By Iris Murdoch
Una novela divertida y profunda a un tiempo, y con un elemento de suspense que explora con maestría los temas que desde siempre han preocupado a los angeles autora: el amor, l. a. amistad y l. a. perversa frontera que separa el bien y el mal.
El eco de un tiro en los despachos de Whitehall, el complejo administrativo que el gobierno inglés posee en el centro de Londres, no anuncia tan solo l. a. extraña muerte de un alto funcionario, sino también el principio de una sutil intriga.
Kate y Octavian, jefe del departamento donde trabajaba el difunto, forman un matrimonio aparentemente feliz que alberga en su casa de Dorset a un extravagante grupo de personajes: un excéntrico tío que abandonó los angeles India bajo sospecha, un atormentado amigo superviviente de Dachau, el abogado responsable del caso y amante platónico de Kate, hijos de distintos matrimonios, conocidos, visitantes ocasionales...
Y todos ellos relacionados de un modo u otro con el muerto en una deliciosa comedia de errores, donde las sonrisas esconden a menudo pecados de mucha hondura.
«Un originalísimo mundo novelístico de una interminable seducción.»
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Extra info for Amigos y amantes
55University on Sun Apr 07 14:45:05 WEST 2013. 001 Cambridge Companions Online © Cambridge University Press, 2013 The art and science of self-dramatization precludes the idea that their author was anything but fully in control of his texts and his thoughts. 7 A reader is well advised to think of Polonius’ line from Hamlet: ‘Though this be madness, yet there is method in’t’ (ii: ii). Strindberg developed a highly sophisticated mode in which to respond to the claims that he was mentally ill. Insanity is a ﬁgure in Strindberg’s texts that performs as an extension of the rhetorical method mentioned above, philosophizing with a hammer.
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55University on Sun Apr 07 14:45:05 WEST 2013. 001 Cambridge Companions Online © Cambridge University Press, 2013 linda haverty rugg (SV46, p. 7; MJoP, p. 176). The many ﬁgures of his dream play, then, are indeed meant to be understood as emanations of a single consciousness, and Strindberg called To Damascus his earlier dream play, indicating that we can understand the Stranger as a representative of the dreamer, with the other characters in the drama acting as subﬁgures to the protagonist. In Inferno as well, the odd instrumentalization of the other ﬁgures in the novel does not convey simple narcissism (a diagnosis not infrequently assigned to Strindberg), but an attempt to get at the problem of subjective perception, the inability to know the Other.