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

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.

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.

Luka Antonić

I don't think the comments that El túnel is just another existentialist novel are justified. Yes, it is existentialist, at some moments maybe even orthodoxically. But this is in fact a contradictory statement, since existentialism has become (has it ever been anything else?) more a general view, rather than defined philosophical position. There are some sentences non metaphorically commenting on meaninglessness of Universe and existence in it. But it is also a novel about obsession, about artist's journey to find absolute, and its inaccessibility to the rational mind. The allegory about painter's tunnel from epigraph is broadened at the end of the novel, and it is astonishing. Obsession, necessary an illusion, breaks down when a subject, writer, realizes that an object, Maria, is the non-authentic part of the decaying world of groups and Societies he despises. Object can only be valuable for him when it is shrouded in mystery. The glass between the observer and the observed must exist for this illusion to survive. What is left from an ideal when the glass shatters? But maintaining the distance, keeping the glass intact (to extend the metaphor) is not in accordance with the need of an analytical mind to discover truth. Therefore, the only way to preserve an ideal is to destroy its physical actuality. When painter meets Maria he says that there is only one person who can understand his work. This statement is gradually transformed as the novel continues. Who is that one person? After all, there is only one tunnel.

Jorge Gómez

Impresionante, magnanimo, magnifico, increíble, sorprendente, atrapante, delicioso, cautivante, adictivo, preciso. Todos adjetivos que se me vienen a la mente al pensar en este libro, y a diferencia de lo que probablemente Juan Castel pensaria, a mi realmente me gusto el libro, por sobre las adulaciones que crea que estoy haciendo.El libro, cuyo personaje protagónico es la expresión misma de nuestra psicosis (Al menos, la que a mi me aqueja con cosas que, para cualquier otro, son insignificantes) aunque llevada al extremo, en la cual, todo se justifica a través de la razón, pero una razón maniática con rasgos psicopáticos y en la cual se mezclan asombrosamente la pasión y la lógica.Brillante, no queda mucho por decir, Sabato te atrapa pagina tras pagina, no con un final que deslumbre ni sea algo nuevo (Ya que el final de la historia es contado al principio de esta), sino, con una increíble forma de hacer parecer razonable actitudes desquiciadas, pero por sobretodo la ansiedad que produce en el lector las actitudes de María, empatizando, con el obsesivo-compulsivo de Castel.

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.

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...

mai ahmd

(سأكتفي إني خوان بابلو كاستيل الذي قتل ماريا إيرييارني )حين تبدأ بقراءة الرواية ستتذكر جيدا إن بطل الرواية لم يكن بحاجة للتعريف عن نفسه أكثر فأنت تستطيع أن تستشف من خلال عباراته الذاتية طبيعية هذه الشخصية المجنونة , للحظات ستشعر وكأنك تعيش هذا العالم المرعب الذي يدور في تفكير كاستيل وكيف يعبر من سؤال إلى آخر في حالة جنون مرعبة ,ممتلئة بالشك والخوف , تتضح تماما في حالة البطل النفسية والمسكونة بعُقد عميقة تكونت في داخله , لا نعرف كيف تكونت ولن نعرف ذلك .هذه الشخصية ممتلئة بالغرور والعنجهية الذاتية فتراه يسفه أي شيء وكل شيء , ولايؤمن بشيء سوى ذاته وتكاد ترى هذا الغرور من خلال عباراته وهو يحكي قصة ارتكاب جريمته ( لاأروي هذه القصة بدافع من الغرور إنما قد أكون على استعداد للتسليم بأن في الأمر شيئا من الزهو أو الكبرياء 0 عندما بدأت هذه الرواية قررت جازما ألا اقدم أية تفسيرات أردت أن أسرد قصة جريمتي وحسب : ومن لاتحلو له يجدر به ألا يقرأها وإن كنت أظن أن ذلك لن يحدث لأن أولئك الذين يجرون وراء التفسيرات هم أكثر الناس فضولا )لم يكن كاستيل مختلفا عن تفسيره هذا فقد كان يفصّل ويحلل كل شيء غير إنه دائما يسير بإتجاه سلبية الأمور مما يثير غصبه فيتراكم يوما بعد يوم حتى أصبح بركانا فأنفجر وكانت ضحيته ماريا! .( حاولت أن افكر بوضوح , رأسي مرجل يغلي , لكن عندما تتوتر أعصابي تتوارد الأفكار في ذهني كراقصة باليه ورغم ذلك تعودت أن أتحكم بأفكاري على نحو صارم وأن ارتبها بدقة أعتقدأنني لو لم أقم بذلك لأصبت بالجنون )بالطبع لم يستطع كاستيل أن يرتب أفكاره كما كان يدعي كانت أفكاره قلقة نهبة للشك كانت تفقده الصواب كثيرا يختلط فيها الوهم بالحقيقة فرغم تظاهره بالتماسك كان لابد أن ينهار أخيرا ماريا تمثل هذه الشخصية الأنثوية الجاذبة التي قدر لها الكاتب أن تسيطر على عقل رسام وقفت أمام لوحته استرعتها نافذة مشرعة على بحر في اللوحة يبدو أن هذا مرتبطا بمشاهد في حياتها غير أن كان هذا كافيا ليجر إليها الرسام بحثا عن التواصل المفقود في حياته وبشخصيتها المستسلمة والغامضة نوعا ما والمثيرة للشفقة أحيانا تدخل معه في علاقة غريبة الأطوار مما جعل الرسام ينتابه الشك في مدى جديتها واستمتاعها , والذي حول العلاقة إلى مأتم حواري كلما التقيا من هذه النوعية ..يقول كاستيل : لو تطرق الشك إلى نفسي يوما ما بإنك تخدعينني فسأقتلك كما أقتلُ كلبا !!سرعان كاستيل ماكان يشعر بالذنب خاصة حين يرى وجه ماريا مبللا بالعبرات فيسرع إليها كي يقبل عينيها بحنان وهكذا يتصارع كائنان في داخل كاستيل ولكن إلى متى يستمر السير في هذا النفق الطويل المعتم وأي الكائنين يتغلب على الآخرلقد كان العقاب بحجم الفرح الذي احدثته ماريا في قلب كاستيل كونها الشخص الوحيد الذي استطاعت أن تتواصل معه الأنفاق دائما تحوي أسرارا سرتُ في نفق ساباتو وجلب كاستيل لي الصداع حتى تمنيت لو كان يقف أمامي فلن أتوانى عن قتله ولو في مخيلتي لإنهاء عذاباته التي أرقتني هذه الرواية كانت بداية الطريق لعالم ساباتو وجرتني لروائعه الأخرى

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...

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.

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 .

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.

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"

Eliana Rivero

Es maravilloso en todo sentido. En historia, en sentimientos, en personajes, en ambiente; todo escrito de manera perfecta, con la dosis justa de agobio sin ser fastidioso, pesado o aburrido. Necesitaba, a medida que lo leía, saber qué pasaba.Todo está inmerso en un increíble pesimismo que nos transmite Castel, el pintor exitoso pero enfrascado en meditaciones negativas, peligrosas, en suposiciones y conclusiones apresuradas, en sentimientos rayando la pasión malsana. La mente de Castel es un laberinto oscuro, intrincado, en el que él sólo puede tener una salida.Me gusta como es tratado el lado malo de la vida y de las cosas, de la realidad cruel y sin sentido en la que vivimos. Creo que Sábato logra un excelente trabajo con el tiempo presente y pasado de la narración, da giros y vueltas sin ser apresurado, todo a su debido momento. Me encantó el uso de las calles y el ambiente argentino, como si uno de verdad presenciara los asuntos de Castel y María. Además, me gusta el alma negra de Castel, que aunque es exagerado, es real y desconcertante: un maniático en toda regla. Por allí hay una crítica a los críticos de arte (en la novela, a los de arte en relación a la pintura, pero también puede asociarse con otras artes como la literatura, la música, etc) y a la vida intelectual y artística de la época. Allende me recuerda a Borges ¿soy la única?Mis sentimientos hacia María son confusos. No la logré comprender, es un enigma. No entendí si era falsa, o era verdad lo que decía, si era una adúltera a la fuerza o por necesidad (porque hay quien necesita ser ese tipo de cosas). Eso sí, era dulce. Creo que Castel logró meterme en su laberinto de pesimismo. Y pienso que cada quien puede establecer una teoría.

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

Erica Verrillo

The Tunnel falls into the category of existentialist literature, such as The Stranger and No Exit. Like other works in its genre it touches on the futility of existence, the essential isolation of the individual, and profound social anomie. The Tunnel, however, stands apart from the European works in that it treats the disintegration of the individual - rather than of society - through the guise of obsessional love.The main character, an artist who not only hates other artists, but all the trappings that surround the artistic community, falls in love with the one person who appears to understand his paintings, i.e. who appears to understand him. This awareness comes from a brief glimpse of a bewitching young woman in an art show, without a word being spoken between them. The fact that he does not know who she is does not deter him. He must somehow find her again, and he goes about discovering her identity in a series of awkward, adolescent efforts that make the reader cringe. The pursuit of the painter's obsession brings him to loathe the object of his adoration, even as he loathes himself. Eventually, the obsession ends as all obsessions must - and as the readers all know it must, for the artist announces the ultimate end of the affair in his first sentence.What I enjoyed most about this book was its quintessential Argentinian flavor. I read it in the original language, which, of course, lends depth and breadth to every work. The cadences, the subtleties, and above all, that strange, morose Argentinian humor came shining through. Once again, I was impressed with the fluency with which Latin American writers capture the written word, effortlessly transforming it into feeling and state of mind. Sabato, in this regard, excels, for even in a work that epitomizes the meaning of "dramatic irony," the chilling, but inevitable conclusion of this remarkable tale packs a whallop that you will feel long after you have emerged from The Tunnel.

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