The Tunnel

ISBN: 0345351924
ISBN 13: 9780345351920
By: Ernesto Sabato Margaret Sayers Peden

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About this book

The TUNNEL is one of the most highly regarded short novels of the twentieth century. Admired by such writers as Albert Camus, Thomas Mann, Graham Greene on its first publication in 1948, it has been translated into most of the major languages of the world, but has been out of print in English for several decades. Now in a fresh and compelling translation by Margaret Sayers Peden, it is available for a new readership.

Reader's Thoughts

Olivia Z

The Tunnel is frightening in many ways, but one more so than the others. When getting to take a peak into a murderer's mind, letting him tell you all about his thoughts and longings, you might stumble onto your own psyche. His actions are absurd and foreign, and his conclusions are, of course, extreme, but in their core, the thoughts themselves are perhaps all too familiar. There is the complex balancing between loathing humanity and almost worshipping another person, a burning anxiety of being like those he rejects, and most of all, loneliness. A torturing loneliness, one which Castel describes as "olympic", almost with pride, but which quickly shines through as hurting and confusing. The world to Castel is despicable, but he realises that he is still part of it, and that he can't tear himself away from living and thinking within it. And isn't this the greatest paradox many of us carry? These are not just the thoughts of a murderer and a psychopath, and finding pieces of Castel in your own mind is disquieting to say the least. In this way, The Tunnel is very much a psychological piece. I would actually have wished that it was a little bit longer, just to flesh out Castel's character a little more. It definitely leaves me wanting more, and has made me really curious about Sabato's other works. However, the writing in itself left me feeling distant, almost alienated. After looking around a bit, I think it is the particular translation I read that is to blame. The one I have is a Swedish translation by Peter Landelius, and really can't give The Tunnel more than three stars until I've read a more decent translation, because this one really bothered me. Reading extracts from English translations, I noticed that there are huge differences in tone. The Swedish one feels as if the translator have simply translated the original word for word, without consideration for the different layers of the original writing. Since Sabato's work definitely deserves a better chance, I will update this review when I've managed to get a hold of a better translation, preferably in English.

Nina Rapsodia

4.5Menos de dos meses le faltaban a Ernesto Sábado para cumplir 100 años cuando le llegó el día de partir. El físico argentino convertido en escritor fue unos de los pesos pesados de la literatura en español y dejo tras de sí lo que se podría decir una de las grandes obras de la literatura latinoamericana, con su peculiar concepción del universo. La mayoría de la gente ha oído de este libro alguna vez en su vida. Es el túnel.Argentina. Mediados de los años 40. Juan Pablo Castel es un pintor incomprendido. Es alabado por la crítica pero él desdeña de esas personas que admiran su arte, los cree falsos porque no lo alcanzan a entender. Hasta que en una exposición, uno de sus cuadros es comprendido por una mujer. Una tal María Iribarne. Entonces él hará lo posible por acercarse a ella, el único ser que al parecer lo comprende.Reseña completa: http://rapsodia-literaria.blogspot.co...

Iván Leija

Decepcionado, solitario, tímido, exagerado, violento, visiblemente alterado; sin mujer, ni hijos, ni hermanos, ni buenos amigos; con una madre que ha muerto y un padre que no tuvo ni la importancia suficiente como para siquiera ser mencionado en la novela. ¿Cómo sería alguien que descubre que la vida no es más que un túnel con paredes sucias y ocasionales ventanas donde no hay rastro de luz verdadera sino hasta el final del mismo? Quizá sería como un Extranjero, como un señor Meuersault: desubicado, desprovisto de algún sentido social, ajeno a las concepciones superficiales de las personas normales.Ahora, ¿qué pasa cuando Castel (o cualquiera que se sienta como él) encuentra en la vida a alguien supuestamente semejante? No puedo evitar sentir una compasión muy fuerte hacia el protagonista. Me enternece ver cómo nunca pudo establecer una buena relación con María, y cómo, sin embargo, se aferraba a ella como si fuese la única forma de salir de su "insalvable soledad". El título de la novela es la metáfora principal, dijo una vez Sabato; y es cierto, perfectamente demostrado en esta obra. El capítulo XXXVI, donde Castel describe su túnel, es hermoso y expone claramente cómo se siente: cómo él se imaginaba que María era una persona solitaria igual a él. Lo de las ventanas transparentes por donde ellos se observan es igual de significante.

Lukasz Pruski

Ernesto Sabato's "The Tunnel" (1948) is an intense, dark, psychological novella that portrays, with clinical accuracy, one man's obsessive love for a woman (I am not using the term 'obsessive love' just as a characterization but rather as a psychological syndrome). The obsession leads the man to killing the woman, which we learn in the very first sentence.During an exhibition of his paintings in Buenos Aires, Juan Pablo Castel, a highly respected artist, notices that a woman looking at one of his works focuses on a small fragment of the picture, which he himself, unlike critics and other people, considers most important. Juan Castel's overactive mind instantaneously manufactures a strong bond between himself and the woman. He is shattered when the woman disappears, and for several months he only thinks about her. When he sees her again on the street, he begins stalking her. Then, in an unforgettable scene, he manages to engage the woman, named Maria, in a conversation.Juan Castel is utterly selfish; he despises other people and he frequently despises Maria, even if he thinks she is the only person in the world who can understand him. He constantly analyzes events, words, moods, and facial expressions, interpreting them in a way that suits him the best at the given moment. He thinks his reasoning is logical, but most of the time the volatile train of his thoughts deludes him into alternating between feeling happiness and despair.Juan wants to possess Maria completely and totally. Even more than the physical relationship, he desires to control her mind, to make sure that she deeply loves him, and that her manifestations of love are authentic. He will not be happy until she becomes exactly like the vision of Maria that he has created. When he eventually realizes that while he lives inside a dark and lonely tunnel where he has spent his entire life, Maria lives in the freedom of the outside world and will not focus solely on him, he has no choice other than punishing her for his loneliness.Mr. Sabato's writing is taut, economical, and precise (I have read the book in a good, non-English translation). It reminds me a little of J.M. Coetzee's style, which may be due to their similar backgrounds (Sabato had a Ph.D. in physics and Coetzee has a B.A. in mathematics and also a Ph.D. in linguistics). I am not sure what I love more about "The Tunnel" - the insightful observations of human psychology or the wonderfully tight writing. I find one passage jarring though; the author has included a superfluous six-page conversation about mystery books, which in my view breaks the precise rhythm of the narration.Four and a half stars.

Talrubei

One of the first things I did after coming back home from my summer trip, is grabbing Ernesto Sabato's Tunnel for the second time. I had first read it in early 2008. It was in my head throughout the summer. I felt that I have missed the book and I need to re-read it. By it, I mean its mood, its characters, its amiable yet aggressive narrative style. The Tunnel is simply a great novella. It talks about one of the main reasons behind literary production: human loneliness and the search for a connection with the eternal. The main character is a painter, Juan Pablo Castel, who gets obsessed with one of his gallery's visitors, Maria. This obsession with Maria takes up most of the pages and is tiring for us readers, yet so intense that it becomes contagious. Life or existence to Juan Pablo is like Maria, and he doesn't seem to understand it. In one instant he is laying his head on her lap by the shore "like a baby." In another, he is violently grabbing her arm to get her to confess about something that his doubt created. And, finally, in another instance he murders her. (dont worry this is not a spoiler, it is actually the first line of this book.)This crazy relationship and this obsession is all in Juan Pablo's head and heart and in his confusion. It is the tunnel that he has created or was born into. A tunnel that is parallel to everything and never seems to intersect with anything but his loneliness. With all this being said, the main attraction of the novella, for me, is its impeccable enthusiasm. Imagine, for example, Albert Camus' The Stranger, Meursault, but with all the enthusiasm. I can say that Sabato's Juan Pablo Castel is Camus' Meursault but in the opposite direction, with an overdose of enthusiasm towards his loneliness and confusion instead of Meursault's lethal apathy. After reading this book for the second time, I feel energized, enthusiastic, and in the same time melancholic. The exact feelings that I wanted to remind myself of.

Nawel

The Tunnel: an outsider mini-manifesto 3.5/5This is my first encounter with the author, and unlike other dark psychological novels, I was truly astounded at the fact that Ernesto Sábato’s pen combines gracefully both farcical derision with melodramatic pity. The story is disturbing, bleak, it even gets woeful at the end, but It also ensues pure comedy in some parts. Right from the start, the author lays his card on the table and strikes his reader with such a brazen assertive acknowledgement. "It should be sufficient to say that I am Juan Pablo Castel, the painter who killed María Iribarne ..... You may wonder what has motivated me to write this account of my crime, and why I want to publish it.. "The protagonist, Juan Pablo Castel, an alienated modernist painter, thus displays his credentials, announcing to us, in a stream-of-conscious style his confessions on a chilling tale of obsession and murder of his only friend in the world, Maria Iribarne, whom he supposedly loved and longed. From his cell, he recalls his days of and the events that followed until the murder. A bizarre overlap with Albert Camus’ masterpiece The Stranger and his protagonist Meursault seemed to take effect as The Stranger’s laconic assertion the story begins with is engraved in mind, I immediately started comparing!Both novels are gloomy, short and wrestle the same theme of being and nothingness exploring in depth the irrationality and dark side of the human condition.Both protagonists are absurd beings, murderers, outsiders writing their own mini-manifestos that testify to their strangeness and blatant opposition to moral codes, they are also their own worst enemies, seeking refuge in societal exclusion.But with the careful examination, we realize that Sábato’s novel develops in parallel to The Stranger, not in sequence to it as I had thought. I think the idea may have served Sábato as a starting point, from which he etched in the deepest contours of Castel’s pitch-black soul, so he can depict to us his readers a human being's downfall into the world of madness and depravity.Castel and Meursault, absurdity seems reversed when compared, they are mirror opposites in personality, and while Castel who fancies himself a superior analytical being whereas we know better he is neurotic, probably psychotic, and suicidal. Meursault on the contrary maintains his equanimity when compared to him. His aloofness is disarming, he reached an internal clarity. Castel, on the other hand, cannot be emotionally aloof, he's completely messed up.There are obviously immense differences between the attitudes of the two characters, And unlike Castel, who is insanely jealous in matters involving his paramour Maria, Meursault’s conduct, seems to respect women's autonomy and refuses to encroach on their emotional freedom the way Castel did. ----It‘s probably not coincidental that the name of the woman in Sabato's novel is Maria, like Marie in Camus's The Stranger!----And again, unlike Meursault, Castel feel estranged from both society and reality, can’t sympathize and empathize with any, and have only contempt for everyone he meets and speaks with.By contrast, in their cells, Castel kept fantasizing the same kind of psychotic illusions and delusions till the end of the novel…how tiresome! Camus's Meursault on the other hand, refused to resolve life’s difficulties by withdrawal or denial and to indulge in a life of illusion.If I tend to consider Camus's Meursault one of the most compelling characters ever created, Sábato’s Castel would be one of the most repugnant characters I’ve ever been inflicted to be in his head. Meursault stays an anti-hero; the reader may have sympathy for, whereas Castel cannot rise above being a psychotic villain, his excess - may make a fascinating character study for psychologists.For that matter, I’m not surprised, that the tunnel was lauded and commissioned by Camus to Gallimard!All in all, It was a good read, Sábato has a powerful writing style, and his narrative tone remains consistent throughout.P.S.: It’s quite undermining to the book to be approached as a political novel, I rather not, it is beyond any metaphor for any society, Argentine or otherwise as the outsiders are a global phenomenon!"There was only one tunnel, dark and solitary: mine, the tunnel in which I had spent my childhood, my youth, my entire life. And in one of those transparent sections of the stone wall I had seen this girl and had naïvely believed that she was moving in a tunnel parallel to mine, when in fact she belonged to the wide world, the unbounded world of those who did not live in tunnels"

Manuel Sanz

Juan Pablo Castel, protagonista y narrador. Asesino de María Iribarne. En la primera línea, en el primer párrafo todo queda dicho. No hay misterio. Luego todo el proceso es contado por el protagonista. Su mundo interior, su conciencia de la nada, su incomprensión, como ser humano y como pintor. Sus pinturas no son bien analizadas por el público ni por la crítica. Entonces aparece María, y ve en el lienzo lo que no a visto nadie. El pintor ve en ella la comprensión que no ha tenido en su vida. y ella se siente unida a él a través de su obra. La novela es de fácil lectura y de difícil análisis. Toda ella esta llena de desesperanza e incomunicación. El protagonista odia profundamente a la humanidad. Y cuando encuentra a una persona que comprende su arte y por lo tanto le comprende a él la mata. Pone fin a la escasa esperanza que había, si es que había alguna; porque María no llega a entregarse nunca del todo a Juan Pablo, Sin que este claro el motivo: su matrimonio, su "posible" relación con otra persona.

Harold

Poor Maria Iribarne. We know she is doomed from the first page. This is a short, fascinating, first person look into the mind of a murderer and how his paranoia leads him to commit a crime of passion. It is remarkable for how well Sabato brings us into Juan Pablo Castel's mind and logic. The book is not without it's own humor. There is driveby reference to Borges on page 94 of the edition I read. Hunter and Mimi, two incidental characters, are discussing detective stories and Hunter says he is unimpressed by the Seventh Circle. Mimi replies she is going to "tell Georgie" what he said.

Alex

Nadando en la soledad y en la desesperanza, Juan Pablo Castel inicia una enfermiza relación con María Iribarne, una enigmática figura que deambula en un mundo lleno de lujuria, dolor, misterio y secretos.No sólo éso, es también la historia de cómo termina por matarla, y al hacer ésto, mata una parte de sí mismo.Novela inequívocamente autobiográfica (andando con zapatos de ficción) que me recuerda episodios personales, rostros y momentos.Es la historia para todo hombre enamorado de una mujer de ésas que consumen el alma.

jeremy

dark and dizzying, ernesto sábato's debut novel is a chilling existential thriller that became an important work in the canon of latin american literature. the tunnel (el tunel), first published in 1948, is one of three revered novels written by the late argentinian writer (whom passed away earlier this year at the age of 99). in addition to being a respected human rights advocate, sábato also published over a dozen collections of essays.at the book's onset, painter juan pablo castel has already been tried and imprisoned for the murder of maría iribarne. writing while incarcerated, castel offers a recounting of the events that led to her murder, "to tell the story of my crime: that and nothing more." castel is both obsessive and neurotic, and his diabolical attempts to win maría's love are mostly in vain, yet are marked by an ever-escalating desperation as the story progresses. as castel's compulsive actions and psychological state become increasingly frantic (and paranoid), the novel's short chapters themselves seem punctuated by ever greater frenzy. while the reader is already well aware of the story's outcome, it is startling to witness castel's delusional thinking lead to his own near-collapse.while the tunnel is indeed a short work, it remains a remarkably engrossing one. although the characters elicit little in the way of sympathy, their actions and interactions offer a compelling glimpse into psychological illness and despair. sábato's prose directs the story's arresting pace, and makes the inevitable outcome seem all the more disturbing. the tunnel is a fantastic, foreboding portrait of both mania and man's struggle for meaning in a "life nothing more than a sequence of anonymous screams in a desert of indifferent stars." in the light of this reasoning, life becomes a long nightmare, but one from which we can be liberated by death- which thus becomes a kind of awakening. but awakening to what? my indecisiveness about plunging into absolute and eternal nothingness had deterred me whenever i was tempted by suicide. in spite of everything, man clings desperately to existence and, ultimately, prefers to bear life's imperfections, the torment of its sordidness, rather than dispel the mirage through an act of will. it also happens that when we have reached the limits of despair that precede suicide, when we have exhausted the inventory of every evil and reached the point where evil is invincible, then any sign of goodness, however infinitesimal, becomes momentous, and we grasp for it as we would claw for a tree root to keep from hurtling into an abyss.

Dana

made me feel sane, which is an accomplishment in and of itself. classic latin american novel. very innovative for its time. absorbing, super-quick read. sabato takes you right down into the tunnel with his protagonist. just make sure you remember how to come out of the tunnel on your own...

Tosh

A nice little hard boiled novel regarding obsessive love, or non-love maybe the case. As usual it is not the loved one, but more about the lead character's feelings about himself. I also like the fact that he's an artist. I wonder his relationship with creating something was a failure if sorts. A man at the end of his rope can only come to terms with his obsession. He was dead at the very beginning of the book.

Fatema Hassan , bahrain

مزعجة هي الإفتتاحيات التي تعتقلك وتلقي بك خلف قضبان التوقع مهما حاولت التملص من أصفادها ، تشعرك بأنه لا حق لك بالتمختر نحو نهاية لا نهائية كالعالم المجهول وراء نافذة خوان بابلو الرسام ، وقد ينالك الخزي لعدم استعراض عضلاتك التخمينية و هنا اعتقلتني هذه الإفتتاحية (سأكتفي بالقول إني خوان بابلوكاستيل ، الرّسام الذي قتل ماريا ايربيارني ) يكفيني هذا القول حتى لا أعيد سؤال من صنف : من أنت ؟ وماذا فعلت ؟ ( كان هناك شخص واحديمكنه أن يفهمني ، لكنه كان بالتأكيد ، الشخص الذي قتلته )بين الرّسام والمتلقي " المتذوق الفني " علاقة محيرة تستقطب عدة انفعالات لاشعورية ، فالرسامون عادة ينعتون العيان أو العامة بالأمية الفنية لحين يبزغ المتذوق الذي يشاركهم النظرة الروحية لمحسوسات لوحاتهم و يستشف مضامينها و حينها يلعب الزهو بما يملكون دور المتملق للإحاطة بشمولية وعمق الفكرة التي وصلت للمتذوق و مطابقتها مع خاصتهم و مقارنة الشعورللمتذوق ب اللاشعور الذي نجم عنه كل هذا الفيض و الذي لربما كانوا يجهلون جزئية كبيرة منه ولكن لايهم ما دامو لا يفهمونه تماماً لا يحق لأحد فهمه تماماً ، الأهم أن تشخيصات هذا المتلقي لمنجزات الرسام الفنية و تحليلاته قربته لأعينهم من العدم بشكل مباغت و شكلت رابط غير ذي مغزى محدد سيشكل هاجس لدى الفنان و المتذوق قد تصل لحد الإيذاء لحنق فك الشيفرة الفنية و تقمص دور العصا السحرية المحركة لمكان الأشياء و تفسير سلوك الآخر ( المتذوق ) على حسب هوى الأول ( الرسام ) و زرع منظوره الخاص في كل ما سيشهده من تصرفاته لتضييق خناق اللعبة و هنا يصبح كمن يحرك شريكه في هذه اللعبة ، و أي لعبة عادلة ستكون تلك التي تكون طرفيّها لوحدك؟في معرض الربيع لعام ١٩٤٦يعرض الوسام خوان بابلو كاستيل لوحاته ومن ضمنها لوحته التي أسماها " أمومة " و في يسارها الأعلى مشهد جانبي لنافذة تطل على شاطئ منعزل و امرأة تنظر للبحر وكأنها تترقب نداءًا خفيًا من المجهول ، تجاهل الكثير من المارين على حدود تلك اللوحة ذلك المتنفس المكتوم الأنفاس ولكن ماريا هي من استوقفها ذلك النداء من مجهول ما وراء النافذة لتبدأ رحلة المطاردة من قبل خوان بابلو لماريا ضحيته ، من خلال علاقة المطاردة و والتملك يبدو جليًا عنف خوان بابلو كشريك في علاقة قائمة على تحليله الذاتي الذي ينهش الشك أساساته ، كما تسهل سلبية الشريك الآخر العملية لتتوالد المزيد من الشكوك و الإدلة الفردية التي لا تمت بالواقع بصلة فكلها خيالات نمت في ذهن الرسام على الارجح لم تقاومها ماريا لم تدحض أو تفند شكوكه جعلته يسترسل في هذيانه دون رادع و هذا غير متوقع من الحقيقة ولكنه مستساغ للشخصيات الوهمية ( الشماعة ) التي نعلق عليها عجزنا و قلة حيلتنا عن التحليل العقلاني ، إذاً هكذا نصدق شكوكنا ونحرك شريكنا في اللعبة وفق مبتغانا فهو عاشق تارة و خائن تارة و ملتوٍ تارة و مسخوط عليه تارة . هو العجز عن فهمنا و القزم الذي لا يمكنه منازلة مقدرتنا و إن كان الكمال أو جزء منه .الصورة هي النافذة من عالمنا المعاش لعالم مجهول و لا تحتاج نافذة الرسام في جميع الحالات لتكون أحجية يجب حلها ، ما رأته ماريا و ما رآه خوان أخافهما فحياتها تنتهي خلف النافذة و حياته تظل مأسورة بدم ضحيته خلف تلك النافذة ، جمعهما قدرهما المتخاصم و كانت المصالحة في فهم علاقتهما كقاتل وضحيته في عالم مجهول خلف نافذة الرسام العصية على التأويل ، الجميل أن ما وراء النافذة رغم كونه ثنائي الأبعاد يبقى محصوراً في خانة الما وراء .. فحين نقيم الصورة من عالمنا نرنو لعالم خيالي مجهول ما وراء تلك النافذة ونعلم أن المجهول يراقبنا من وراءها على حد سواء . نبرة النص ذكورية و صوت شخوصها موحش و النفق الحقيقي هو منظورنا المعتم و السلبي للحياة ذلك ما يقيدنا حقًا ،، قم بترقيق جدران نفقك .. فما وراء النفق نوافذ أخرى تستحق التأمل .

Katie

Although El túnel may be one of Ernesto Sábato’s lesser-known works, but it is a stimulating read, especially to aspiring psychologists. It tells the story of Juan Pablo Castel, an artist who becomes so obsessed with his lover María that he kills her. Castel’s thought processes will pull you into the depths of his psychological tunnel, and his neurosis and obsessions are compelling. Don’t expect to be uplifted by this book, but do expect to think about the true essence of human life and to be challenged by Sábato’s insight. El túnel is a great existential work, and it is definitely worth the time that you invest in reading it. Aunque quizá sea El túnel una de las obras de Ernesto Sábato menos conocidas, es un relato estimulante, especialmente para los psicólogos en ciernes. Relata la historia de Juan Pablo Castel, artista que se obsesiona tanto con su amante María que la mata. Los procesos mentales de Castel te arrastrarán en la profundidad de su túnel psicológico, y su neurosis y sus obsesiones son absorbentes. No esperes que el libro te eleve, sino que pensarás en la esencia verdadera de la vida humana y el reto que te enfrenta la perspicacia de Sábato. El túnel es una gran obra existencial, y vale el esfuerzo que inviertes en leerla.KatieWashington & Lee University, ‘11

طَيْف

يا لها من ليلة كافحت فيها للخروج من نفق ساباتو المعتم!!!0يا لها من ليلة!!!0إلى أين ستأخذك وحدتك " خوان بابلو كاستيل"؟؟وكيف تمكّنت تلك اللحظة التي رأيت فيها "ماريا" من أخذك لتلك النهاية؟؟ألم يكن لأحاديث الأوهام والشكوك والقلق بداخلك، وافتراضاتك التي تحاسب من حولك بناء عليها من نهاية؟؟ أما اكتفيت منها وهي تنقلك من حال إلى حال حتى ارتكبت تلك الفاجعة وما منحتنا تلك الإجابات المقنعة لأسئلة ثارت برؤوسنا وأنت تتنقل بأفكارك من زاوية لأخرى بلا تأنٍ ولا هوادة؟؟إلى أين كنت تريد الوصول بعد أن تضامنت معك المرأة الوحيدة التي استطاعت من خلال لوحة فهم وحدتك وحاجتك لمن يملأ عليك عالمك ويخرجك من إطار تلك النافذة ويشرع أبوابها؟؟ وكيف كنت ستتمكن من فهمها وأنت الذي لم يفهم نفسه بعد؟؟ ساباتو يضمن لنا حد الإشباع من شخصية بطله دون أن يمنحنا تفسيرات عن ماضيه، ودون إجابات لكثير من الأسئلة التي ظلت شاردة...ودون تعاطف معه رغم إحساسي بعميق وحدته وألمه...وربما يعود ذلك لصلفه وغروره واعتداده بنفسه وكأنه الصواب المطلق!!0وربما كان "خوان بابلو" إنعكاسا ولو جزئيا لشخصية ساباتو التي قالت عنه زوجته:" ساباتو رجل مثير للجدل على نحو مريع، وهو غير مستقر وكئيب لكنه يعي بوضوح قيمته. يتأثر بكل ماهو سلبي ويتوق للحنو والعطف مثلما يمكن لطفل مشرد أن يكون، تلك الحاجة الى الحنان التي تكاد تكون مَرَضية، تجعله يفهم بالطريقة نفسها المعوقين والمشردين ويحس بهم. لكنه أيضا تعسفي وعنيف وعدواني أيضا "ألم يكن ذلك تماما إحساسي بـ "خوان بابلو"؟؟أما المرأة في روايته "ماريا" فمتوشحة كذلك بغموض لا يقل عن غموض بطلنا...وربما كان غموضها واحتفاظها بكثير من الإجابات بداخلها سببا فيما وصل إليه خوان بابلو وهو يبحث عن إجابات فلما لا يعثر عليها يقنع نفسه بأوهامه وشكوكه ومخاوفه فيتردى في وحدته أكثر فأكثر ليصل إلى تلك النهاية.رواية "النفق" موغلة في سبر أعماق النفس بكل أحاديثها الداخلية وتعقيداتها...ستأخذك مع ساباتو إلى نفق مظلم غرائبي مجنون...فاحرص أن تخرج منه سالما، واحرص على التخلص من بقايا حزن لا يرحم ستتفشى بداخلك!!!0يقول ساباتو:"فيما يتعلق بي فسأكون راضيا جدا ان كنت كتبت رواية واحدة تقاوم الزمن"وقد كتب ثلاث روايات، لم أقرأ منها إلا هذه، والتي أظنها مقاومة بكل جدارة للزمن.

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