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A cuántos hay que matar by Reynaldo Sietecase PDF

By Reynaldo Sietecase

¿A cuántos hay que matar? Esa inquietante pregunta es el disparador de un relato duro y perturbador que no se detendrá hasta que l. a. respuesta a ese interrogante se cumpla inexorable. Quien pregunta es Mariano Márquez -el abogado y protagonista de los angeles exitosa Un crimen argentino-. Quien responde es un poderoso empresario que no cejará hasta vengarse de los secuestradores y asesinos de su único hijo.

La nueva novela de Reynaldo Sietecase expone los dilemas que plantea los angeles justicia por mano propia, y pone al descubierto el afán económico, l. a. ambición mezquina y el odio, pasiones profundas que cruzarán los destinos de un preso que se niega a recuperar su libertad, de un periodista en procura de reconocimiento a cualquier precio, de fiscales y policías que pierden de vista el issue humano, de una bella y enamorada stripper, de un asesino a sueldo eficaz y refinado, de un héroe civil nacido de una tragedia familiar.

Como en Un crimen argentino, como en Pendejos -sus narraciones anteriores-, como en los mejores ejemplos del género policial, esta n ovela se hunde en los rincones más oscuros de los angeles sociedad hasta lograr un retrato impiadoso de los angeles condición humana. Y no persigue el triunfo de los angeles justicia sino revelar el entramado de locura y violencia que los hombres son capaces de urdir.

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Additional info for A cuántos hay que matar

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Private life finds itself more and more at the service of the expanding public sector as Nancy Cott posits in The Bonds of Womanhood. Evidence of the female biological role, with its cycles of menstruation, pregnancy, and menopause, becomes a sign of unfitness for competition in the arena of occupational identity, which demands that emotion and evidences of the primacy of the vulnerable human body be suppressed in the interest of predictability and thus complete control of the worker. Therefore the woman who would succeed in public roles must repudiate manifestations of her gender and devalue the private domestic role.

The competitive, rational, expansionist social structure and universe replace the cooperative, moralistic, tightly interrelated community. As the process of rationalization continues, the natural environment becomes for the dominant male leaders an available resource to be utilized, rather than a savage wilderness boundary to be avoided. These leaders play out their individualistic competition in the arena of the marketplace, the successful entrepreneur becoming almost a law unto himself, the followers subject to a growing body of impersonal law devised and administered by unknown persons far beyond their influence.

The matrix replaces the phallus as the source of art, as the female body itself creates and nurtures the community through both body and spirit. " (7). The elder wise woman offers the younger woman an alternate explanatory story for the emergence of female art, one that replaces the "anxiety of [patriarchal] influence" with a direct, irrefutable pattern for a lineage of female creativity. Throughout this discussion, I will use the word "lineage" to indicate the descent of the daughter, and her art, from the wise woman's cre- Page 6 ativity.

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