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"To say that I am Juan Pablo Castel, the painter who killed María Iribarne, is enough.".

In The Tunnel, Sabato took the idea of the demented male artist and the city, which had its roots in Russian and French fiction, and transported it to Buenos Aires, not to offer it a local colour but to offer it instead further depth and strangeness (Colm Tóibín).

This is a story of a preordained fallout: Sabato masterfully transposed the labyrinthine depths of our antihero Castel to a powerful mental ticking bomb bursting with obsession, envy, bitterness, and suffering. He yields a twisted journey, a confined amalgamation of existential intensity and tonic darkness that springs from the deepest angst of the human soul: the recluse mind of a madman.


“I have always looked on people with antipathy, even revulsion � especially crowds of people.�

Castel descents into the tunnel, into his own subconscious, where he confronts the fragmented aspects of his identity and grapples with the blurred boundaries of perception and reality. This is Castel’s unending search for self-understanding, a quest to reconcile the contradictory aspects of his own psyche. In the end, the tunnel becomes his realm where rationality and reason give way to the irrational and the absurd.

This is Great Literature!

4.85/5