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 los angeles justicia por mano propia, y pone al descubierto el afán económico, l. a. 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 l. a. sociedad hasta lograr un retrato impiadoso de l. a. 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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Additional info for A cuántos hay que matar
Yossarian). Determined to be sent horne, he fakes madness, screaming at spurious hallucinations until a genuine case of shell-shock almost breaks hirn down. He then pretends to come out of his mania although the doctors know that he has been faking his symptoms. '). Heller exploits repetition, duplication and echo-effects to the full, turning the satirical perspective against the hospital administration and then against Yossarian. Like Minetta, his acting has been understood by a doctor. In The Naked and the Dead Minetta's scheme is related to issues of courage and responses to combat.
32 This marks a huge difference between the novel and its film version. The latter begins at the end with Yossarian striking his deal with Korn and Cathcart and then being attacked by Nately's whore. As Yossarian collapses into unconsciousness the film dissolves into the past, performing an extended loop before we return to the opening scene. This means that the film is framed within Yossarian' s consciousness making a dismissal of scenes as fantasy or hallucination all the easier. The novel presents scenes which might be physieal possibilities without giving the reader the time to decide one way or another.
38). Dunbar makes it dear that all the combat officers in the novel are in a race against time specifically to be sent home before the missions are raised, and generally in an effort to slow down transition and maximise duration. This is expressed in contrasts between periods of calm and rapid activity as in Chapter 28 where the lazy beach scene is suddenly transformed by Kid Sampson's death into one of frenzied movement. Linear chronology in the novel becomes associated with official versions of reality and as such becomes discredited.
A cuántos hay que matar by Reynaldo Sietecase