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 los angeles 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 los angeles 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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A battle', as John Keegan remarks, 'must obey the dramatic unities of time, place and action'. 19 Barbusse denies the war this element and recreates it as nightmare; but Under Fire also relates in its own fiction the social heroism of the true soldierwriter. Halfway through the novel, in the short Chapter XIII, the narrator himself becomes the centre of an incident. Barque, a typically near-bestial soldier, asks him ('you writing chap') if he will dare to write 'the big words that we use'. The narrator assents; he will 'put the big words in their place ...
Their perseverance is heroically obscure and yet made possible by some social fidelity. Community is thus of great importance and often appears as the regiment, that which 'claims the lives of all and lives for ever', as he expresses it in the sentimentalised story 'Only A Subaltern'. 22 In 'The Drums of the Fore and Aft', regimental tradition transforms recruits who enlist 'armed with imperfect knowledge, cursed with the rudiments of an imagination, hampered by the intense selfishness of the lower classes, and unsupported by any regimental associations'.
Heroic action, which in its archetypal form comprised selfless courageous conduct against greater odds, was seen to be made possible by good upbringing and decent influence. The nineteenth-century's revival of medievalism assisted the promotion of heroic idealism. This was evident not only in the ethical concerns of Ruskin and Morris, but also in the revival of the ballad form. Scott and Macaulay sanitised the ready violence of the medieval ballad with moral contexts and transformed it into an instrument of national sentiment.
A cuántos hay que matar by Reynaldo Sietecase