By Claudia Piñeiro
Detrás de las altas paredes perimetrales, más allá de los portones reforzados por barreras y flanqueados por garitas de vigilancia, se encuentra Altos de los angeles Cascada. Afuera, los angeles ruta, los angeles barriada well known de Santa María de los Tigrecitos, l. a. autopista, l. a. ciudad, el resto del mundo.
En Altos de los angeles Cascada viven familias que llevan un mismo estilo de vida y que quieren mantenerlo cueste lo que cueste. Allí, en el kingdom, un grupo de amigos se reúne semanalmente lejos de las miradas de sus hijos, sus empleadas domésticas y sus esposas, quienes, excluidas del encuentro varonil, se autodenominan, bromeando, "las viudas de los jueves". Pero una noche los angeles rutina se quiebra y ese hecho permite descubrir, en un país que se desmorona, el lado oscuro de una vida "perfecta".
La crítica ha dicho...
«Una novela coral, sólida y solvente, con un agudísimo retrato psicológico y social, no sólo de los angeles Argentina de hoy sino del mundo a comodado occidental.»
«Una historia atrapante, de ritmo cinematográfico, sobre una clase social a l. a. cual desnuda sin piedad, con l. a. contundencia de un impacto en el estómago.»
Eduardo Belgrano Rawson
«Sería una lástima que l. a. espesura del bosque editorial dejara en sombra un libro tan importante como éste.»
Ernesto Calabuig, El Cultural
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Additional resources for Las viudas de los jueves
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-15 20 21 ‘auto-representation . . with its view that there is no presence, no external truth which verifies or unifies, that there is only self-reference’ (Hutcheon 1988: 119). According to the logic of ‘double-coding’, which Hutcheon (and others) insists is typical of postmodernism, the distinction between realist and postmodern fiction is not a binary opposition: postmodern fiction is both realist and non-realist at the same time.
More importantly, the whole question of representation was at the top of the intellectual agenda. For if we had to pinpoint one issue at the heart of late twentiethcentury literature, theory and philosophy, surely this would be it: the gulf between language and what it represents. This is a question – as we can see from Murdoch’s philosophical work – which stretches back to the philosophy of Plato and the fledgling literary theory of Aristotle, but it has been more directly resonant in the period of literature which can justifiably be called ‘modern’.
She affirms our need to maintain a belief in certain a priori truths, however difficult they are to establish. Some concepts, like the Good, endure despite the untenabilility of the Christian metanarrative. In the first of the Platonic dialogues Murdoch published as Acastos (1987), Mantias claims that ‘really there’s no such thing as “reality” or “nature”, it’s not just sitting there, we make it out of words – ideas – concepts’. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-15 16 Revisiting the Sublime and the Beautiful 17 Given the status of Socrates in the play, and given Murdoch’s similar pronouncements elsewhere, it is clear that he is speaking for his creator.
Las viudas de los jueves by Claudia Piñeiro