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Тангото на старата гвардия
Тласкан от порива да сътвори съвършеното танго, един композитор потегля за Буенос Айрес през 1928 година; започналата тогава история за любов, амбиция и престъпления отеква в шпионска афера на Ривиерата по време на Испанската гражданска война и намира своя драматичен финал в сенките и интригите зад шахматен турнир в Соренто през 60-те години на XX век.
Трескавият, пламенен и кървав разказ за любов и измяна, страст и смърт се преплита с бурната и мъчителна драма на XX век и със страстния ритъм на аржентинското танго. Скъпоценна огърлица, компрометиращи писма на виден политик, задкулисни конфликти между испанските и италиански тайни служби се изпречват на пътя на Макс Коста, танцьор на танго, очарователен измамник, обичан от много жени, за когото на този свят съществува само една...
Трескавият, пламенен и кървав разказ за любов и измяна, страст и смърт се преплита с бурната и мъчителна драма на XX век и със страстния ритъм на аржентинското танго. Скъпоценна огърлица, компрометиращи писма на виден политик, задкулисни конфликти между испанските и италиански тайни служби се изпречват на пътя на Макс Коста, танцьор на танго, очарователен измамник, обичан от много жени, за когото на този свят съществува само една...
592 pages, Paperback
First published November 21, 2012
397 people are currently reading
3740 people want to read
About the author
Arturo Pérez-Reverte
191 books6,252 followersArturo Pérez-Reverte Gutiérrez, is a Spanish novelist and ex-journalist. He worked as a war reporter for twenty-one years (1973 - 1994). He started his journalistic career writing for the now-defunct newspaper Pueblo. Then, he jumped to news reporter for TVE, Spanish national channel. As a war journalist he traveled to several countries, covering many conflicts. He put this experience into his book 'Territorio Comanche', focusing on the years of Bosnian massacres. That was in 1994, but his debut as a fiction writer started in 1983, with 'El húsar', a historical novella inspired in the Napoleonic era.
Although his debut was not quite successful, in 1988, with 'The Fencing Master', he put his name as a serious writer of historic novels. That was confirmed in 1996, when was published the first book of his Captain Alatriste saga, which has been his trademark. After this book, he could leave definitely journalism for focusing on his career as a fiction writer. This saga, that happens in the years of the Spanish golden age, has seen, for now, seven volumes, where Pérez-Reverte shows, from his particular point of view, historical events from Spanish history in the 16th century.
Apart from these, he also penned another successful works like Dumas Club and Flanders Panel, titles that, among others, made Pérez-Reverte one of the most famous and bestseller authors of Spanish fiction of our era.
Although his debut was not quite successful, in 1988, with 'The Fencing Master', he put his name as a serious writer of historic novels. That was confirmed in 1996, when was published the first book of his Captain Alatriste saga, which has been his trademark. After this book, he could leave definitely journalism for focusing on his career as a fiction writer. This saga, that happens in the years of the Spanish golden age, has seen, for now, seven volumes, where Pérez-Reverte shows, from his particular point of view, historical events from Spanish history in the 16th century.
Apart from these, he also penned another successful works like Dumas Club and Flanders Panel, titles that, among others, made Pérez-Reverte one of the most famous and bestseller authors of Spanish fiction of our era.
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October 27, 2025
За мен, две от най-фаталните и привлекателни жени в литературата са излезли под перото на дон Артуро - Танхер Сото и Меча Инсунса.
И цяло щастие бе да ги открия и да им се насладя. Всичко друго бледнее пред начина, по който им е вдъхнат живот - пълнокръвни, истински, опасни, красиви, екзотични и все пак, просто жени!
Препоръчвам от същия автор "Учителят по фехтовка", "Добри мъже", както и "Морската карта".
И цяло щастие бе да ги открия и да им се насладя. Всичко друго бледнее пред начина, по който им е вдъхнат живот - пълнокръвни, истински, опасни, красиви, екзотични и все пак, просто жени!
Препоръчвам от същия автор "Учителят по фехтовка", "Добри мъже", както и "Морската карта".
March 11, 2020
4.4 ⭐
Чувствена и темпераментна книга!
Реверте изгражда много силен женски образ в лицето на Меча Инсунса- фаталната жена, която може да изкара мъжа от равновесие, да разклати устоите му, уверена в своята сила и опустошителна женственост.
Горко на мъжете, ако на пътя им застане такава жена, защото тя е като стихия, помита всичко, дамгосва душите и оставя върволица от разбити сърца...
Чувствена и темпераментна книга!
Реверте изгражда много силен женски образ в лицето на Меча Инсунса- фаталната жена, която може да изкара мъжа от равновесие, да разклати устоите му, уверена в своята сила и опустошителна женственост.
Горко на мъжете, ако на пътя им застане такава жена, защото тя е като стихия, помита всичко, дамгосва душите и оставя върволица от разбити сърца...
March 20, 2021
«Το καφέ του Χάνσεν” που άνοιξε το 1877, θεωρείται απο πολλούς ένα απο τα λίκνα του τανγκό. Απέκτησε φήμη χάρη στην ταινία του 1937 «Τα παιδιά του παλιού καιρού δεν έβαζαν ζελέ». Εκεί Ακουγόταν το ομώνυμο τανγκό που διηγιόταν την ιστορία της ξανθιάς Μιρέγια. Πρόκειται για έναν μύθο που συμπυκνώνει τη νοσταλγία για την παλιά ζωή στους φτωχομαχαλάδες τοτ Μπουένος Άιρες στις αρχές του 20ου αιώνα.
Ο βετεράνος μονόφθαλμος μουσικός της εποχής του Χάνσεν κάπου στη δεκαετία του 1890 είχε εξηγήσει στο κοσμικό πλούσιο ζευγάρι του συνθέτη και της αριστοκράτισσας κυρίας του που βρέθηκαν εκεί απο καθαρή πολιτιστική περιέργεια, για τα παλιά και τα καινούργια τανγκό. Τους τρόπους εκτέλεσης τους, τους στίχους και τη μουσική.
Τα τανγκό της παλιάς φρουράς δεν χρειαζόταν παρτιτούρες, ήταν πραγματικά τανγκό για να χορεύει κάποιος με τον γρήγορο ρυθμό και τα κόρτε στη θέση τους, όχι αυτά τα νερόβραστα του σαλονιού που είχαν κάνει της μόδας απο κοινού το Παρίσι και ο κινηματογράφος.
Όσο για τους στίχους, σκότωνε το τανγκό και υποβίβαζε εκείνη η μανία να μετατρέπουν σε ήρωες τον κερατωμένο και κλαψιάρη αγαθομούνη, που τον παρατούσε η γυναίκα του, ή την την εργατριούλα που μαραινόταν σαν λουλούδι στη λάσπη.
Τον παλιό, το αυθεντικό τανγκό ήταν εκείνο του παλιού εργατόκοσμου : σαρκασμός του υποκόσμου, θράσος του νταβατζή ή της περπατημένης γκόμενας, κοροϊδευτικός κυνισμός όποιου είχε φάει τα ψωμιά του.
Οι ποιητές και οι εξευγενισμένοι μουσικοί περίσσευαν. Το τανγκό ήταν για να την πέφτεις και να αγκαλιάζεις μια γυναίκα ή για να γλεντοκοπάς με τους κολλητούς. Ανακεφαλαιώνοντας ο χορός αυτός ήταν ένστικτο, ρυθμός, αυτοσχεδιασμός και προστυχόλογα.
Όχι μια κλάψα για την χήρα μάνα, τον απελπισμένο έρωτα, το παρατημένο σπίτι, και την κλάψα για την καημένη την τυφλή λουλουδού στη γωνία.
Κάπως έτσι γνωρίζουμε μέσα απο ιστορίες και χρονολογικά
μπρος-πίσω στις ανιστορηματικές εξελίξεις, σαράντα χρόνια πριν, -προηγείται ένα διάλειμμα στα εικοσιεννέα χρόνια ενδιάμεσα- μετά την γνωριμία του επαγγελματία κοσμικού χορευτή και ζιγκολό, Μαξ Κόστα, με τον συνθέτη Αρμάντο ντε Τροέγε όπου το 1928 μαζί με τη σύζυγο του Μέτσα Ινθούνθα ντε Τροέγε ταξίδευαν με το πολυτελέστατο υπερωκεάνιο « Καπ Πολόνιο» στο Μπουένος Άιρες. Εκεί όπου ο συνθέτης, στα σαράντα τρία του χρόνια θα δοκίμαζε να συνθέσει για πρώτη φορά, ένα τάνγκο.
Ο Perez-Reverte υφαίνει μια ιστορία που αναφέρεται σε τρία διαφορετικά χρονικά διαστήματα - τις δεκαετίες του 1920, του 30 και του 60 - με τους ίδιους δύο κεντρικούς χαρακτήρες - πάνω στους οποίους στηρίζεται όλη η πλοκή και η εξέλιξη να μεταμορφώνονται απο ένα παθιασμένο έρωτα, ένα μαργαριταρένιο κολιέ, το γκαμπί της βασίλισσας αποτελεί σκακιστικό άνοιγμα το οποίο ξεκινάει με τις κινήσεις (σε αλγεβρική σκακιστική γραφή), που το κατακτούν οι δυο τους μέσα απο το ωραιότερο δημιούργημα ενός σκοτεινού σαρκικού χορού, ανάμεσα στο τανγκό της Παλιάς Φρουράς και σε μια σκακιστική παρτίδα σπινθηροβόλας και μεθυστικής νίκης, μιας εκστατικής ψυχαγωγίας η οποία πάλλεται αέναα με τη ζωή - να συναντιούνται μεταξύ τους.
Κάθε παραφυάδα λογοτεχνικής τεχνοτροπίας εδώ, έχει πολλά σαρωτικά ανοίγματα χρόνου και χώρου διεκδικώντας επάξια το μεθυστικό άρωμα μιας παλιάς ασπρόμαυρης ταινίας θρίλερ με έγκλημα, ρομαντική και σέξυ, θλιβερή και πικρή προδοσία, βροχή φθινοπωρινών ματαιώσεων μέσα απο ηλιοκαμένα καλοκαίρια κυριαρχικά και βασανιστικά για τυχοδιώκτες και παράνομους, για επικές περιπέτειες ενός περίπλοκου πολιτικού κράτους και παρακράτους. Η χροιά των εξουσιαστών με προνόμια και ρομαντικές αντιθέσεις ρεαλισμού την κάνει ευχάριστη, ειδικά, διαχρονικά και με διάρκεια.
Παρόλα αυτά δεν με ενθουσίασε. Ήταν ένα κοινότοπο ανάγνωσμα που διαλαλεί την πραμάτεια του μέσα απο ραψωδίες και καθηλωτικούς θρήνους κρυμμένων μυστικών τα οποία με κάθε λεπτομέρεια και διαδικασία μορφής, ύφους και προεργασίας πάνω στην πεζογραφική τέχνη μας το έχουν ξαναπεί σύγχρονα και κλασικά συγγραφικά δημιουργήματα με κάθε λεπτομέρεια που είχε σημασία, μα δεν έχει πια!....
2,5 ⭐️( Για την ακρίβεια)
Καλή ανάγνωση.
Πολλούς και σεμνούς ασπασμούς.
Ο βετεράνος μονόφθαλμος μουσικός της εποχής του Χάνσεν κάπου στη δεκαετία του 1890 είχε εξηγήσει στο κοσμικό πλούσιο ζευγάρι του συνθέτη και της αριστοκράτισσας κυρίας του που βρέθηκαν εκεί απο καθαρή πολιτιστική περιέργεια, για τα παλιά και τα καινούργια τανγκό. Τους τρόπους εκτέλεσης τους, τους στίχους και τη μουσική.
Τα τανγκό της παλιάς φρουράς δεν χρειαζόταν παρτιτούρες, ήταν πραγματικά τανγκό για να χορεύει κάποιος με τον γρήγορο ρυθμό και τα κόρτε στη θέση τους, όχι αυτά τα νερόβραστα του σαλονιού που είχαν κάνει της μόδας απο κοινού το Παρίσι και ο κινηματογράφος.
Όσο για τους στίχους, σκότωνε το τανγκό και υποβίβαζε εκείνη η μανία να μετατρέπουν σε ήρωες τον κερατωμένο και κλαψιάρη αγαθομούνη, που τον παρατούσε η γυναίκα του, ή την την εργατριούλα που μαραινόταν σαν λουλούδι στη λάσπη.
Τον παλιό, το αυθεντικό τανγκό ήταν εκείνο του παλιού εργατόκοσμου : σαρκασμός του υποκόσμου, θράσος του νταβατζή ή της περπατημένης γκόμενας, κοροϊδευτικός κυνισμός όποιου είχε φάει τα ψωμιά του.
Οι ποιητές και οι εξευγενισμένοι μουσικοί περίσσευαν. Το τανγκό ήταν για να την πέφτεις και να αγκαλιάζεις μια γυναίκα ή για να γλεντοκοπάς με τους κολλητούς. Ανακεφαλαιώνοντας ο χορός αυτός ήταν ένστικτο, ρυθμός, αυτοσχεδιασμός και προστυχόλογα.
Όχι μια κλάψα για την χήρα μάνα, τον απελπισμένο έρωτα, το παρατημένο σπίτι, και την κλάψα για την καημένη την τυφλή λουλουδού στη γωνία.
Κάπως έτσι γνωρίζουμε μέσα απο ιστορίες και χρονολογικά
μπρος-πίσω στις ανιστορηματικές εξελίξεις, σαράντα χρόνια πριν, -προηγείται ένα διάλειμμα στα εικοσιεννέα χρόνια ενδιάμεσα- μετά την γνωριμία του επαγγελματία κοσμικού χορευτή και ζιγκολό, Μαξ Κόστα, με τον συνθέτη Αρμάντο ντε Τροέγε όπου το 1928 μαζί με τη σύζυγο του Μέτσα Ινθούνθα ντε Τροέγε ταξίδευαν με το πολυτελέστατο υπερωκεάνιο « Καπ Πολόνιο» στο Μπουένος Άιρες. Εκεί όπου ο συνθέτης, στα σαράντα τρία του χρόνια θα δοκίμαζε να συνθέσει για πρώτη φορά, ένα τάνγκο.
Ο Perez-Reverte υφαίνει μια ιστορία που αναφέρεται σε τρία διαφορετικά χρονικά διαστήματα - τις δεκαετίες του 1920, του 30 και του 60 - με τους ίδιους δύο κεντρικούς χαρακτήρες - πάνω στους οποίους στηρίζεται όλη η πλοκή και η εξέλιξη να μεταμορφώνονται απο ένα παθιασμένο έρωτα, ένα μαργαριταρένιο κολιέ, το γκαμπί της βασίλισσας αποτελεί σκακιστικό άνοιγμα το οποίο ξεκινάει με τις κινήσεις (σε αλγεβρική σκακιστική γραφή), που το κατακτούν οι δυο τους μέσα απο το ωραιότερο δημιούργημα ενός σκοτεινού σαρκικού χορού, ανάμεσα στο τανγκό της Παλιάς Φρουράς και σε μια σκακιστική παρτίδα σπινθηροβόλας και μεθυστικής νίκης, μιας εκστατικής ψυχαγωγίας η οποία πάλλεται αέναα με τη ζωή - να συναντιούνται μεταξύ τους.
Κάθε παραφυάδα λογοτεχνικής τεχνοτροπίας εδώ, έχει πολλά σαρωτικά ανοίγματα χρόνου και χώρου διεκδικώντας επάξια το μεθυστικό άρωμα μιας παλιάς ασπρόμαυρης ταινίας θρίλερ με έγκλημα, ρομαντική και σέξυ, θλιβερή και πικρή προδοσία, βροχή φθινοπωρινών ματαιώσεων μέσα απο ηλιοκαμένα καλοκαίρια κυριαρχικά και βασανιστικά για τυχοδιώκτες και παράνομους, για επικές περιπέτειες ενός περίπλοκου πολιτικού κράτους και παρακράτους. Η χροιά των εξουσιαστών με προνόμια και ρομαντικές αντιθέσεις ρεαλισμού την κάνει ευχάριστη, ειδικά, διαχρονικά και με διάρκεια.
Παρόλα αυτά δεν με ενθουσίασε. Ήταν ένα κοινότοπο ανάγνωσμα που διαλαλεί την πραμάτεια του μέσα απο ραψωδίες και καθηλωτικούς θρήνους κρυμμένων μυστικών τα οποία με κάθε λεπτομέρεια και διαδικασία μορφής, ύφους και προεργασίας πάνω στην πεζογραφική τέχνη μας το έχουν ξαναπεί σύγχρονα και κλασικά συγγραφικά δημιουργήματα με κάθε λεπτομέρεια που είχε σημασία, μα δεν έχει πια!....
2,5 ⭐️( Για την ακρίβεια)
Καλή ανάγνωση.
Πολλούς και σεμνούς ασπασμούς.
April 10, 2023
When reading a book that has been translated, one can never be certain of the influence of the translator on the finished product. In reviewing What We Become, I am assuming that the translator had no effect and that, in essence, I have read Pérez-Reverte's words.
What We Become takes place in two parallel timeframes moving gracefully from one to the other as the earlier and later lives of the main characters are beguilingly compared and contrasted.
Max, is a survivor and has been since he was a youngster growing up in one of the toughest parts of Buenos Aires. Now, as a slightly larcenous young man, he is surviving primarily by his talent as an incredible dancer, a man hired by a first-class ocean liner to dance with unaccompanied (or, occasionally, accompanied) women. He is remarkably charming, impeccably dressed, incredibly well-mannered and, as you might suspect, a brilliant dancer. He rarely discloses anything about himself and then, only obliquely. Having grown up in a rough Buenos Aires barrio has given him two primary skills. First, he can handle himself in the most difficult and threatening situations and secondly, he has mastered the Tango - not just the elegant Tango danced in Paris but also the erotic old-school Tango that is danced in the small, earthy little clubs in the slums of BA.
Mecha Inzunza is an elegant, beautiful, charming, somewhat standoffish, highborn woman who, along with her husband, a very famous composer, is traveling from Europe to BA. She dances with Max showing little interest or intrigue. They dance again and again and she retains her aloofness until they dance a tango after which she favors him with a flicker of a smile. They continue to dance throughout the voyage including one occasion when they find themselves in an empty ballroom and they dance without music. Mecha Inzunza's husband invites Max to join them at their table where he and Max talk incessantly about the Tango.
After arriving at BA, Max is invited to dine with the elegant couple and eventually they find their way to one of BA's most down-and-dirty clubs. Mecha Inzunza is invited to dance (the tango, of course) by one of the local toughs. He eventually becomes part of their party and their evenings escalate into something that Max could never have imagined.
In the parallel timeframe, many years later, Max is working as a chauffeur with the occasional swindle or theft tossed in. Mecha Inzunza is traveling with her son, who is a brilliant young chess master preparing for the World Championship. Many years have passed and much has changed but some things have not. They meet again through Max's connivances and both find themselves in situations they could not have imagined, some exciting, some nostalgic, and some terrifying.
Pérez-Reverte is one of the most stylish writers of our time, in my view. His writing is elegant, his plots are wildly engaging, and his characters truly come to life. Most of his books that I have previously read have been set hundreds of years ago but he is just as brilliant in setting a story in a more contemporary time. I'm can't say that the is the best writer that I have ever read but neither can I say that he is not.
While What We Become is not exactly a mystery, it has almost all of the elements of a great mystery story. While it unquestionably contains some romance, my least favorite genre, it is subtle and often in the background. It most assuredly is a thriller but in a manner uncommon to most thrillers.
I strongly recommend it to those who enjoy truly well-written books and do not require those books to follow a formula (or perhaps even prefer that).
Finito
What We Become takes place in two parallel timeframes moving gracefully from one to the other as the earlier and later lives of the main characters are beguilingly compared and contrasted.
Max, is a survivor and has been since he was a youngster growing up in one of the toughest parts of Buenos Aires. Now, as a slightly larcenous young man, he is surviving primarily by his talent as an incredible dancer, a man hired by a first-class ocean liner to dance with unaccompanied (or, occasionally, accompanied) women. He is remarkably charming, impeccably dressed, incredibly well-mannered and, as you might suspect, a brilliant dancer. He rarely discloses anything about himself and then, only obliquely. Having grown up in a rough Buenos Aires barrio has given him two primary skills. First, he can handle himself in the most difficult and threatening situations and secondly, he has mastered the Tango - not just the elegant Tango danced in Paris but also the erotic old-school Tango that is danced in the small, earthy little clubs in the slums of BA.
Mecha Inzunza is an elegant, beautiful, charming, somewhat standoffish, highborn woman who, along with her husband, a very famous composer, is traveling from Europe to BA. She dances with Max showing little interest or intrigue. They dance again and again and she retains her aloofness until they dance a tango after which she favors him with a flicker of a smile. They continue to dance throughout the voyage including one occasion when they find themselves in an empty ballroom and they dance without music. Mecha Inzunza's husband invites Max to join them at their table where he and Max talk incessantly about the Tango.
After arriving at BA, Max is invited to dine with the elegant couple and eventually they find their way to one of BA's most down-and-dirty clubs. Mecha Inzunza is invited to dance (the tango, of course) by one of the local toughs. He eventually becomes part of their party and their evenings escalate into something that Max could never have imagined.
In the parallel timeframe, many years later, Max is working as a chauffeur with the occasional swindle or theft tossed in. Mecha Inzunza is traveling with her son, who is a brilliant young chess master preparing for the World Championship. Many years have passed and much has changed but some things have not. They meet again through Max's connivances and both find themselves in situations they could not have imagined, some exciting, some nostalgic, and some terrifying.
Pérez-Reverte is one of the most stylish writers of our time, in my view. His writing is elegant, his plots are wildly engaging, and his characters truly come to life. Most of his books that I have previously read have been set hundreds of years ago but he is just as brilliant in setting a story in a more contemporary time. I'm can't say that the is the best writer that I have ever read but neither can I say that he is not.
While What We Become is not exactly a mystery, it has almost all of the elements of a great mystery story. While it unquestionably contains some romance, my least favorite genre, it is subtle and often in the background. It most assuredly is a thriller but in a manner uncommon to most thrillers.
I strongly recommend it to those who enjoy truly well-written books and do not require those books to follow a formula (or perhaps even prefer that).
Finito
July 1, 2015
Приключих „Тангото на старата гвардия” на Артуро Перес-Реверте. И мога само да въздъхна възхитено: „Ехаааа!”
Искам да започна с уговорката, че това не е типичният Реверте, не очаквайте исторически детайли и подробности, военни действия и хусари на кон. За мен лично романът разкрива една изцяло нова страна на неговия талант. А именно – любовен и шпионски роман, в който се кръстосват най-доброто от традициите на Джеймс Бонд, подплатени с великолепния стил на писане на автора и перфектните (за мен разбира се) секс сцени. Да, правилно прочетохте – в „Тангото на старата гвардия” дон Перес-Рерверте сваля белите ръкавици на жив испански класик и мощно влиза в сферата на плътското. Обаче без опошляване, без излишна захаросаност, без недомлъвки. Хваща те за косата и те отнася директно в света на фетишите, докато наблюдава в огледалото. В контражур.
Признавам си, останах изумена, но безкрайно доволна. Разбира се романът не е само секс, основата му е безкрайно динамичния и интересен живот по ръба на бръснача на чаровния мошеник и неповторим танцьор на танго Макс Коста. Има кражби, виртуозно разбиване на сейфове, дузини приеми във висшето общество, както и запознанство с корените на истинското, безсрамно танго на момчетата от едно време, наречено Тангото на старата гвардия. Има го и шахът разбира се (за къде сме без шах в роман на Реверте), но без излишни подробности. Само най-необходимото за хода на действието. И разбира се има я фаталната любов с фаталната жена, подправена с щипка политика (но съвсем мъничка, колкото да придаде допълнителна дълбочина) и шпионски игри. Какво повече би могъл да иска човек?
Искам да започна с уговорката, че това не е типичният Реверте, не очаквайте исторически детайли и подробности, военни действия и хусари на кон. За мен лично романът разкрива една изцяло нова страна на неговия талант. А именно – любовен и шпионски роман, в който се кръстосват най-доброто от традициите на Джеймс Бонд, подплатени с великолепния стил на писане на автора и перфектните (за мен разбира се) секс сцени. Да, правилно прочетохте – в „Тангото на старата гвардия” дон Перес-Рерверте сваля белите ръкавици на жив испански класик и мощно влиза в сферата на плътското. Обаче без опошляване, без излишна захаросаност, без недомлъвки. Хваща те за косата и те отнася директно в света на фетишите, докато наблюдава в огледалото. В контражур.
Признавам си, останах изумена, но безкрайно доволна. Разбира се романът не е само секс, основата му е безкрайно динамичния и интересен живот по ръба на бръснача на чаровния мошеник и неповторим танцьор на танго Макс Коста. Има кражби, виртуозно разбиване на сейфове, дузини приеми във висшето общество, както и запознанство с корените на истинското, безсрамно танго на момчетата от едно време, наречено Тангото на старата гвардия. Има го и шахът разбира се (за къде сме без шах в роман на Реверте), но без излишни подробности. Само най-необходимото за хода на действието. И разбира се има я фаталната любов с фаталната жена, подправена с щипка политика (но съвсем мъничка, колкото да придаде допълнителна дълбочина) и шпионски игри. Какво повече би могъл да иска човек?
April 20, 2014
There is a theory that counterclockwise motion in tango symbolizes an attempt to turn back time and relive one`s past and memories. And that`s the theme of the book. That`s why it consists of two layers – the past and the present, wrapped around two people, man and woman, so different and at the same time drawn to each other. The book contains their memories of younger versions of themselves, that exists no more. How can a person live, when the world has changed and he has not?
There`s Max, elegant trickster and brilliant dancer. He drifts through life and doesn`t have anything permanent. And there`s Mecha, beautiful and rich woman with the strong feeling that the world is hers. Well, the question is: is it enough to love somebody to be with him despite all differences? There`s a perfect place for equality – dance floor, where it doesn`t matter who you are. But life is not a tango. And sometimes love is hardly enough for a man to completely chance his lifestyle and score out his past, even for a woman he loves. Can he pretend to be someone he`s not or claim it from another person?
It`s hard to read this book fast. Reading it was like dancing tango, pushing off the text, feeling its tension and slowly drifting form one page to another. As in tango, sometimes reader has to stop to find out where he is - in the lovers` past or their present. Pérez-reverte truly reflects the feeling of sadness and sorrow traditional for this dance and its philosophy. Not loss, not despair or depression, but sorrow. The kind of sorrow after which you stand up, raise your head and go on. Can we live otherwise?
There`s Max, elegant trickster and brilliant dancer. He drifts through life and doesn`t have anything permanent. And there`s Mecha, beautiful and rich woman with the strong feeling that the world is hers. Well, the question is: is it enough to love somebody to be with him despite all differences? There`s a perfect place for equality – dance floor, where it doesn`t matter who you are. But life is not a tango. And sometimes love is hardly enough for a man to completely chance his lifestyle and score out his past, even for a woman he loves. Can he pretend to be someone he`s not or claim it from another person?
It`s hard to read this book fast. Reading it was like dancing tango, pushing off the text, feeling its tension and slowly drifting form one page to another. As in tango, sometimes reader has to stop to find out where he is - in the lovers` past or their present. Pérez-reverte truly reflects the feeling of sadness and sorrow traditional for this dance and its philosophy. Not loss, not despair or depression, but sorrow. The kind of sorrow after which you stand up, raise your head and go on. Can we live otherwise?
March 4, 2017
I am definitely getting old for this kind of book. Glamour scenarios, like luxury boats traveling from Europe to South America, amazing hotels and cocktails, a touch of exotic old guard tango in Buenos Aires during the 20s, Italian spies, and high rolling casinos (Monte Carlo, of course). Put all that against a historically interesting context: civil war in Spain, preparations for the Second World War, the Cold War and chess championships in the 60s 70s. Add a little sex. Not to much, after all we want fine ladies to consume this product. As characters you choose a millionaire, jet set Chilean-Spanish woman, sexually liberated by a perverted husband (that luckily dies soon) and an argentinean burglar, specialized in jewelry and squeezing money from old American millionaire women in exchange from sexual favors. Of course the guy is not bad and turns out to be a sensitive "Bon vivant" that tries to escape from the miseries of his childhood. And then we have true love, mysterious, deep, even if produced after a one week affair 20 years ago. And voila! You have a best seller. Come on, this is a bad Hollywood B movie, soap opera at its best. Give me a break. I am done with Reverte.
This entire review has been hidden because of spoilers.
January 17, 2014
Lo mejor de El tango de la guardia vieja es que se trata de un libro de Arturo Pérez Reverte. Es esa una garantía primero de una escritura impecable, bien estructurada, rica en vocabulario, sin florituras excesivas, evocadora y bien templada, un punto de disfrute en sí mismo. En segundo lugar, el tipo de protagonista es un clásico del autor que bien podría haber sido Alatriste o algún militar de los que decidieron, pese a las órdenes en contra, salir a defender a los ciudadanos de Madrid el 2 de mayo sabiendo de antemano que ese sería su final.
Max Costa, el personaje principal, es un hombre de vuelta de la vida, desencantado pero que conserva su sentido personal de lo que es el honor y para quién está reservado. Un eterno luchador y sin embargo un eterno perdedor que no parece encajar en los tiempos en los que ahora le toca vivir. Un hombre enlazado a un amor imposible, a una mujer imposible y que sin embargo podría haber vivido con ella, en otro mundo, en otro momento, una bella historia de amor. Este hombre, el recorrido por algunos capítulos de su vida, la última aventura que va a vivir y que Pérez-Reverte nos relata en su libro, es lo que hace la novela un clásico del autor y lo que le da la riqueza, el toque único y especial que amamos quienes somos fieles seguidores de este escritor.
Sin embargo, algo cojea en la trama. El desarrollo es lento, hasta bien avanzada la lectura, más allá de la mitad del libro, no sabes muy bien qué es lo que el autor te quiere contar, a dónde te quiere llevar. Falta acción cuando la narración apunta que debería haberla y esta sólo se precipita en el último 10% del libro. Aunque nunca llega a aburrir, falta movimiento, intriga, enganche...
Lo dejo con una puntuación de tres estrellas cuando otros con la mitad de clase en la escritura habrían recibido más pero a un gran autor como Arturo Pérez-Reverte no se le puede pedir menos que la excelencia a la que nos tiene acostumbrados y a la que no llega este Tango de la guardia vieja.
Max Costa, el personaje principal, es un hombre de vuelta de la vida, desencantado pero que conserva su sentido personal de lo que es el honor y para quién está reservado. Un eterno luchador y sin embargo un eterno perdedor que no parece encajar en los tiempos en los que ahora le toca vivir. Un hombre enlazado a un amor imposible, a una mujer imposible y que sin embargo podría haber vivido con ella, en otro mundo, en otro momento, una bella historia de amor. Este hombre, el recorrido por algunos capítulos de su vida, la última aventura que va a vivir y que Pérez-Reverte nos relata en su libro, es lo que hace la novela un clásico del autor y lo que le da la riqueza, el toque único y especial que amamos quienes somos fieles seguidores de este escritor.
Sin embargo, algo cojea en la trama. El desarrollo es lento, hasta bien avanzada la lectura, más allá de la mitad del libro, no sabes muy bien qué es lo que el autor te quiere contar, a dónde te quiere llevar. Falta acción cuando la narración apunta que debería haberla y esta sólo se precipita en el último 10% del libro. Aunque nunca llega a aburrir, falta movimiento, intriga, enganche...
Lo dejo con una puntuación de tres estrellas cuando otros con la mitad de clase en la escritura habrían recibido más pero a un gran autor como Arturo Pérez-Reverte no se le puede pedir menos que la excelencia a la que nos tiene acostumbrados y a la que no llega este Tango de la guardia vieja.
December 14, 2020
En 2012:
Comienzo diciendo que aunque no soy forofo a muerte de Pérez Reverte he leído la mayoría de sus libros.
Pues bien, con El Tango de la Guardia Vieja no he podido. Es un libro extraño en el Reverte al que estaba acostumbrado. No hay una trama que te obligue a seguir leyendo, que te enganche. No hay casi personajes secundarios. Y los que hay los resuelve con dos pinceladas sin profundidad ninguna. El devenir es lánguido, cansado.
Novela, otra, sobre un personaje (¿varios personajes?) desgastado, derrotado, con un efímero pasado de incierto triunfo y presente anodino que entona un canto de cisne.
Venga, basta de lirismos, que digo que la novela está bien escrita porque el tío, Reverte, tiene un gran oficio. Coño, si es Académico de la Lengua, como para no saber escribir. Pero que va de sentimientos, de cómo me gustó esta mujer, de que yo era un guapo bailarín mundano y ahora soy los restos de mi pasada gloria. Todo ello envuelto en pensamientos adjetivados con derrota.
Hace tiempo me lo hubiese acabado de leer. Hoy, con el ereader, tengo más cosas que leer y no quiero dedicar mi tiempo a algo que no me atrapa. He llegado hasta el 40% y ahí me quedo. Hale.
Comienzo diciendo que aunque no soy forofo a muerte de Pérez Reverte he leído la mayoría de sus libros.
Pues bien, con El Tango de la Guardia Vieja no he podido. Es un libro extraño en el Reverte al que estaba acostumbrado. No hay una trama que te obligue a seguir leyendo, que te enganche. No hay casi personajes secundarios. Y los que hay los resuelve con dos pinceladas sin profundidad ninguna. El devenir es lánguido, cansado.
Novela, otra, sobre un personaje (¿varios personajes?) desgastado, derrotado, con un efímero pasado de incierto triunfo y presente anodino que entona un canto de cisne.
Venga, basta de lirismos, que digo que la novela está bien escrita porque el tío, Reverte, tiene un gran oficio. Coño, si es Académico de la Lengua, como para no saber escribir. Pero que va de sentimientos, de cómo me gustó esta mujer, de que yo era un guapo bailarín mundano y ahora soy los restos de mi pasada gloria. Todo ello envuelto en pensamientos adjetivados con derrota.
Hace tiempo me lo hubiese acabado de leer. Hoy, con el ereader, tengo más cosas que leer y no quiero dedicar mi tiempo a algo que no me atrapa. He llegado hasta el 40% y ahí me quedo. Hale.
June 13, 2020
Най-доброто от Риверте, което съм чела до момента. Невероятна Меча Инсунса!
May 2, 2020
#enabrilleemosenespañol
Tendo lido apenas um livro de Arturo Pérez-Reverte antes deste, “Território Comanche”, atrevo-me a dizer que este autor resulta melhor em formato pequeno e num mundo única e exclusivamente masculino. Num livro de mais de 400 páginas, torna-se extremamente repetitivo e abusa sem dúvida da palha, mas nem sequer é esse o seu maior pecado. O problema pode ser apenas meu, que estou demasiado velha para aturar fantasias de velhos, mas a forma como retrata as mulheres baseia-se num verdadeiro catálogo de fétiches: as pegas, as que gostam de tautau, a lady na mesa mas louca na cama, as que dizem palavrões durante o acto, o voyeurismo. E só são deslumbrantes em jovens, porque em chegando aos 60, perdem toda a personalidade e encanto e não passam de um monte de pele flácida, de rugas e manchas, caramba, manchas em todo o lado, coitadas. Já o protagonista não importa que idade tem, porque sabe envelhecer, é e sempre foi charmoso, no seu fato bem talhado, com o seu isqueiro Dupont, a sua gabardina Burberry e o seu relógio Patek Philippe. Tinha muito para o tornar um livro interessante, pelos temas e ambientes criados, mas tornou-se demasiado hollywoodesco.
Tendo lido apenas um livro de Arturo Pérez-Reverte antes deste, “Território Comanche”, atrevo-me a dizer que este autor resulta melhor em formato pequeno e num mundo única e exclusivamente masculino. Num livro de mais de 400 páginas, torna-se extremamente repetitivo e abusa sem dúvida da palha, mas nem sequer é esse o seu maior pecado. O problema pode ser apenas meu, que estou demasiado velha para aturar fantasias de velhos, mas a forma como retrata as mulheres baseia-se num verdadeiro catálogo de fétiches: as pegas, as que gostam de tautau, a lady na mesa mas louca na cama, as que dizem palavrões durante o acto, o voyeurismo. E só são deslumbrantes em jovens, porque em chegando aos 60, perdem toda a personalidade e encanto e não passam de um monte de pele flácida, de rugas e manchas, caramba, manchas em todo o lado, coitadas. Já o protagonista não importa que idade tem, porque sabe envelhecer, é e sempre foi charmoso, no seu fato bem talhado, com o seu isqueiro Dupont, a sua gabardina Burberry e o seu relógio Patek Philippe. Tinha muito para o tornar um livro interessante, pelos temas e ambientes criados, mas tornou-se demasiado hollywoodesco.
March 20, 2020
Ако читателят се абстрахира от тънките криминално-шпионски нишки, небрежно съшиващи сюжета, той ще установи, че романът всъщност е разказ за любов. Обаятелният мошеник-жиголо Макс и богатата порочна красавица Меча Инсунса на няколко пъти се намираха и губеха, само за да продължат да си доказват усетеното още при първата им среща - че са завинаги белязани един друг... През цялото време, докато четях книгата в главата ми изникваха сцени от много любимия Горчива луна на Полански (за протокола, абсолютно засенчващ литературния първоизточник на Паскал Брюкнер, мое мнение, разбира се...). И там интригата се завърза на презокеански кораб, и там имаше заряд на изпепеляваща трагична предопределеност, но ако френският автор накрая унищожи главните си герои, иберийският му колега успя да намери възможно най-елегантното и красиво финално решение... Изобщо, благ разказвач е Перес-Реверте, внимателен към детайла, без да става досадно обстоятелствен. Ловко дриблирайки с времената, за да отграничи настояще и минало, той ме разведе из задимените вертепи на Буенос Айерс, стилните хотели и ресторанти по Лазурния бряг и италианските курорти, и превърна изчитането на тези почти шестстотин страници в неподправено удоволствие.
стр. 28 Една жена никога не е само една жена, скъпи Макс. Тя е най-вече мъжете, които е имала, които има, и които би могла да има. Никоя жена не може да бъде разбрана без тях...
стр.352 Съмнението поддържа хората млади. Увереността е като злокачествен вирус. Заразява със старост.
стр. 28 Една жена никога не е само една жена, скъпи Макс. Тя е най-вече мъжете, които е имала, които има, и които би могла да има. Никоя жена не може да бъде разбрана без тях...
стр.352 Съмнението поддържа хората млади. Увереността е като злокачествен вирус. Заразява със старост.
September 14, 2023
Už pradžią ir pabaigą. Už melancholiją. Už- kas žino ar tai buvo meilė...
**************************************************
For the beginning and the end. For melancholy. For-who knows if it was love...
🖋️Esama dviejų tango- vieni sukelia skausmą ir kančią, kiti žudo.
🖋️Kas šis šokis....jei ne abipusis atsidavimas?Senų instinktų, deginančių ritualinių geismų, pažadų per kelias greitai prabėgančias muzikos ir gundymo akimirkas atgaivinimas?
**************************************************
For the beginning and the end. For melancholy. For-who knows if it was love...
🖋️Esama dviejų tango- vieni sukelia skausmą ir kančią, kiti žudo.
🖋️Kas šis šokis....jei ne abipusis atsidavimas?Senų instinktų, deginančių ritualinių geismų, pažadų per kelias greitai prabėgančias muzikos ir gundymo akimirkas atgaivinimas?
August 24, 2018
Review: What We Become, by Arturo Perez-Reverte
I read the last thirty pages of Arturo Perez-Reverte’s novel in short, intense, bursts, just a few pages at a time, for one simple reason: I didn’t want it to end. The novel had become that kind of book, the one you look at from across the room and breathe deep and want to slip back into that world. But you say “No, I���ll wait a while. It will be even better. And the experience will last longer.” There have been only a handful of those in my reading life.
The two main characters in the novel—Max Costa and Mecha Inzunza—quickly become four characters, the Max and Mecha of the 1930’s, and the Max and Mecha of the 1960’s. The narrative shifts back and forth between the two periods. The 1930’s narrative actually includes two time periods, eight years apart, the first on a cruise ship and in Buenos Aires and the second in Nice, France. The single thread that runs through them all is the love affair between the two characters. But the backdrop to that affair includes intrigue, betrayal, the loss of an old world in the coming world war, and more. Much more. The tango, decadence, and personal betrayal dominate the first half of the book, and world-class chess, international intrigue, personal sacrifice, and nostalgia the second. The multiple plot lines are woven tightly together, and the movement through time, though complex, is done beautifully.
The novel is hard to categorize—certainly a historical novel, but at times Romance, at times Erotica, at times Thriller, and always beautifully written, with surprising, inventive action (A tango without music is stunning.) And there are no “good” characters, not in the sense of morality or virtue, only broken, deeply yearning, and ultimately sympathetic ones. At one time or another, the reader may see both Max and Mecha as despicable people, yet Perez-Reverte opens them up for us, shows us their humanity, helps us understand them.
Perez-Reverte’s incisive irony shows up again and again. An example: when the sixty-four-year-old Max, re-united with Mecha after years of separation, is trying to appear suave and confident with her, the narrator tells us, “At that moment, the man Max once was would have created a timely pause, lighting a cigarette with easy elegance. But he no longer smokes, and besides, the gin in his Negroni has upset his stomach. So he does his best to look impassive, wishing he could dissolve a teaspoon of liver salts in a glass of warm water.”
Kirkus Reviews says, “Perez-Reverte summons the romantic spirit of an old black-and-white movie: impossibly glamorous, undeniably wistful.” And Booklist calls the novel “An intoxicating entertainment, pulsing with life.”
A resounding Yes, to both of those descriptions. I will go back to the final two pages of What We Become to study the prose, break down the structure, the imagery, the emotion, the profound treatment of memory, and maybe I’ll become a better writer.
I read the last thirty pages of Arturo Perez-Reverte’s novel in short, intense, bursts, just a few pages at a time, for one simple reason: I didn’t want it to end. The novel had become that kind of book, the one you look at from across the room and breathe deep and want to slip back into that world. But you say “No, I���ll wait a while. It will be even better. And the experience will last longer.” There have been only a handful of those in my reading life.
The two main characters in the novel—Max Costa and Mecha Inzunza—quickly become four characters, the Max and Mecha of the 1930’s, and the Max and Mecha of the 1960’s. The narrative shifts back and forth between the two periods. The 1930’s narrative actually includes two time periods, eight years apart, the first on a cruise ship and in Buenos Aires and the second in Nice, France. The single thread that runs through them all is the love affair between the two characters. But the backdrop to that affair includes intrigue, betrayal, the loss of an old world in the coming world war, and more. Much more. The tango, decadence, and personal betrayal dominate the first half of the book, and world-class chess, international intrigue, personal sacrifice, and nostalgia the second. The multiple plot lines are woven tightly together, and the movement through time, though complex, is done beautifully.
The novel is hard to categorize—certainly a historical novel, but at times Romance, at times Erotica, at times Thriller, and always beautifully written, with surprising, inventive action (A tango without music is stunning.) And there are no “good” characters, not in the sense of morality or virtue, only broken, deeply yearning, and ultimately sympathetic ones. At one time or another, the reader may see both Max and Mecha as despicable people, yet Perez-Reverte opens them up for us, shows us their humanity, helps us understand them.
Perez-Reverte’s incisive irony shows up again and again. An example: when the sixty-four-year-old Max, re-united with Mecha after years of separation, is trying to appear suave and confident with her, the narrator tells us, “At that moment, the man Max once was would have created a timely pause, lighting a cigarette with easy elegance. But he no longer smokes, and besides, the gin in his Negroni has upset his stomach. So he does his best to look impassive, wishing he could dissolve a teaspoon of liver salts in a glass of warm water.”
Kirkus Reviews says, “Perez-Reverte summons the romantic spirit of an old black-and-white movie: impossibly glamorous, undeniably wistful.” And Booklist calls the novel “An intoxicating entertainment, pulsing with life.”
A resounding Yes, to both of those descriptions. I will go back to the final two pages of What We Become to study the prose, break down the structure, the imagery, the emotion, the profound treatment of memory, and maybe I’ll become a better writer.
June 18, 2019
To jest bardzo zła książka.
Gatunkowo jest dość eklektyczna, ale niestety w żadnym z gatunków sobie nie radzi.
Zaczyna się jak romans. Na pozór skomplikowany, dość perwersyjny. Ale ostatecznie wychodzi tandetne romansidło napisane językiem, który kojarzy mi się z najbardziej soczystymi fragmentami Shantaram.
Jakoś to przetrwałem, bo wiedziałem, że miał się pojawić wątek sensacyjno-szpiegowski. No i się pojawił. Nudny, przewidywalny, banalny i przede wszystkim głupi, bezsensowny i nielogiczny.
W tej książce jest tylko potencjał. Nie na ambitną książkę ale fajną historię:
- o relacjach między dwojgiem (kochających się na swój sposób) ludzi, którzy nie mogą się zejść, bo na przeszkodzie stoją różnice społeczne, konflikty międzynarodowe i niekorzystny timing...
- lub na fajny thriller o szachach.
Potencjał został niestety zmarnowany. Czytając miałem nieustanne wrażenie, że jedynym uzasadnieniem napisania tej książki był product placement. Na co drugiej stronie dowiadujemy się jakiej marki są zegarki, futra, samochody, buty, torebki czy kosmetyki bohaterów.
Wracając do Shantaram - uważam, że warto było przeczytać Shantaram a szczególnie drugą część Cień Góry, bo poziom tandety jest w nich tak wyśrubowany, że warto lekturę potraktować poglądowo i socjologicznie.
W przypadku tej książki - po prostu szkoda czasu.
Gatunkowo jest dość eklektyczna, ale niestety w żadnym z gatunków sobie nie radzi.
Zaczyna się jak romans. Na pozór skomplikowany, dość perwersyjny. Ale ostatecznie wychodzi tandetne romansidło napisane językiem, który kojarzy mi się z najbardziej soczystymi fragmentami Shantaram.
Jakoś to przetrwałem, bo wiedziałem, że miał się pojawić wątek sensacyjno-szpiegowski. No i się pojawił. Nudny, przewidywalny, banalny i przede wszystkim głupi, bezsensowny i nielogiczny.
W tej książce jest tylko potencjał. Nie na ambitną książkę ale fajną historię:
- o relacjach między dwojgiem (kochających się na swój sposób) ludzi, którzy nie mogą się zejść, bo na przeszkodzie stoją różnice społeczne, konflikty międzynarodowe i niekorzystny timing...
- lub na fajny thriller o szachach.
Potencjał został niestety zmarnowany. Czytając miałem nieustanne wrażenie, że jedynym uzasadnieniem napisania tej książki był product placement. Na co drugiej stronie dowiadujemy się jakiej marki są zegarki, futra, samochody, buty, torebki czy kosmetyki bohaterów.
Wracając do Shantaram - uważam, że warto było przeczytać Shantaram a szczególnie drugą część Cień Góry, bo poziom tandety jest w nich tak wyśrubowany, że warto lekturę potraktować poglądowo i socjologicznie.
W przypadku tej książki - po prostu szkoda czasu.
September 24, 2018
Rating 3/10. Get ready for a very negative review, sorry I promise I am a nice person.
Wow ok, I can't even begin to explain how happy I am to have finished this book. I literally have been saying from page 50 how much I didn't like it and was praying it would get better, it didn't.
I am not even entirely sure where to begin. The summary of the novel made it sound like it would be an interesting, exciting adventure. It was boring and there was not one likeable thing about any character. The story didn't even begin until page 200. Everything before that was boring filler that jumped from past to present. The only thing that I got out of this book was how awful it is to age. It made me so sad at how the author described old age and how everything was linked to physical attributes. When he was describing the past you couldn't go to pages without mentioning of how skinny and beautiful the female lead was or how you could see her hips through her dress. It was absolutely painful.When he described the present you couldn't go two pages without him mentioning age spots, loose skin, or my favourite "when he/she smiled you could see the man/women he/she one was." Like come on, aging does not make you a completely different person friend.
Heres a direct quote from the book "The magic of all her former beauty blossoms once more before his astonished eyes, almost triumphant (are you for real buddy?) amid the drooping flesh, skin blemishes, and other signs of aging."
Ever single character in this book is unlikeable, none of them have a redeeming quality. Every single thing Max does from his smile to his hand gesture is calculated, rehearsed, which the author does not fail to remind you of.
I guess the whole point of the book was summed up on the second last page? It's supposed to be a love story between a high society women and a con artist. I honest to god pray that when I age my spouses every second thought is about my age spots or what I used to look like, that in my opinion is not love. Anyways I'm sorry this is so harsh I just truly did not enjoy it and would never recommend it.
Wow ok, I can't even begin to explain how happy I am to have finished this book. I literally have been saying from page 50 how much I didn't like it and was praying it would get better, it didn't.
I am not even entirely sure where to begin. The summary of the novel made it sound like it would be an interesting, exciting adventure. It was boring and there was not one likeable thing about any character. The story didn't even begin until page 200. Everything before that was boring filler that jumped from past to present. The only thing that I got out of this book was how awful it is to age. It made me so sad at how the author described old age and how everything was linked to physical attributes. When he was describing the past you couldn't go to pages without mentioning of how skinny and beautiful the female lead was or how you could see her hips through her dress. It was absolutely painful.When he described the present you couldn't go two pages without him mentioning age spots, loose skin, or my favourite "when he/she smiled you could see the man/women he/she one was." Like come on, aging does not make you a completely different person friend.
Heres a direct quote from the book "The magic of all her former beauty blossoms once more before his astonished eyes, almost triumphant (are you for real buddy?) amid the drooping flesh, skin blemishes, and other signs of aging."
Ever single character in this book is unlikeable, none of them have a redeeming quality. Every single thing Max does from his smile to his hand gesture is calculated, rehearsed, which the author does not fail to remind you of.
I guess the whole point of the book was summed up on the second last page? It's supposed to be a love story between a high society women and a con artist. I honest to god pray that when I age my spouses every second thought is about my age spots or what I used to look like, that in my opinion is not love. Anyways I'm sorry this is so harsh I just truly did not enjoy it and would never recommend it.
October 27, 2018
Завладяваща история, прекрасен стил, пълнокръвни, обаятелни герои - тази книга бе истинско удоволствие.
September 7, 2014
Resumen (he visto que los reseñadores comienzan explicando el argumento de las obras de las que hablan):
Max Costa, bailarín a sueldo en un barco de lujo conoce a Mecha Inzunza y baila con ella. Los avatares del destino y una apuesta de su marido les llevan a la cama y a unos barrios malísimos de Buenos Aires. Años después vuelven a encontrarse cuando él ya no es bailarín, sino arribista profesional. Más años después, él es chófer y ella la madre de un famoso ajedrecista que resulta ser hijo de ambos; hecho en virtud del cual Mecha pide a Max que cometa un robo. Él acepta para recuperar el aprecio por sí mismo.
Punto.
No es que yo sea muy simple, es que lo que pasa es eso. Parafraseando al señor de las críticas de cine, diré que los dos protagonistas son muy elegantes, muy guapos y sólo visten tejidos nobles, que es lo que da calidad a la novela. Durante los cientos de páginas que Reverte emplea para contar esa historia, se supone que ahonda en la personalidad y las motivaciones de los personajes. De paso se describe el fin de una época dorada cuyo oropel consiste en que la diferencia de clases era más evidente que ahora, los de arriba sabían a dónde pertenecían, los de abajo lo sabían aún más, nadie decía tacos (esto al autor le habrá costado lo suyo llevarlo a la ficción, dado el estilo que acostumbra en sus artículos) y sale muchas veces la palabra hembra como sinónimo de mujer de verdad. Por otra parte, la caracterización del bailarín se completa con su oportuno paso por el ejército, donde terminan de forjarse su honor y su dignidad. Los traía de serie, pero la legión extranjera los acentúa.
No quería cargar mucho las tintas, pero como soy española y por tanto tengo mucho orgullo pero más envidia y resentimiento, no puedo evitarlo. Esta caracterización de la idiosincrasia española está en el libro, conste. No la comparto, pero he decidido plegarme a ella; más que nada por dar gusto al autor.
La novela tiene cosas buenas. Importantes, pero no suficientes. A saber, Reverte se lleva bien con las palabras. Todo lo que está escrito, desde la primera página a la última, está bien escrito. Impecable. Usa un lenguaje amplio, preciso, variado sin llegar a ser demasiado florido. Frases cortas y largas, un estilo cuidado que merece la pena analizar. Lo mejor de la obra es, sin duda, la estructura: Dividida en dos partes, el lector sabe siempre en qué momento del tiempo se encuentra. El pasado está narrado en pasado y el presente en presente. Además es un presente bien traído, no llama demasiado la atención y cumple la función de dejar claro dónde y cuándo suceden las cosas. La trama comienza en el pasado y llega hasta el presente. Reverte usa los fragmentos más largos para contar el primer encuentro de los amantes, el más alejado en el tiempo. Buena decisión puesto que es ahí donde se forjan los lazos entre ambos y el embrión de la relación que sostienen a través del tiempo y la distancia. Los fragmentos de presente intercalados con el pasado remoto son breves y sirven para situar la acción. La segunda parte de la historia, con frases más cortas y fragmentos también más cortos, narra el segundo encuentro de Mecha y Max. Aquí vemos un poco más de presente. En esta segunda parte Max ya es un hombre más hecho, se supone que tiene que caernos mejor porque le conocemos más profundamente. A él y a sus motivaciones. En la tercera parte, presente y pasado se desarrollan casi simultáneamente. Muy buena cosa: frases aún más cortas, menos explicaciones, menos descripciones, un par de revoluciones más en la acción y, ¡zas! el desenlace.
Es un modo muy efectivo de ordenar los hechos, una manera muy inteligente de dosificar la información. Un poco como remontarse a la infancia para explicar los actos que uno lleva a cabo en la edad adulta. Inteligente y eficiente, sí. Sin duda lo mejor de la novela.
Lo peor sin embargo es importante, grande, inevitable y le resta a una historia de amor y pérdida cualquier tipo de credibilidad: El autor está detrás de cada palabra. Se le ve al borde de cada frase. Para empezar, todos los personajes hablan igual (excepto uno, un señor argentino muy bajofondista), todos usan el mismo lenguaje impecable que el narrador, así que es imposible distinguir las líneas de diálogo. No te pierdes, ojo, están bien acotados; pero son conversaciones planas, sin vida. Los personajes son marionetas en manos del autor, carecen de vida, de independencia. Están ahí para que quede constancia de lo que el autor quería decir. Además todos parecen estar de acuerdo con el autor. comparten la misma idea de la elegancia, la arrogancia y lo que es como debe ser. Mientras leía, no podía quitarme de la cabeza la imagen de Reverte con sus gafas características, escribiendo de corrido, diciendo lo que le parecía sin pensar en lo que les parecería a Mecha o a Max.
El final es además un poco absurdo, muy de Lucky Luke perdiéndose en el desierto a contraluz del sol poniente. Pero eso es lo de menos.
Max Costa, bailarín a sueldo en un barco de lujo conoce a Mecha Inzunza y baila con ella. Los avatares del destino y una apuesta de su marido les llevan a la cama y a unos barrios malísimos de Buenos Aires. Años después vuelven a encontrarse cuando él ya no es bailarín, sino arribista profesional. Más años después, él es chófer y ella la madre de un famoso ajedrecista que resulta ser hijo de ambos; hecho en virtud del cual Mecha pide a Max que cometa un robo. Él acepta para recuperar el aprecio por sí mismo.
Punto.
No es que yo sea muy simple, es que lo que pasa es eso. Parafraseando al señor de las críticas de cine, diré que los dos protagonistas son muy elegantes, muy guapos y sólo visten tejidos nobles, que es lo que da calidad a la novela. Durante los cientos de páginas que Reverte emplea para contar esa historia, se supone que ahonda en la personalidad y las motivaciones de los personajes. De paso se describe el fin de una época dorada cuyo oropel consiste en que la diferencia de clases era más evidente que ahora, los de arriba sabían a dónde pertenecían, los de abajo lo sabían aún más, nadie decía tacos (esto al autor le habrá costado lo suyo llevarlo a la ficción, dado el estilo que acostumbra en sus artículos) y sale muchas veces la palabra hembra como sinónimo de mujer de verdad. Por otra parte, la caracterización del bailarín se completa con su oportuno paso por el ejército, donde terminan de forjarse su honor y su dignidad. Los traía de serie, pero la legión extranjera los acentúa.
No quería cargar mucho las tintas, pero como soy española y por tanto tengo mucho orgullo pero más envidia y resentimiento, no puedo evitarlo. Esta caracterización de la idiosincrasia española está en el libro, conste. No la comparto, pero he decidido plegarme a ella; más que nada por dar gusto al autor.
La novela tiene cosas buenas. Importantes, pero no suficientes. A saber, Reverte se lleva bien con las palabras. Todo lo que está escrito, desde la primera página a la última, está bien escrito. Impecable. Usa un lenguaje amplio, preciso, variado sin llegar a ser demasiado florido. Frases cortas y largas, un estilo cuidado que merece la pena analizar. Lo mejor de la obra es, sin duda, la estructura: Dividida en dos partes, el lector sabe siempre en qué momento del tiempo se encuentra. El pasado está narrado en pasado y el presente en presente. Además es un presente bien traído, no llama demasiado la atención y cumple la función de dejar claro dónde y cuándo suceden las cosas. La trama comienza en el pasado y llega hasta el presente. Reverte usa los fragmentos más largos para contar el primer encuentro de los amantes, el más alejado en el tiempo. Buena decisión puesto que es ahí donde se forjan los lazos entre ambos y el embrión de la relación que sostienen a través del tiempo y la distancia. Los fragmentos de presente intercalados con el pasado remoto son breves y sirven para situar la acción. La segunda parte de la historia, con frases más cortas y fragmentos también más cortos, narra el segundo encuentro de Mecha y Max. Aquí vemos un poco más de presente. En esta segunda parte Max ya es un hombre más hecho, se supone que tiene que caernos mejor porque le conocemos más profundamente. A él y a sus motivaciones. En la tercera parte, presente y pasado se desarrollan casi simultáneamente. Muy buena cosa: frases aún más cortas, menos explicaciones, menos descripciones, un par de revoluciones más en la acción y, ¡zas! el desenlace.
Es un modo muy efectivo de ordenar los hechos, una manera muy inteligente de dosificar la información. Un poco como remontarse a la infancia para explicar los actos que uno lleva a cabo en la edad adulta. Inteligente y eficiente, sí. Sin duda lo mejor de la novela.
Lo peor sin embargo es importante, grande, inevitable y le resta a una historia de amor y pérdida cualquier tipo de credibilidad: El autor está detrás de cada palabra. Se le ve al borde de cada frase. Para empezar, todos los personajes hablan igual (excepto uno, un señor argentino muy bajofondista), todos usan el mismo lenguaje impecable que el narrador, así que es imposible distinguir las líneas de diálogo. No te pierdes, ojo, están bien acotados; pero son conversaciones planas, sin vida. Los personajes son marionetas en manos del autor, carecen de vida, de independencia. Están ahí para que quede constancia de lo que el autor quería decir. Además todos parecen estar de acuerdo con el autor. comparten la misma idea de la elegancia, la arrogancia y lo que es como debe ser. Mientras leía, no podía quitarme de la cabeza la imagen de Reverte con sus gafas características, escribiendo de corrido, diciendo lo que le parecía sin pensar en lo que les parecería a Mecha o a Max.
El final es además un poco absurdo, muy de Lucky Luke perdiéndose en el desierto a contraluz del sol poniente. Pero eso es lo de menos.
February 28, 2020
Много ми хареса стилът на описание на Реверта – откривам нещо мъжествено в начина, по който изгражда героите и заобикалящата ги среда, фабулата на самата история. В любовните сцени можеш да усетиш страстта и нуждата от сливане на героите. Има нещо увличащо в описанието на отношенията между героите и диалозите им. Липсва излишна сантименталност. Историята ме увлече и през цялото време не спирах да мисля какво ще се случи и как точно ще завърши всичко. До последно постъпките на героите останаха частично непредсказуеми. Не можах да предвидя развръзката.
Препоръчвам книгата на всички любители на добре разказаните истории и запомнящите се пълнокръвни образи с богата емоционалност, разколебани и движени от множество чуства, многопластови до реалност. История, разказана в нюанси, където няма черно и бяло, а само отсенки на сивото.
Впечатлих се от Меча Инсуса и тя бъро за превърна в любимата ми литературна героиня. А коя е вашата любима литературна героиня и защо?
https://prezprozoreca.wordpress.com/2...
Препоръчвам книгата на всички любители на добре разказаните истории и запомнящите се пълнокръвни образи с богата емоционалност, разколебани и движени от множество чуства, многопластови до реалност. История, разказана в нюанси, където няма черно и бяло, а само отсенки на сивото.
Впечатлих се от Меча Инсуса и тя бъро за превърна в любимата ми литературна героиня. А коя е вашата любима литературна героиня и защо?
https://prezprozoreca.wordpress.com/2...
December 9, 2012
"—Una mujer nunca es sólo una mujer, querido Max. Es también, y sobre todo, los hombres que tuvo, que tiene y que podría tener. Ninguna se explica sin ellos... Y quien accede a ese registro posee la clave de la caja fuerte. El resorte de sus secretos."
"El gesto con el que acompaña la respuesta es otro selecto comodín de su repertorio: una inclinación de cabeza, llena de modestia, acompañada por un ademán negligente de la mano izquierda que pretende apartar lo superfluo. Que es todo cuanto lo rodea, excepto la mujer que tiene delante."
"En realidad yo sufría muy poco, pero eso tampoco tenía él por qué saberlo. En varias ocasiones intentó escapar de lo que llamaba la mediocridad y el fracaso de nuestra relación; y como la mayor parte de los hombres, lo más lejos que logró llegar fue a la vagina de otras mujeres."
"También ésta es la historia de mi vida, pensó, o parte de ella: buscar un taxi de madrugada oliendo a mujer o a noche perdida, sin que una cosa contradiga la otra."
"Es agradable ser feliz, pensó. Y saberlo mientras lo eres."
"El gesto con el que acompaña la respuesta es otro selecto comodín de su repertorio: una inclinación de cabeza, llena de modestia, acompañada por un ademán negligente de la mano izquierda que pretende apartar lo superfluo. Que es todo cuanto lo rodea, excepto la mujer que tiene delante."
"En realidad yo sufría muy poco, pero eso tampoco tenía él por qué saberlo. En varias ocasiones intentó escapar de lo que llamaba la mediocridad y el fracaso de nuestra relación; y como la mayor parte de los hombres, lo más lejos que logró llegar fue a la vagina de otras mujeres."
"También ésta es la historia de mi vida, pensó, o parte de ella: buscar un taxi de madrugada oliendo a mujer o a noche perdida, sin que una cosa contradiga la otra."
"Es agradable ser feliz, pensó. Y saberlo mientras lo eres."
August 12, 2015
Едно танго, което не свършва…: http://knigolandia.info/book-review/t...
Танго, политика, шах. И любов, разточително количество объркваща любов, минаваща през драматични пикове и спадове, гарнирана с толкова много еротика, витаеща далеч преди първата целувка, преди първото интимно докосване, преди първия акт на взаимна наслада. В “Тангото на Старата гвардия” Артуро Перес-Реверте прави майсторско показно как се създава чувствена интрига за едва няколко десетки страници – на пътуващ през океана параход, където красива богаташка попада в ръцете на виртуозния танцьор Макс (не, не си представяйте Патрик Суейзи, моля ви). Красив, изискан, несравнимо обаятелен, той крие зад съвършените си маниери мизерно минало и амбиции за по-добро бъдеще, което включва елегантно преразпределяне на материалните блага от богатите към бедните, по възможност без да бъде хванат. И макар в Меча да го привлича скъпата ѝ огърлица, то в крайна сметка откраднат ще бъде целият му живот.
Издателство "Еднорог"
http://knigolandia.info/book-review/t...
Танго, политика, шах. И любов, разточително количество объркваща любов, минаваща през драматични пикове и спадове, гарнирана с толкова много еротика, витаеща далеч преди първата целувка, преди първото интимно докосване, преди първия акт на взаимна наслада. В “Тангото на Старата гвардия” Артуро Перес-Реверте прави майсторско показно как се създава чувствена интрига за едва няколко десетки страници – на пътуващ през океана параход, където красива богаташка попада в ръцете на виртуозния танцьор Макс (не, не си представяйте Патрик Суейзи, моля ви). Красив, изискан, несравнимо обаятелен, той крие зад съвършените си маниери мизерно минало и амбиции за по-добро бъдеще, което включва елегантно преразпределяне на материалните блага от богатите към бедните, по възможност без да бъде хванат. И макар в Меча да го привлича скъпата ѝ огърлица, то в крайна сметка откраднат ще бъде целият му живот.
Издателство "Еднорог"
http://knigolandia.info/book-review/t...
January 7, 2023
Реверте да не би да мрази жените? Повечето негови героини си падат малко мъжемразки, много мъжемелачки и нито една не страда от излишна любов към човечеството като цяло.
Мъжете пък са слепи докрай, налитат моментално на фаталната мъжетрошачка, и после се чудят откъде им се е стоварило. Естествено, страдат, но не проявят грам разбиране или опит за такова към фаталната красавица, никога всъщност не порастват истински, и изживяват безброй приключения в безброй страни и браншове, което иначе е адски интересно.
Тангото на героите тук е точно такова и беше представено завладяващо на моменти, а накрая за разкош се появиха и едни лоши комунисти.
Доста почаках Реверте да надскочи просто приятните си романи, с “Италианецът” и “Художникът на битки” действително успява. “Добри мъже” и “Кралицата на юга” са добри заявки. На тази книга тук нещо не и достига, за да се класира, но пък е идеална за отмора.
Мъжете пък са слепи докрай, налитат моментално на фаталната мъжетрошачка, и после се чудят откъде им се е стоварило. Естествено, страдат, но не проявят грам разбиране или опит за такова към фаталната красавица, никога всъщност не порастват истински, и изживяват безброй приключения в безброй страни и браншове, което иначе е адски интересно.
Тангото на героите тук е точно такова и беше представено завладяващо на моменти, а накрая за разкош се появиха и едни лоши комунисти.
Доста почаках Реверте да надскочи просто приятните си романи, с “Италианецът” и “Художникът на битки” действително успява. “Добри мъже” и “Кралицата на юга” са добри заявки. На тази книга тук нещо не и достига, за да се класира, но пък е идеална за отмора.
February 15, 2017
От доста време исках да опитам нещо на Реверте, а какво по-добро от книга носеща името на танц. Танците винаги са ми били слабост за това и посегнах към книгата с големи очаквания и една скрита доза любов (само заради корицата признавам си). Освен всичко останало, колкото и привлекателен да е света на YA литературата, той не е единствен. Има една красота и размах в по-дебелите и сложни книги и за това обичам да се потапям и в тях.
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https://bloodyrosered.wordpress.com/2...
May 2, 2020
Prometeu muito no início, mas foi perdendo vigor e embrulhando-se em estereótipos e momentos que pouco acrescentaram à narrativa...
Entretenido...
Gracias, guapa, por el regalito y la compañía :)
Entretenido...
Gracias, guapa, por el regalito y la compañía :)
March 31, 2019
BOOK 6 - Around the World Read - Spain
Arturo Perez-Reverte was born in Cartegna, Spain in 1951. I've read 5 of his books and enjoyed them, especially "The Fencing Master". The Spanish title is "El tango de la Guardia Vieja" and the translator I used indicates this is "The Tango of the Old Guard". 'Old Guard', in the sense of an old way of doing things, makes sense as a title but what first comes to mind, if this title were seen in English language bookstores, might be an older man, or something to that effect. I don't much like pretentious titles like "What We Become" (similar to "All the Light We Cannot See") but it makes sense, overall.
SUMMARY: Max Costa is, as a young man, a tango dancer/gigolo. He encounters Mecha (Mercedes) Inzunza at 3 points in his life: in his 20s, 30s, and 60s, and their intense romance changes with time.
REVIEW: "In November 1928, Armando de Troeye traveled to Buenos Aires to compose a tango," is the opening sentence. If you love epic stories (like me) an opening on that scale is simply breath-taking. And, after reading that first line, I set the book aside for a day to enjoy the anticipation. And it delivers. This novel is a flat out masterpiece of atmosphere, especially the intense and sexy descriptions of the old tango ("tango as instinct, rhythm, improvisation, and risque lyrics") verses the new, Parisian "ballroom style". When Mecha and Max take to the slums of Buenos Aires, dance the old tango, then take the moves into the bedroom, this book gets steamy hot. These characters smoke Turkish cigarettes "with a hint of opium and honey," no less. Here is Max dressing for an evening in Monte Carlo: "He tucked a white handkerchief in his top pocket, checked that his red-and-gray-striped tie was straight, glanced at the shine on his brown leather shoes, and began distributing among his pockets the objects laid out on the chest of drawers: a Parker Duofold pen, a tortoiseshell cigarette case..." Even more attention is paid to Mecha's dress and cosmetics: some readers might find these descriptions much too long (and I would also in, say, a crime thriller) but here in this glorious romance amid the jet-set, I enjoyed it. 5 stars to the first half. But toward the end, the novel enters Max's older years and he becomes involved in an international chess tournament. The author notes that some master chess players have memorized every game they have ever played (such as Jorge Keller, who may or may not be Max's son) but Max is then charged with stealing the chess notebooks of Jorge's Russian opponent: I'm thinking "but why?". I get the relationship between tango steps and chess moves and the planning, but the last part of the novel felt cold. And when Max's plans go awry, I had a hard time believing he wouldn't have planned the theft differently, using 'steps' that would assure 100%, success. Perhaps the author thought it best to build tension and leave some things hanging, but for me the final part of the book should have upped the romance level. That said, there is indeed romance and a satisfying conclusion to the book. 3 stars to the second half, for a 4-star rating. This is a very good globe-spanning romance heavy in atmosphere but the last half doesn't measure up, for me, to the great promise of the first half. My chosen title? Easy: "Last Tango in Buenos Aires".
Arturo Perez-Reverte was born in Cartegna, Spain in 1951. I've read 5 of his books and enjoyed them, especially "The Fencing Master". The Spanish title is "El tango de la Guardia Vieja" and the translator I used indicates this is "The Tango of the Old Guard". 'Old Guard', in the sense of an old way of doing things, makes sense as a title but what first comes to mind, if this title were seen in English language bookstores, might be an older man, or something to that effect. I don't much like pretentious titles like "What We Become" (similar to "All the Light We Cannot See") but it makes sense, overall.
SUMMARY: Max Costa is, as a young man, a tango dancer/gigolo. He encounters Mecha (Mercedes) Inzunza at 3 points in his life: in his 20s, 30s, and 60s, and their intense romance changes with time.
REVIEW: "In November 1928, Armando de Troeye traveled to Buenos Aires to compose a tango," is the opening sentence. If you love epic stories (like me) an opening on that scale is simply breath-taking. And, after reading that first line, I set the book aside for a day to enjoy the anticipation. And it delivers. This novel is a flat out masterpiece of atmosphere, especially the intense and sexy descriptions of the old tango ("tango as instinct, rhythm, improvisation, and risque lyrics") verses the new, Parisian "ballroom style". When Mecha and Max take to the slums of Buenos Aires, dance the old tango, then take the moves into the bedroom, this book gets steamy hot. These characters smoke Turkish cigarettes "with a hint of opium and honey," no less. Here is Max dressing for an evening in Monte Carlo: "He tucked a white handkerchief in his top pocket, checked that his red-and-gray-striped tie was straight, glanced at the shine on his brown leather shoes, and began distributing among his pockets the objects laid out on the chest of drawers: a Parker Duofold pen, a tortoiseshell cigarette case..." Even more attention is paid to Mecha's dress and cosmetics: some readers might find these descriptions much too long (and I would also in, say, a crime thriller) but here in this glorious romance amid the jet-set, I enjoyed it. 5 stars to the first half. But toward the end, the novel enters Max's older years and he becomes involved in an international chess tournament. The author notes that some master chess players have memorized every game they have ever played (such as Jorge Keller, who may or may not be Max's son) but Max is then charged with stealing the chess notebooks of Jorge's Russian opponent: I'm thinking "but why?". I get the relationship between tango steps and chess moves and the planning, but the last part of the novel felt cold. And when Max's plans go awry, I had a hard time believing he wouldn't have planned the theft differently, using 'steps' that would assure 100%, success. Perhaps the author thought it best to build tension and leave some things hanging, but for me the final part of the book should have upped the romance level. That said, there is indeed romance and a satisfying conclusion to the book. 3 stars to the second half, for a 4-star rating. This is a very good globe-spanning romance heavy in atmosphere but the last half doesn't measure up, for me, to the great promise of the first half. My chosen title? Easy: "Last Tango in Buenos Aires".
Want to read
January 11, 2021Sin duda alguna, el mejor libro que he leído en el año. La vida de Max Costa, o al menos parte de ella, siendo un buscavidas, embaucador y caballero, dotado de la sonrisa y el ademán perfecto, de la frase ajena más oportuna para sus propias causas. Una novela de como pasa la vida, llevándose las galanterías, las florituras y dejando la esencia, el pozo dónde se alojan las verdaderas virtudes y los más oscuros pecados. La comparación con un tango, de un baile elegante y perfecto de salón cuyo origen es en realidad de bajo fondo y contenido carnal, así la vida de Max, excepto por una mujer. Tres encuentros breves definen la vida del hombre y muestran su verdadera naturaleza y vulnerabilidad, para al final retratar la decadencia, la vejez, desnudar como el paso del tiempo vuelven obsoletos hasta a los canallas y sólo queda la indiferencia, que en el caso de Max, es su dignidad y esencia. Tantas frases que me impactaron y que espero definan algún día como pase el tiempo por mi propia historia. Es un libro para leer despacio, saborearlo. Junto a "El Pintor de Batallas" se vuelven los libros por los que Pérez-Reverte es mi escritor favorito.
May 5, 2023
Брилянтен роман! Жалко, че само веднъж може да се прочете книга за пръв път. Преживяването е върховно!
June 9, 2016
Gripping! Complex!
In the first three pages or so I was a tad confused. I felt detached, disoriented even. As I should! I was crossing the Atlantic bound from Lisbon to Buenos Aires--ar least the characters I was about to become totally engaged with were. As I read on I became absolutely fascinated with them all. Max, I envisage as an aging Pierce Brosnan type, suave and sophisticated harbouring the faint memory of a rougher beginning. As we go between Max's past and present, between his coming to know Mecha onboard the luxury liner where he works as a dancer, and their last meeting, the threads are electrifyingly taut. The tango discussions between Mecha's husband, Armando de Troeye (a famous composer), Mecha, and Max are robust and heady laced as they are with the undercurrent of explicit yet restrained sexuality. De Troyeye is seeking to compose a new piece, a tango, as part of a bet with another composer. This is the connection between the three that becomes a catalyst for all that follows.
The interplay between Mecha and Max over the years is puzzling, yet riveting. I found it hard to put 'What We Become' down. The language is vivid. One is there in Buenos Aires, in the old tango places, reeking with an edge of danger, smoke and complex sexuality. You feel the tensions in Nice, as Italy is becoming a fascist state, and then later in Sorento where things come full circle, Max and Mecha meeting once more.
The story in told in those three places across three times, constantly changing between them.
1928 onboard a cruise ship bound for Buenos Aires where Max and Mecha first meet.
1937 in Nice where Max is dragged into a fascist connection.
1996 in Sorento. The Cold War is still a memory and the Russian chess champion, complete with KGB entourage, is playing an important match here. Mecha's son is involved. Once again intrigue and danger come into play, a signature of Mecha and Max's passionate relationship.
The complexity that is Mecha is slowly revealed, although the layers of who she really is never fully unveiled. As this happens we get a better glimpse of de Troyeye, and of the dark areas of Mecha's relationship with him.
Substantive and intriguing, highly personal, with some wonderful twists and subtleties. a treat!
A NetGalley ARC
In the first three pages or so I was a tad confused. I felt detached, disoriented even. As I should! I was crossing the Atlantic bound from Lisbon to Buenos Aires--ar least the characters I was about to become totally engaged with were. As I read on I became absolutely fascinated with them all. Max, I envisage as an aging Pierce Brosnan type, suave and sophisticated harbouring the faint memory of a rougher beginning. As we go between Max's past and present, between his coming to know Mecha onboard the luxury liner where he works as a dancer, and their last meeting, the threads are electrifyingly taut. The tango discussions between Mecha's husband, Armando de Troeye (a famous composer), Mecha, and Max are robust and heady laced as they are with the undercurrent of explicit yet restrained sexuality. De Troyeye is seeking to compose a new piece, a tango, as part of a bet with another composer. This is the connection between the three that becomes a catalyst for all that follows.
The interplay between Mecha and Max over the years is puzzling, yet riveting. I found it hard to put 'What We Become' down. The language is vivid. One is there in Buenos Aires, in the old tango places, reeking with an edge of danger, smoke and complex sexuality. You feel the tensions in Nice, as Italy is becoming a fascist state, and then later in Sorento where things come full circle, Max and Mecha meeting once more.
The story in told in those three places across three times, constantly changing between them.
1928 onboard a cruise ship bound for Buenos Aires where Max and Mecha first meet.
1937 in Nice where Max is dragged into a fascist connection.
1996 in Sorento. The Cold War is still a memory and the Russian chess champion, complete with KGB entourage, is playing an important match here. Mecha's son is involved. Once again intrigue and danger come into play, a signature of Mecha and Max's passionate relationship.
The complexity that is Mecha is slowly revealed, although the layers of who she really is never fully unveiled. As this happens we get a better glimpse of de Troyeye, and of the dark areas of Mecha's relationship with him.
Substantive and intriguing, highly personal, with some wonderful twists and subtleties. a treat!
A NetGalley ARC
March 4, 2019
Um livro apaixonante, este de Arturo Pérez-Reverte, tratando ele próprio da paixão entre Max Costa e Mecha Inzunza. Ele, vindo da classe baixa fez-se à vida como dançarino mundano e depois sobreviveu à custa de negócios mais ou menos obscuros. Ela, uma mulher de classe alta, que o conhece num transatlântico rumo a Buenos Aires, donde Max era originário. Apesar de casada, Mecha entre um tango e outro, apaixona-se por Max, numa relação duvidosa em que entra o seu marido: Armando de Troeye. Este livro trata do amor entre os dois a três tempos. Primeiro em Buenos Aires, depois na Riviera Francesa e por fim em Sorrento, percorrendo o século XX na sua complexidade. Os panos de fundo, são o tango, uma história de espionagem e por fim uma partida de xadrez. As guerras mudaram muito o contexto da Europa, e é nessa Europa que Max Costa e Mecha vivem os últimos suspiros da sua paixão, num amor que sempre existiu, mas que nunca teve futuro.
December 15, 2019
Мащабен роман с ретро звучене. Действието се развива през 20-те години на 20-ти век и след Втората световна война. Обобщено се разделя преди и след войната, но разликите в начина на живот са огромни.
Макс е салонен танцьор, с вежливи обноски, който покорява жените с чар и ги ограбва. Животът му се променя, когато среща композитора Армандо де Троейе и неговата очарователна съпруга Меча. Те потеглят към Буенос Айрес, за да сътворят едно вълшебно танго, но това прераства в необикновена любовна история между Макс и Меча. Двамата се разделят и събират, докато след войната съдбата не ги среща отново, вече остарели, на един шахматен турнир.
Тази книги ме привлече заради тангото и наистина вътре е описано как се е танцувало тангото на старата гвардия, как се е променило и школувало в балните зали. А от средата на книгата се описват тънкостите на шахмата, което също ми беше интересно. Като цяло книгата е необичайна и не можеш категорично да харесаш героите. Всеки от тях си имаше своите слабости, никой не беше съвършен. Само ме дразнеше на моменти, че не беше ясно отделено преди и след войната в текста - в един момент почваш да се бъркаш дали това се е случило в миналото или действието е в момента. Но пък те караше да четеш, за да разбереш.
Макс е салонен танцьор, с вежливи обноски, който покорява жените с чар и ги ограбва. Животът му се променя, когато среща композитора Армандо де Троейе и неговата очарователна съпруга Меча. Те потеглят към Буенос Айрес, за да сътворят едно вълшебно танго, но това прераства в необикновена любовна история между Макс и Меча. Двамата се разделят и събират, докато след войната съдбата не ги среща отново, вече остарели, на един шахматен турнир.
Тази книги ме привлече заради тангото и наистина вътре е описано как се е танцувало тангото на старата гвардия, как се е променило и школувало в балните зали. А от средата на книгата се описват тънкостите на шахмата, което също ми беше интересно. Като цяло книгата е необичайна и не можеш категорично да харесаш героите. Всеки от тях си имаше своите слабости, никой не беше съвършен. Само ме дразнеше на моменти, че не беше ясно отделено преди и след войната в текста - в един момент почваш да се бъркаш дали това се е случило в миналото или действието е в момента. Но пък те караше да четеш, за да разбереш.
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