of the novel's themes².They're specialists of evil, the damned, their job is to make sure idiots sleep at night, they do the dirty work on behalf of the beautiful.The larger web at hand here involves many players, from the wealthy industrial Belladona family, suspicious police chiefs rushing to close cases, hired hitmen, fixed horse races and all the even larger hands controlling the political strings at the local level. The sort of men who don't hesitate to build a bridge of corpses to reach their goal or send a message, to 'use bodies as if they were words.' Bravely trying to navigate the web is Police Inspector Croce. Croce is a man with an obsessive passion for his work, who 'was always rebuilding a story that wasn't his,' a rightful heir to the throne of detectives like Sherlock Holmes who possessed genius blended with madness. It is this madness that allows Croce to see through the clutter, to examine a crime the way a surrealist examines life through abstraction. We have the dead body and we have a suspect...What we call motivation could be an unseen meaning, not because it's a mystery, but because the network of determination is too vast. We have to concentrate, synthesize, find the fixed point. We have to isolate an item of fact and create a closed field, otherwise we'll never be able to solve the enigma....I'm interested in showing that things that appear to be the same are really different.Croce, fraught by voices in his head, sees the abstract connections between events and has an open mind to interpretation, one that almost always finds the right perpetrator. His madness is not only the key to his success, but also a wide-open weakness for anyone to exploit if they need him out of the way. Also struggling in the web of deceit is the famous son of the Belladona family, the surviving brother (and possibly only half-brother) of a brilliant due of inventors. Their factory is facing takeover in a web of finance and corporate law —Piglia manages to guide the reader through in simple fashion while still retaining the mind-boggling madness and massive obfuscating tangle of it all— all initiated by a family betrayal. We used to attribute our misfortunes to the wrath of the gods, then to the fatality of destiny, but now we know that in reality the only things we have are conspiracies and secret maneuvers.Luca Belladona, like Croce, has the insight of abstract investigation, seeing the world as a parade of metaphors and symbols. 'Nothing is worth anything in and of itself,' he explains to Renzi, echoing Croce's sentiments, 'everything is worth something in relationship to other factors.' The approach to reality taken by Croce and Luca very much resembles that of an author. There is something to be read in the juxtaposition of events and clues, a thread to follow that may not have physical form. Luca remarks:We work with metaphors and analogies, with imagined worlds and with the concept of equal to, we look for equivalences in the absolute difference of the real. Suddenly, Target in the Night reveals itself to be an analogy of the world, an imagined story much like a parable that contains an urgent truth formed like a pearl when you compress the fiction of the story. Argentina's political history while events happen above like a flock of swallows migrating in winter.The truth that Piglia probes at is that of Argentinian history. His novel is the metaphor for the world he sought to fight against, feeling dwarfed by it's extraordinary reach and complex inter-workings. History, it seems, is yet another set of hands pulling the strings of those pulling strings. Through the political and historical backdrop Renzi illustrates in order to build reference to his local interest story we see a long lineage of power corruption, obdurate rule and self-serving political interest. The Pampas are run and ruled by private landowners with an invisible hand in every household. While the novel takes place just before the Dirty War as the junta came to political power for a dark period of violent authoritarian rule in which over 6,000 people were 'disappeared', Target demonstrates the sort of social and politically corrupt climate that made such future hostilities possible. In a land where bodies are used like words, only tragedy can grow.Target in the Night takes a simple plot cliche and stretches it to near-parable proportions. The plot is secondary yet effortlessly engrossing and the philosophic undertones fill the novel with bright brilliant light.You read too many detective novels, kid. If only you knew what things were really like. Order doesn't always get restored, the crime doesn't always get solved. There's never any logic to it. We struggle to establish the causes and deduce the effects, but we're never able to understand the entire network of the intrigue....for the most part we move blindly in the dark. The closer you are to the target, the more you get tangled in a web without end.Piglia provides much food for thought growing on a cultural and historical backdrop seething with social commentary. The writing is crisp and sharp and with the exception of an atrocious bit of dialogue from a newspaper editor character (the dialogue smacks with all the cliche elements of early 1900s ‘newspaper man' that you would expect to find in sketch comedy, though this may be either an intentional jab or a fumbled translation) the mostly conversation-based plotflow is powerful and exciting. Creating a work of ‘paranoid fiction,' a term explained by Renzi that would likely include many Pynchon novels under its umbrella, Piglia gives a large-scale political consciousness to a small scale local murder scandal and revitalizes the detective novel yet again.4/5There are two experiences that can protect those...from the terror of the danger of death. One is the certainty of truth, the continuous awakening toward the understanding of the ‘ineluctable need for truth,' without which a good life is not possible. The other is the resolute and profound illusion that life has meaning and that the meaning of life is found in performing good deeds.¹ The Rómulo Gallegos Novel prize has been awarded in the past to books such as The Savage Detectives by Roberto Bolaño, One Hundred Years of Solitude by Gabriel García Márquez and Tomorrow in the Battle Think on Me by Javier Marías, as well as Enrique Vila-Matas, Carlos Fuentes and many other notable names/titles.Piglia was the 2015 recipient of the Formentor Prize, a lifetime acheivement prize previously awarded to Javier Marías and Enrique Vila-Matas. It seemed only natural with my love for all those authors mentioned that I should read Piglia.² This is only partly true. As much of the novel deals with history and its effects on the present, Targets style may be asking the reader to question the effects of it's story on the narrator a decade down the line. While Renzi never goes into great detail about it, the events that transpire clearly leave their stain within him as he is later inclined to collect his thoughts about them.

  • Trovato Solo
    2019-03-16 01:30

    Tres estrellas por la complejidad de la novela y no para la maestría del autor, porque si no las estrellas deberían haber sido cinco, y no tres! Parece que en pasado en Argentina cuentistas como Borges u Biov Casares popularizaron la novela policial como parte de escritor y pensador puro. Donde se resuelve los casos por medio de un complejo sistema de razonamiento deductivo que puede ser facilitado por parte del sujeto gracias a su inteligencia aguda. Y sobre el libro Ricardo Piglia ha bien cuidado esa tradición aprendida. Sin embargo, en 2011, confirmada como ganador del prestigioso Premio Internacional Rómulo Gallegos otorgado a Blanco Nocturno como la mejor novela escrita en español.Esta vez, después de trece años sin publicar, Piglia ofrece un volumen que manifiesta todas las características del género, pero al mismo tiempo sustituye al modelo tradicional de la novela policíaca con la narrativa argentina tradicional: es este sentido, es una novela que debe ser catalogada como un ejemplo de lo que él llama: Piglia: "ficción paranoica". Tal vez por Ricardo Piglia debe existir un nuevo tipo de novela de misterio: la novela paranoica, por que todo el mundo es sospechoso. Todo el mundo se siente perseguido. No obstante, el criminal ya no es un individuo aislado, más bien es un miembro de un grupo que tiene el poder absoluto. Nadie entiende lo que está sucediendo, la pistas y la evidencia es contradictoria: eso, su "ficción paranoica", para mantener sospechosos en el aire. Ya que los sospechosos pueden cambiar en cualquier punto de vista tal y como si fuera un resultado paranoico debido a su puta profesionalidad. Sin embargo, "Blanco Nocturno" si lo si observa superficialmente parece ser una novela de detectives, pero Piglia ha traido a sí mismo el desafío de escribir una obra de ficción: lo importante es la exploración de lo que no se dice. Lo que está oculto, pero con el objetivo de resolver un crimen. Sino al mismo entendimiento que llevan todas las ficción-complejas.El texto está disponible bajo la Licencia Creative Commons Atribución Compartir Igual 3.0; pueden aplicarse cláusulas adicionales.

  • jeremy
    2019-03-17 20:27

    "ethics is like love," renzi said. "if you live in the present, consequences don't matter. if you think about the past, it's because you've already lost your passion."ricardo piglia's target in the night (blanco nocturno) is detective story, murder mystery, and political noir in one. the argentine writer (described by bolaño as "one of the best latin american novelists writing today") was awarded the rómulo gallegos and national critics prizes for target in the night. with a rich cast of enigmatic and colorful characters, piglia's tale simmers with intrigue and thrilling subtlety.set in the early 1970s (preceding argentina's dirty war), target in the night effortlessly blends the best elements of both literary and detective fiction. with measured plotting and a carefully constructed narrative (and a jungian dream machine!), piglia adeptly uses his characters to reveal multiple perspectives - deftly playing their motivations and assumptions against one another. target in the night, one of a handful of piglia's books available in english translation, unfurls with enshrouded drama, tinged as it is with both social observation and familial mystique. the story goes on, it can go on, there are several possible conjectures, the story remains open and is only interrupted. the investigation has no end, the investigation cannot end. someone should invent a new detective genre, paranoid fiction it could be called. everyone is a suspect, everyone feels pursued. instead of being an isolated individual, the criminal is a group with absolute power. no one understands what's happening, the clues and testimonies contradict each other as if they changed with each interpretation, and all suspicions are kept open. the victim is the protagonist and center of the intrigue, instead of the detective hired to solve the case or the murderer hired to kill.*introduced and translated from the spanish by sergio waisman (piglia's the absent city)

  • Eliana Rivero
    2019-02-21 01:45

    Es una novela muy completa que toma los elementos del género para articular en esta narración conflictos y verdades. La historia gira en torno a la misteriosa figura de Tony Durán, quien fue a parar a un pueblo de Argentna de los años 70 y se relaciona con la familia Belladona, las personas que están siempre en el ojo del huracán en ese lugar.A partir del asesinato de Durán, todo se torna misterioso y conflictivo y se comienza a investigar para saber quién lo ha matado. Empiezan a aparecer las historias de los personajes relevantes en la novela: Ada y Sofía, Cayetano, Lucio, Luca (todos Belladona), Croce, Renzi, Cueto. Son personajes bien trazados y aunque representan algunos tópicos, logran brillar por sus des-virtudes y un carácter interesante, sin parecer forzados y sin imponerse personalidades que no corresponden. Lo interesante, para mí, que representan personajes como Durán, Yoshio e incluso los Belladona, es un cierto carácter de extranjería, como de querer pertenecer y no pertenecer al lugar, como si ese espcacio no les corresponde. De personajes, me gustaron Renzi y la madre de Ada y Sofía, la señora Ibarguren.El amor, la traición, la familia y la justicia son temas coherentes en toda la trama. Luca, por decir lo menos, plantea las cuestiones más filosóficas, enrevesadas y quizás inquietantes de todas: se pregunta cosas cuando su existencia no significa nada pero vale todo. Lo onírico y el tiempo, a su vez, se plantean de una forma tal que el lector puede ir al pasado y al presente de la historia, recapitulando y atando cabos. No creo que sea una novela policial o detectivesca, más bien es sobre un asesinato que hace desentrañar la vida y in-justicias de la familia Belladona. Realmente el asesinato no es un misterio, el misterio es la historia de la familia. Ante todo, es una búsqueda o un planteamiento de la "verdad", pero ¿qué es la verdad?

  • Sonia
    2019-03-21 17:34

    He tenido muchísimas dudas en relación a la puntuación que debería darle a este libro. Por un lado la escritura de Ricardo Piglia me atrapó y cautivó al principio de la novela, tenía resonancias de grandes clásicos argentinos a los que adoro. La forma de la narración estaba poblada de voces un tanto irreales, extrañas, complejas, personajes llamativos que querías conocer; el más loco entre extraños parecía ser sin embargo el más cuerdo. Me sumergía en un universo atrayente del que quería conocer más. Sin embargo, la novela cambia en su segunda parte y a partir de ese momento me sumí en el más atroz de los aburrimientos. Se mueve el punto focal del argumento y resulta evidente que aquello que se había apuntado como un misterio no era tal, que no había resolución ni consuelo. Entonces nos centramos en la historia de los Bellanova y esta no es tan interesante como podría parecer. Largos párrafos, grandes discursos de uno de los protagonistas y aburrimiento y más aburrimiento.Ricardo Piglia es un escritor excelente, no hay ninguna duda al respecto pero me temo que no puedo recomendar esta novela, es tediosa. He visto como la publicitaban como novela negra, no te dejes engañar, aunque hay un crimen, el libro carece de las herramientas propias del género y el asesinato en sí no es tan significativo.

  • Cristina
    2019-03-16 20:38

    Ricardo Piglia me ha sorprendido gratamente. Para mí es un escritor contemporáneo imprescindible. Una reseña, aquí: http://www.elcultural.com/revista/let...

  • Marc
    2019-03-18 17:40

    Thanks to Deep Vellum Publishing and translator Sergio Waisman, we have this quality English edition of Ricardo Piglia's most recent book (originally titled "Blanco nocturno"). On the surface, it's a detective novel, but its use of the almost-mythical Detective Croce spins it into a rather introspective and philosophical tale deeply woven into Argentinian history. The story revolves around the murder of a Puerto Rican from New Jersey (Tony Durán). He arrives in a small Argentine town carrying a heap of American cash as he continues chasing the Belladona sisters (beautiful twins from a wealthy family of their own). Detective Croce is wise but old and it's not clear his own team is really on his side any more. The characters are memorable, the pacing deliberate, and the tone reminiscent of Borges's gaucho mythologizing. The book certainly transcends the genre and manages to tackle larger issues, especially the loss of trust (in our myths, institutions, and families). I think this small passage gives a good sense of the book's more philosophical portions: "Luck is operated from the shadows. We used to attribute our misfortunes to the wrath of the gods, then to the fatality of destiny, but now we know that in reality the only things we really have are conspiracies and secret maneuvers."As a reader I was left with a sense of struggle against the confines of history and the human condition as a whole. -----------------------------------------------------------------Word I Learned While Reading This Book:viscachas | cicerone | perfect preterit | syllogism | Nikkei

  • Giuseppe Sirugo
    2019-02-21 20:24

    Tre stelle per la complessità della novella e non per la maestria dell’autore, perché nel secondo caso se avrei dovuto valutar la professionalità di Piglia le stelle attribuite al commento sarebbero dovute essere cinque. E no tre stelle! Sembra che nel passato in Argentina novellisti come Borges o Biov Casares hanno popolarizzato i racconti polizieschi come parte degli scrittori e pensatori puri. Dove i casi si risolvono mediante un complesso sistema di ragionamento deduttivo che dal soggetto è facilitato grazie alla propria intelligenza acuta: secondo questa prospettiva, Ricardo Piglia ha ben appreso e curato questa tradizione nativa. Tuttavia confermata nel 2011 come vincitore del prestigioso "Premio Internacional Rómulo Gallegos", dove il libro "Blanco Nocturno" fu la migliore novella scritta in lingua spagnola.Questa volta, dopo tredici anni senza pubblicare libri, Piglia con Blanco Nocturno ha offerto un volume che manifesta tutte le caratteristiche del genere per il quale si dedicò; il critico argentino cominciò a leggere polizieschi quasi per caso, come deviazione del proprio lavoro, mentre dopo un decennio si accorse che di quel genere di libri ne aveva e gestiva una raccolta tutta sua. Nondimeno con questo libro è andato a sostituire il modello tradizionale della novella poliziesca per rimpiazzarlo con la narrativa argentina tradizionale: in questo senso, la novella deve essere catalogata come un esempio che lui chiamava: fiction paranoica. Alcune volte per lo scrittore doveva esistere un tipo di novella misteriosa: la novella paranoica, perché tutto il mondo è sospettoso. Tutto il mondo si sente perseguitato. Sebbene ciò, il criminale non è colui che si nasconde dalla propria identità, anzi, è il membro di un gruppo e tiene il potere assoluto. Nella sua coscienza, o tal volta nella propria immaginazione che poi era quella trattava di fare maggiormente confusione complicando ogni volta le cose, nessuno capisce quello che sta accadendo. Le piste e quello che sarebbe evidente sono in contraddizione. Questa cosa: la "fiction paranoica", per poter mantenere il sospetto nell’aria. Poiché coloro che sono sospettosi possono cambiare da qualsiasi punto di vista: tale e come se l’eventuale risultato paranoico sarebbe dovuto a una fottuta professionalità soltanto. In ogni modo, secondo lo scrittore il libro: Blanco Nocturno, se lo si osserva superficialmente sembra una novella detective. Però Piglia volle trarre a sé stesso la sfida di comporre una fiction: l’importante è l’esplorazione di ciò che non si dice. Di quello che è occulto. Tutto questo con l’obbiettivo di risolvere un crimine. E col medesimo intendimento che hanno poi tutte le fiction-complesse.

  • Pedro Casserly
    2019-03-01 22:35

    Entré a mi segunda lectura de Piglia (la anterior había sido la atípica Prisión perpetua) con reverencia desconfiada; por una parte, fue señalado en algún momento como el mayor escritor argentino vivo; por otra, me resistía por el prejuicio de sus opiniones políticas. Blanco nocturno es una novela correcta, en la que no encontré ningún elemento excepcional, y sí, en cambio, la confirmación de mis prejuicios respecto a los machacantes esquemas políticos de Piglia. Chaplin decía que el arte es que no se vea el artificio; en Blanco nocturno los artificios son demasiado visibles. Como he dicho anteriormente, una novela entretenida, posiblemente más agradable para quienes comparten las opiniones de Piglia, o estén ajenos a la realidad argentina.Personalmente, prefiero quedarme con el Piglia de Encuentro en Sainta Nazaire (segunda parte de Prisión perpetua).

  • Becky
    2019-03-02 19:21

    3.5 stars. For my annual read-a-book-in-Spanish challenge, I chose this winner of the 2011 Rómulo Gallegos prize (awarded biannually to a novel written in Spanish). I never know exactly how to rate a book I read in another language because I'm fully conscious of the fact that I almost certainly haven't picked up all the nuances that I would have if I'd been reading in my native language, not to mention the fact that the reading experience is totally different because it's much slower going. I did enjoy this book, though it's a bit of a bait-and-switch piece of literature. It begins like a traditional detective novel, with a murder and an eccentric investigator, but over the course of the book it deviates more and more from that form, becoming more of a philosophical meditation on political corruption, small-town life, and the changes occurring in 1970s Argentina in the years leading up to the Dirty War. In fact, unless I missed something really major, I don't think the mystery itself is ever solved, but by the end of the book it's really beside the point anyway. I wouldn't recommend this to anyone who wants all plotlines tidily wrapped up with a bow, but as long as you go in with appropriate expectations I think this should be enjoyable as more of a political noir. Also, I've heard great things about the English-language translation which was just recently released.

  • Abraham Salas
    2019-03-07 18:42

    5 por la capacidad narrativa, 2 por lo poco que la historia aporta=7. Entre 2= 3.5 (lo redondeo a 4, porque me pareció más cerca del 4 que del 3). No sé si califiquen como spoiler algunos puntos que pongo, ya que lo llamativo de este libro es la narración y no la historia. Igual quedan advertidos.La primera parte, que es como una crónica de un asesinato, es entretenida y educativa por momentos. Todo va construyéndose como avisando sobre un desenlace interesante. Los elementos así lo dicen: un puertorriqueño misterioso, muerto; dos gemelas picantes, amantes del muerto; un detective prodigioso tras la pista del asesino; una intriga familiar que va desvelándose a cuentagotas; una pugna política por el mando del precinto policial, donde está metido el detective antes mencionado, su ayudante y un despótico jefe con oscuras intenciones; un reportero llegado de Buenos Aires a cubrir la nota del puertorriqueño asesinado. Sin embargo, el asesinato se resuelve y pasa a segundo plano, para darle cabida al asunto de la familia de las hermanas gemelas y su hermano, un excéntrico genio idealista. El problema es que no me pareció que la transición de una parte a la otra fuera bien lograda, o por lo menos, interesante. El hermano, del que habíamos oído solo historias y menciones por parte de otros personajes, hace acto de presencia y el autor le da el rol protagónico; más pienso que demasiado tarde como para tomarle importancia o apego. Su trágico final me lo demostró, porque no sentí nada al saber su destino. El detective, vencido por sus enemigos al interior del departamento, daba trazas de estar preparando algo importante en contubernio con el periodista, pero no pasó nada. Al periodista lo amenazaron en un punto de la historia para que dejara las cosas como estaban, pero no lo hizo, ni le hicieron nada, ni su seguridad se vio comprometida. Las hermanas que las pinta el autor muy coloridas y desparpajadas, terminan por diluirse y pierden la relevancia bien ganada al inicio. En fin, la narrativa es sabrosa pero la historia no fue consistente. Se que ganó un premio a mejor novela de cierto año, pero igual sigo opinando lo mismo. ¿La volvería a leer? Solo la primera parte.

  • ΠανωςΚ
    2019-03-04 22:45

    Ανακούφιση, διπλή, μπορεί και τριπλή. Ανακούφιση επειδή -έστω με τη δεύτερη απόπειρα- το διάβασα, ανακούφιση επειδή τελικά δεν ήταν και τόσο κακό όσο νόμιζα αρχικά αλλά και ανακούφιση γιατί τις επιφυλάξεις μου, σχετικά με το συγκεκριμένο μυθιστόρημα, τις συμμερίζεται κι ο φίλος που μου το δώρισε. Είναι ιδιαίτερη, πολύ ιδιαίτερη η γραφή του Πίλια - τόσο ιδιαίτερη που δυσκολεύομαι να προσδιορίσω τι είναι αυτό που την κάνει ιδιαίτερη (και που μπορεί να κουράσει τον αναγνώστη). Πέρυσι που το πρωτοπήρα στα χέρια μου, κάθε του σελίδα με κούραζε αφάνταστα. Χρειάστηκε κάνα δίμηνο, για να αποφασίσω να το παρατήσω, χωρίς καν να έχω διαβάσει το μισό. Συνήθως δεν δίνω σε βιβλία και συγγραφείς δεύτερη ευκαιρία (είναι τόσοι πολλοί οι συγγραφείς και τόσο πολλά τα βιβλία που, πολύ απλά, δεν επαρκεί ο χρόνος για δεύτερες ευκαιρίες). Ωστόσο η γενικότερη αποδοχή του Πίλια μ' έπεισε να ξαναδοκιμάσω. Κι ανταμείφθηκα. Πολύ πιο ρέουσα και ευχάριστη η ανάγνωση, ωστόσο συχνα πυκνά οι φιλοσοφικοί(;) στοχασμοί του Πίλια και μια αίσθηση φλυαρίας με κούρασαν και πάλι, χωρίς, ευτυχώς, αυτή τη φορά, να με πτοήσουν. Εντέλει, μπορώ να πω το κλασικό «με άρεσε αλλά δεν τρελάθηκα κιόλας».

  • A.
    2019-03-02 20:40

    Inicios de los '70 en la Argentina. Tony Durán, un puertorriqueño criado en EEUU, llega al infierno grande de un pequeño pueblo de la provincia de Buenos Aires. Acompaña a las bellas gemelas Belladona hijas de la más tradicional entre las tradicionales familias de la zona. Conformarán un "trío sentimental" orgulloso, alegre y despreocupado que, por supuesto, escandalizará al pueblo. Hasta que el forastero aparece muerto en la habitación de su hotel....asesinado, claro está... ¿Quién? ¿Cómo? y, esencialmente ¿Por qué?Una buena novela de Piglia (a mi humilde entender) lejos de ser un "thriller" clásico (el que busque eso va mal encaminado en este caso) con héroes autóctonos y desquiciados, un par de personajes inolvidables (Croce, el comisario local y sus singulares técnicas deductivas, Luca Belladona el delirante medio hermano de las gemelas) y la verdad cada vez más difícil (y peligrosa) de desentrañar en esa telaraña de odios y pesadillas, de poderes y traiciones, aquí nomás en la apacible y mansa pampa argentina.

  • Ivan Guerra
    2019-03-12 21:22

    La idea, en teoría, es buena (hay spoilers, aunque no creo que haya mucho qué echar a perder): un asesinato en un pueblo en Argentina y el muerto es un misterioso norteamericano mulato de origen boricua que llega al pueblo siguiendo a unas hermanas gemelas con quienes ha tenido un romance. Hay un detective medio loco y un reportero que, aparentemente, es un personaje constante en la ficción de Piglia. El crimen se está investigando, hay muchos rumores concerniente al muerto, pero la investigación se trunca y pasa a convertirse la novela en una especie de reflexión sobre los conflictos familiares de una cierta familia fundadora del pueblo. Conflictos complejos, sin duda, pero carentes de tensión. El muerto se olvida casi totalmente y, para mi gusto, la novela pierde todo interés. Me recuerda otras novelas policiacas argentinas que he leído en las que parece que es una constante que el narrador se desvíe para mejor hablar sobre Argentina y la pampa y los gauchos y qué sé yo qué más.

  • Laura Díaz
    2019-03-04 00:30

    Aunque empecé a leer con una opinión anticipada del libro, preferí leerlo para hacerme una propia.Es una buena narración, pero en algunos momentos con tantos personajes involucrados, en lo que yo pensaba era el tema central del texto, me entretenían, dejando a parte lo "importante".Algunas páginas lograron captar mi atención, pero otras me sometieron vilmente. Cuando terminé el libro sentí que me faltaban más páginas. Tal vez me falta leer mucho para saber por qué Piglia es uno de los escritores contemporáneos más importantes, pero para mí la sensación no fue muy agradable, fue una sensación agridulce donde se mezclan diferentes tramas y no se resume ninguna. Ese es mi punto de vista o simplemente no entendí mucho el libro como suele suceder con algunas (pocas)películas.

  • Carolina Luisa
    2019-02-26 22:45

    Solo había oído hablar de Ricardo Piglia por lo que se refiere a su libro Plata quemada y, como no estaba en la biblioteca, decidí sacar éste, por lo tanto ni siquiera sabía que ganó unos premios. Ya casi voy por el final y es una novela que me encantó, me atrapó y quisiera no terminarla para gustarme su maravillosa forma de escribir.

  • Pablo Paz
    2019-02-28 18:30

    No me gustó la historia , nunca le creí a Duran. Es un libro con recursos narrativos muy interesantes como los pies de página o los relatos de las hermanas Belladonna pero no logré interesarme por el misterio de la muerte del puertorriqueño.

  • Patricio Valenzuela
    2019-03-06 01:46

    Un crimen? No, algo más complejo: un drama familiar de gran envergadura. Me encantó.

  • Ulises Lima
    2019-03-04 22:20

    Leídos Ben Benson (The ninth hour), Melville (Bartleby the Scrivener), Dickens (Bleack House), Hemingway (The Sea Change), Brecht, Carl Jung (El hombre y sus símbolos), Estanislao Del Campo o Anastasio El Pollo, Hilario Ascasubi (La Pefalosa, Chano y Contreras), Sartre, Simone Weil, Sherlock Holmes, Auguste Dupin, Kropotkin (Campos, fábricas y talleres), Stendhal y su Julien Sorel (Rojo y negro), Palés Matos, Rey Lear y Demócrito.Eschuchados Ismael Rivera, Gardel, Moby Grape, Ataulfo Gómez.Visitados San Juan de Puerto Rico, Buenos Aires, Carhué, Tapalqué, Quequén, pasando por Atlantic City, New Jersey, Trenton, Long Island.Escrita una novela negra, gris, blanca... gaucha, sexy, trascendental, para gusto de gafapastas.

  • World Literature Today
    2019-03-08 19:36

    "Although Blanco nocturno on the surface appears to be a detective novel, Piglia has given himself the challenge of writing a work of fiction, where what is important is the exploration of what is left unsaid, of what is hidden, but not with the objective of resolving a crime, but rather of understanding—as with all great fiction—the complex machinations of human behavior." - Marcelo Rioseco, University of OklahomaThis book was reviewed in the September/October 2012 issue of World Literature Today. The full review can be read at the WLT website: http://www.worldliteraturetoday.com/2...

  • Charles Dee Mitchell
    2019-02-19 20:28

    The story goes on, it can go on, there are several possible conjectures, the story remains open and is only interrupted. Someone should invent a new detective genre, paranoid fiction it could be called. Everyone is a suspect, everyone feels pursued. Instead of being an isolated individual, the criminal is a group with absolute power. No one understands what's happening, the clues and testimonies contradict each other as if they changed with each interpretation, and all suspicions are kept open. The victim is the protagonist and the center of the intrigue, instead of the detective hired to solve the case or the murderer hired to kill. (p. 252)

  • Caitlin
    2019-02-28 23:17

    Great book. I began reading it without knowing anything about the plot, so I was a little confused at first as to what the main storyline was. However, as the plot continued, the main story was revealed, and I particularly enjoyed Piglia's description of Luca Belladona with all of his eccentricities and imagination. It turned out to be more about the town and the saga of one of the town's main families rather than a murder mystery. Highly enjoyable, would recommend to anyone who is interested in Argentine culture or readers of Piglia's most famous work - Plata Quemada.

  • Fernando Soto silva
    2019-02-19 19:44

    Elegante estilo, historia sobre historia, momentos ensayísticos de culto -las lecturas y el espacio/tiempo de los pensamientos pasados de un autor, traidos al presente en un libro y su conexión- placer total.

  • Jorge Esquivel
    2019-03-21 17:40

    Releyendo esta excelente novela de Piglia para obtener una visión mas completa, cronológica y global de su obra. Terminando esta re-lectura habré de abordar El camino de Ida y ya , con cierta suficiencia, Los diarios de Emilio Renzi.

  • Ixxa
    2019-03-19 18:34

    Aburrida. Me quedo con "Respiración artificial".

  • Eduardo
    2019-03-19 22:43

    Lo único que he leído de Piglia hasta la fecha y sinceramente no me han quedado ganas por explorar lo demás.

  • Vidia
    2019-03-06 18:43

    Hay otros mejores de Piglia, pero este es bastante bueno. La historia no es tan buena como la pluma. ¿Será basada en un caso real?

  • Anastasia
    2019-02-23 00:46

    νουάρ βεβαίως είναι,μα πολύ νουάρ....ο Πίλια στήνει έξοχα το σκηνικό (δεν έχει σημασία που δεν μ'αρέσει!),αλλά ο τρόπος που γράφει είναι δαιδαλώδης,μπερδεύει και κουράζει τον αναγνώστη...

  • Andy Weston
    2019-02-19 19:18

    Piglia's detective, Inspector Croce, is a wonderful invention. In the twilight of his career, having become a legend and achieved results in the 'old-fashioned' way, he is for the first time in his career, doubted by younger officers who think he is outdated. He is even forced to spend some weeks in a mental hospital. Despite there being a murder, and a detective seeking a solution, this is not really a crime novel, more it is a story of betrayal and corruption in a small Argentinian town. Piglia's references to Hitchcock and Holmes indicate their influence on his writing. The period in which the novel is set offers a real insight into Argentinian life at that time, the anticipation of Perón’s return to power in 1973 hangs over the novel. Having spent quite a bit of time there it was of specific interest. The case which forms the structure of the novel involves the murder of a man who met the twin red-haired Belladona sisters in Atlantic City and followed them to the remote Pampas town their grandfather from Turin founded, but who killed him, and why?

  • Tyler
    2019-02-21 00:43

    Piglia's writing is always about an individual's search for meaning--in books, politics, history, relationships--and this novel is no exception. While my favorite of his novels (and one of my all-time favorite novels), Artificial Respiration, is all about people not knowing how to really read, this one focuses on people not really knowing how to see. Even though it pales in comparison to A.R.--most books do!--it's still a treat, although I'd say even with its attempt at mirroring detective fiction and noir, the plot is less thrilling and eventful than A.R. It took me about 40 pages to get into the who-dun-it narrative style, then the next 150 pages were a dream, followed by a spell of about 40 pages where I lost interest (unsure of how the sci-fi/fantasy-like elements of Luca and his inventions fit in with the rest of the story and style), and the final pages were, again, a dream.