Alabardas by José Saramago

By José Saramago

Los angeles novela inacabada de José Saramago

Sobre los angeles violencia, el negocio de las armas y l. a. responsabilidad personal

Meses antes de su muerte, José Saramago sintió una vez más el impulso important de reflexionar desde l. a. ficción sobre una de sus mayores preocupaciones: los angeles violencia ejercida sobre las personas y las sociedades, que las convierte en víctimas y les impide ser dueñas absolutas de sus vidas. El resultado de este impulso es Alabardas, alabardas, espingardas, espingardas, una huella emocionante del inagotable espíritu de lucha de José Saramago y su última voluntad narrativa.

El relato inconcluso plantea el conflicto ethical de Artur Paz Semedo, empleado de una fábrica de armas, que, intrigado por el sabotaje de una bomba durante los angeles Guerra Civil española e impulsado por Felícia, su exesposa, inicia l. a. investigación de los entresijos de una época convulsa, lo que despierta en él un debate íntimo entre los angeles ceguera impuesta por el miedo heredado y l. a. necesidad del compromiso.

Alabardas, alabardas, espingardas, espingardas es una reflexión sobre el poder y l. a. destrucción, sobre cómo las armas alimentan el gran fracaso ético de l. a. humanidad que son las guerras, sobre l. a. paz como único camino posible para romper con los angeles aparente inevitabilidad de los angeles violencia.

«La historia de Artur Paz Semedo es una orquesta de revelaciones.»
Roberto Saviano

Esta edición especial, ilustrada con grabados de Günter Grass, incluye las notas de trabajo de Saramago, en las que el autor plantea cuál sería el ultimate de los angeles historia narrada. Se complementa, además, con textos del periodista y escritor italiano Roberto Saviano, y del poeta y ensayista español Fernando Gómez Aguilera.

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Sample text

The notebook was in the trash at last. She would begin another one, a new life in which changes and corrections would be nothing but a manifestation of her own desires and her freedom. Yes. That’s right. One has to begin, she thought that night as she drifted into sleep – that other night, the one after the funeral. Begin? Will this be the new beginning? she asks herself now, thinking of Manuel and of the final repairs on the new house; she asks herself again, thinking also of her father, and then she rolls over again in bed, can’t sleep, has to turn over the warm pillow, seek out the coolest corner of the sheet with her foot.

They knew that with the old man’s widowhood, all their lives would finally change; no one knew, however, exactly how. Cecilia suspected that the legitimacy of the correction derived more from the power of the corrector than from the importance of the rectification. And she even knew – she learned this over the course of the years and with her father’s increasing prosperity – that the element conferring this power was money. Without it, that flood of corrective zeal would have been impossible. For that reason, when the money turned out to be useless and no amount could prevent Doña Leonor’s death, Cecilia suspected that she was standing on the threshold of a change that would affect her life positively, putting an end to the game of error and reparation, of lapse and repentance, once and for all.

Nonetheless, the next morning he procrastinated in preparing an excuse, and that afternoon he decided it would no longer be responsible of him to avoid the commitment. , when Macul was like a wolf ’s maw, ready to snap. Walking along Irarrázaval, toward the Pedagógico, he heard the distant sound of pots and pans, growing closer. It was always like that. The noise, which ultimately spread throughout the city, perhaps throughout the entire country, began with a distant metallic hum, a monotonous rhythm that grew as new hands joined the first protesters’ call.

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