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The Tunnel, by Ernesto Sabato
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"The Tunnel" is the confession of Juan Pablo Castel, a painter and convicted murderer, who tells how his tormented love for Maria Irebarne compelled him to stab her to death. With the relentless logic of obsession, he seals himself within his paranoia and is driven deeper into his "tunnel" with no light, no end, only a descent into hellish isolation. This book is the first of a trilogy and the feature film of "The Tunnel" will be premiered in 1988 in America (spring) and Europe (autumn). Ernesto Sabato was born in Argentina and in 1985 won the Miguel de Cervantes Prize (equivalent to the Nobel Prize for literature in Hispanic languages).
- Sales Rank: #2341134 in Books
- Published on: 1988-04-12
- Released on: 1988-04-12
- Ingredients: Example Ingredients
- Number of items: 1
- Binding: Paperback
- 231 pages
Review
'An existentialist classic ... Retains a chilling, memorable power' The New York Times Book Review 'Sabato captures the intensity of passions run into uncharted passages where love promises not tranquillity, but danger' Los Angeles Times Heralded by Albert Camus and Thomas Mann and widely translated, "The Tunnel" is the brief, obsessive, sometimes delirious confession of a convicted murderer. -- Robert Coover New York Times Book Review
Language Notes
Text: English, Spanish (translation)
About the Author
Ernesto Sabato (b. June 24, 1911) was born in Rojas, a small town in Buenos Aires Province. He read physics at the Universidad Nacional de La Plata, attended the Sorbonne in Paris, and worked at the Curie Institute. After World War II, he lost faith in science and began writing fiction. Margaret Sayers Peden is Professor of Spanish American Literature at the University of Missouri. One of the leading translators of her time, Peden has translated more than 40 books and has won numerous prizes and grants.
Most helpful customer reviews
4 of 4 people found the following review helpful.
It's Simply Great
By Gabriel Thomas
I'm not one to review books like this, so I don't have much to say. But I consider it my duty to counter the off-putting one-star review here, a review which might turn many people away from this wonderful book.
Imagine if Camus, Thomas Bernhard, and Hamsun's Hunger had a terrifying child. Now, imagine The Tunnel. There is a delightful misanthropic character about this book, the kind which surfaces in the work of defeated idealists and weary nihilists. But there is love as well - undoubtedly tortured, maddened, romantic love, but a genuine love nonetheless. If anything, this novel represents the "humanistic" existentialism that Sartre desired so fervently.
Ernesto Sabato is one of the most important Latin American authors to have emerged in the last century. Just wait a few years, let some of his startling, erudite collections of essays get translated, and it'll be Borges and Sabato - the beacons of Argentinian literature. And after you read The Tunnel, ignore Sabato's magnum opus, On Heroes and Tombs, for a while, and read the essays collected in The Writer in the Catastrophe of Our Time (trans. Asa Zatz) - they are perhaps some of the most moving, piercing, and intelligent thoughts and theories on literature and human progress I've ever read.
2 of 2 people found the following review helpful.
Love, Argentinian style. . .
By e. 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.
1 of 1 people found the following review helpful.
"I did not want to lose the only person who had understood my painting."
By Michael J. Ettner
In this, his first novel, Ernesto Sábato displays an assured hand in fashioning a fresh tale of obsession and murder. The pace of THE TUNNEL is uncommonly well controlled. There is no fat on the bones of its first-person confessional narrative. At 140 pages, divided into 39 chapters, the book can be read in one or two sessions. This I recommend. Uninterrupted attention to the diseased mind of the artist-confessor, Juan Pablo Castel, is the optimal way to experience Sabato's own artistry.
We know from the opening pages of the novel and from the first encounter between Castel and María Iribarne that these two lovers are doomed to play out a fatal destiny. We expect the descent will be devastating. It is.
The affair begins with the traditional dance: tentative connections, daydreaming, high expectations, misunderstandings, jousting, furtive telephone calls. Looking back after his crime, Castel recalls "how we are blinded by love, how magically love transforms reality."
It is chilling to come upon the first intimations of violence. Sábato is a master of the slow reveal. He is aware of how we, his apprehensive readers, are taking in and digesting the progress of the tale. I was struck by the teasing manner in which he parcels out dialog between the lovers, and how he uses their diverging temperaments (the overly-analytical Castel versus the elusive María) as a means to keep us off-balance. We want to hear more from María, in her own words, unfiltered by the claustrophobic, maddeningly selfish perceptions of the narrator. When she finally speaks honestly to him of her desires, during an escape from the city to an estancia by the ocean ("I can't count the times," she tells Castel, "that I have dreamed of sharing this sea and this sky with you") -- the emotional effect is powerful.
When first published in 1948, and championed by Albert Camus, THE TUNNEL was placed on the shelf with contemporary existentialist literature. It is true Sábato does bow in that direction, as when Castel waxes philosophical:
"There are times I feel nothing has meaning. On a tiny planet that has been racing toward oblivion for millions of years, we are born amid sorrow; we grow, we struggle, we grow ill, we suffer, we make others suffer, we cry out, we die, or others die, and new beings are born to begin the senseless comedy all over again."
But to the 21st-century reader this may sound like window-dressing. The philosophical takes a back seat to the psychological. THE TUNNEL becomes a case study. It is an examination -- or, since the story is in the form of a confession, let us say a self-examination -- by a man suffering through deep psychological trauma. Castel boasts: "My brain is in constant ferment and, when I get nervous, ideas roil in a giddy ballet." Although he fancies himself a superior analytical being, we know better. He is in depression, paranoid and suicidal, a "borderline personality." However you choose to label the source of his downfall, the route to hell is examined with steady skill by the author.
Note 1: Penguin has replaced this particular English language edition (with the black and white photo on the cover) with a reprint edition, with new cover, in honor of the 100 anniversary of the author's birth: The Tunnel (Penguin Classics).
Note 2: A film version of THE TUNNEL was released in 1988; Peter Weller played the role of Castel, and Jane Seymour was María. Three reviews of the VHS tape are posted here: Tunnel [VHS]
Note 3: British writer James Lasdun recently declared: "As soon as you reduce human behavior to a pathology ... it becomes, for literary purposes, less interesting." Lasdun offered that view in a non-fiction book published in early 2013 that may be of interest to readers of The Tunnel: Give Me Everything You Have: On Being Stalked. It is Lasdun's memoir of being obsessively cyber-stalked by a former student. (I've not read it, but some reviews on Amazon praise its effect as akin to that of a first-rate erotic thriller.)
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