Author: David Toscana
- Fiction
- Debolsillo
- ISBN: 9786073185295
- Release Date: 02-18-2020
Synopsis
La biblioteca de Icamole se ha quedado sin lectores. Sin embargo, los libros que la habitan se apoderan de la cotidianidad del pueblo que muere de sed y dan la respuesta a una muerte misteriosa. La de una pequeña que aparece inerte dentro de la única reserva de agua que queda: el pozo de Remigio, hijo de Lucio, el bibliotecario. Un verdugo implacable de las malas historias, mismas que entrega sin remordimiento a las cucarachas.
Lucio será el encargado de encontrar en los libros la coartada perfecta. Esa que libera al presunto culpable de asesinar a la hermosa niña que, muerta, consigue cautivarlo. Así, la versión que surge de las páginas sobrevivientes se convierte en la única posibilidad. En la opción que permitirá a todos continuar. David Toscana rebasa los límites existentes entre vida y literatura con su habilidad de enlazar narraciones que parecen eternas e infinitas.
In tiny Icamole, almost deserted village in Mexico’s desert north, the librarian, Lucio, is also the village’s only reader.
Though it has not rained for a year in Icamole, when Lucio’s son Remigio draws the body of a thirteen-year-old girl from his well, floodgates open on dark possibility. Strangely enamored of the dead girl’s beauty and fearing implication, Remigio turns desperately to his father.
Persuading his son to bury the body, Lucio baptizes the girl Babette, after the heroine of a favorite novel. Is Lucio the keeper of too many stories? As police begin to investigate, has he lost his footing? Or do revelation and resolution lie with other characters and plots from his library? Toscana displays brilliant mastery of the novel—in all its elements—as Lucio keeps every last reader guessing.
Praise for David Toscana’s earlier work“Deserves to join the ranks of the great Latin American authors Gabriel Garcia Marquez and Jorge Amado” —New York Times Book Review“Introduces American readers to a gifted writer who seems poised to inherit the postmodernist mantle of Carlos Fuentes.” —Kirkus Reviews
