There is no better setting for a novel with such enigmatic charge than the chiaroscuro Spain of the late XNUMXs and early XNUMXs. Claroscuros that were overlapped by the recent departure of a dictatorship and the disconcerting glow of a time in which the country seemed to remain suspended, without a foothold between the modernity already spread throughout the rest of Europe.
But beyond the opportunity of the scenario, what is relevant is the narrative proposal that Pedro A. González Moreno throws at us in this novel The woman on the ladder. In it we get closer to the university life of those years, where some young students come to know of the possible existence of a theatrical work prior to the glorious Celestina of the Golden Age.
Only the search seems full of dangers. Death looms over them with the greatest theatricality of coincidence, as if everything were a sum of events that had led them to encounter the fascinating original documents that no one had ever touched since they were saved centuries and centuries before.
The path to discovery precipitates young people into encountering aspects much more essential to their lives. Unbridled ambition, desire and greed, love and hate. All possible emotions unleashed in that frantic disoriented search.
The experiences of the young people as authentic scenes from the theater of their lives, with the madness of ambition made histrionics and the lie over acting, with the necessary luck that blesses shit at the doors of the theater, with the double mask of tragedy and comedy, of life and death illuminating so soon the most transcendental truth or the most repudiable farce.
You can now buy the novel The woman on the ladder, the new book by Pedro A. González Moreno, 2017 Café Gijón Novel Prize, here: