The Way We Live Now: money, reputation, and collective self-deception

Anthony Trollope called The Way We Live Now a novel prompted by the dishonesty he perceived in the commercial and political life of his age. Published in 1875, it remains one of the most formidable social satires of Victorian fiction. At its centre stands Augustus Melmotte, a financier of uncertain origins whose wealth, confidence, and apparent influence persuade London society to suspend its judgment. Around him gathers a world eager to profit from money it does not understand.

The novel is large because the corruption it examines is not confined to one villain. Trollope follows aristocrats in debt, investors chasing effortless returns, politicians seeking advantage, journalists shaping reputations, and families treating marriage as a financial strategy. Melmotte may concentrate the age’s appetites, but he does not create them. His rise is possible because respectable society wants to believe in him.

Credit, confidence, and collective self-deception

Melmotte’s great project is a railway intended to connect Salt Lake City with Veracruz. The scheme generates excitement long before it generates anything tangible. Shares, rumours, meetings, and prestigious names create the appearance of value. Trollope understands a central fact of speculative finance: confidence can function as capital until the moment confidence disappears.

The satire does not depend on technical explanation. Its subject is the psychology of belief. Characters accept weak evidence because the promised reward is attractive and because other influential people appear to accept it. Each participant treats the participation of the others as proof. The resulting circle of credibility feels strikingly modern, whether one thinks of market bubbles, fashionable ventures, or reputations manufactured through repetition.

Melmotte and the hunger for respectability

Melmotte is not simply a mysterious foreign swindler invading an innocent society. He seeks social recognition, but the society that receives him seeks access to his fortune. Titles, invitations, political candidacy, and public dinners become objects of exchange. Respectability is exposed not as a stable moral quality but as a commodity whose price rises with perceived wealth.

Trollope is unsparing about xenophobia and hypocrisy. Many characters distrust Melmotte’s origins while courting his money. Their prejudice coexists comfortably with dependence. This contradiction allows the novelist to show how moral condemnation is postponed whenever profit seems possible. The outsider becomes indispensable to the insiders who later claim never to have trusted him.

Marriage as a financial market

The novel’s commercial logic enters private life most clearly through marriage. Sir Felix Carbury, charming, selfish, and financially ruined, pursues Melmotte’s daughter Marie because her inheritance promises rescue. Marie, however, possesses desires and plans of her own. Her struggle reveals the limited control granted to young women over money, movement, and marriage.

Lady Carbury offers another perspective. A widow trying to secure her family’s position through journalism and social calculation, she is both compromised and sympathetic. Trollope judges her manoeuvres while showing the pressures that produce them. Unlike men who gamble away fortunes and expect indulgence, she must convert charm, publicity, and personal relationships into economic survival.

A political novel without comforting innocence

Politics in The Way We Live Now does not stand above speculation. Public office, social prestige, and financial promotion reinforce one another. Melmotte’s parliamentary ambitions demonstrate how quickly visible success can be translated into presumed competence. The institutions that ought to test character instead ratify appearances.

Yet Trollope avoids a simple contrast between corrupt modernity and a virtuous past. His traditional aristocrats are often irresponsible, idle, or predatory. Their inherited status does not protect society from fraud; it gives fraud a seal of approval. The novel’s anger is therefore directed at a system of mutual accommodation in which old rank and new money exploit one another.

Why The Way We Live Now still feels contemporary

The book speaks directly to an age of viral reputations, speculative enthusiasm, opaque companies, and public figures whose fame is mistaken for evidence. Its central mechanism remains familiar: people ignore what they privately suspect because everyone else appears willing to proceed. When failure comes, the same community rewrites its memory and presents credulity as victimhood.

Trollope’s achievement lies in joining this diagnosis to a crowded, energetic narrative. Comic scenes, courtship plots, editorial intrigue, political manoeuvring, and financial suspense create a social panorama rather than a tract. Readers are invited to judge individual choices while recognising the network that makes those choices profitable.

A major Victorian novel for modern readers

The Way We Live Now is demanding in scale but remarkably accessible in motive. Ambition, fear of exclusion, hunger for status, and the wish to become rich without understanding the source of wealth are immediately recognisable. The novel rewards readers interested in Victorian society, political fiction, financial history, or the moral architecture of fraud.

Within Alba Longa’s selection of classic books, Trollope’s novel stands out for the precision with which it connects private desire to public corruption. The edition prepared by Margaret Lessing is available on Amazon and offers the complete English text of a work whose title has lost none of its accusatory force.

View the Margaret Lessing edition of The Way We Live Now on Amazon

Crisis, corruption and writing: two political novels by J. A. Puig

Leviathan’s hour y Coastal Passage They approach politics from almost opposite scales. The first unfolds an extensive plot of mafias, financial scandals and influence peddling; The second observes the daily life of an individual divided between his obligations and writing. Together they allow us to read the crisis not only as an institutional issue, but also as an experience that transforms consciousness and language.

Two scales of the crisis

The political novel can represent parliaments, parties and big decisions, but also the less visible effects of power: precariousness, frustration, self-deception and loss of horizons. These two works work on these levels in a complementary way. One enlarges the map; the other reduces the field until it follows the movements of a consciousness.

This is not to say that every novel about corruption is a document nor that every novel of introspection is autobiographical. Fiction selects, combines and deforms social materials to construct a readable experience. Its critical value depends on this elaboration, not on an immediate equivalence with real people or cases.

Leviathan’s hour: economic power, crime and social representation

The work builds a broad set of characters to represent the world that produced a financial and social crisis. The recognizable inspiration in cases of corruption and operations against organized crime provides a contemporary point of support, but the plot is not limited to reconstructing a file. Mafias, finance, police, media and political interests form a network in which each actor has only part of the information.

The title refers to the figure of sovereign power, although the novel shows dispersed power. Decisions do not come from a single center: they circulate between legal and illegal organizations, capital, favors and public stories. This structure explains its crossover between genres. It is a political novel for its object, black for its criminal mechanisms and thriller for risk and information management.

The author’s blog offers a synopsis of the novel and also preserve the work in your literary archive. These materials help to situate its purpose and its development without replacing reading the volume.

Available editions: see Leviathan’s hour in Bubok, consult the digital edition on Smashwords, see all digital bookstores available on Books2Read o check the ebook on Kobo.

Coastal Passage: writing and everyday wear

Cabotage is navigation close to the coast, made of limited routes and close references. The metaphor allows us to describe Guillermo Trilla’s existence, which oscillates between daily duty and the need to write. Faced with the choral amplitude of Leviathan’s hour, this novel adopts a biographical and psychological scale.

The character’s frustration is not presented as a purely private problem. Their routines, their relationship with work, and their literary aspirations are conditioned by a social environment that measures time, usefulness, and success. Satire arises from the distance between the great speeches with which a life is explained and the modest maneuvers with which that life manages to continue.

Writing plays an ambivalent function. It offers a form of resistance and order, but it can also become a refuge, a reprieve, or a fiction about oneself. Memory turns to the page and, in doing so, ceases to be an innocent record. A recipient is selected, composed and acquired.

English edition — Coastal Passage: choose an ebook retailer on Books2Read. Paperback in English: ThriftBooks, Readings or IBS (ISBN 9798237359855, 112 pages). Retailer availability and delivery vary by country.

From the power network to individual conscience

Read together, the novels avoid two common simplifications. The first would be to reduce corruption to the exceptional conduct of a few individuals; Leviathan’s hour insists on the networks that allow and normalize these behaviors. The second would consist of considering personal discomfort outside of social organization; Coastal Passage shows how collective rhythms penetrate intimacy.

They also share a concern for the stories a society tells about itself. In the criminal plot, these stories take the form of official versions, news and alibis. In Guillermo Trilla’s novel, they appear as memories and writing projects. Politics thus becomes a problem of language: who can impose an explanation, what is left out of it, and how fiction makes that exclusion visible.

What reading to choose

Leviathan’s hour It is especially aimed at those looking for an extensive, choral narrative close to the thriller political. Coastal Passage proposes a more concentrated, ironic and introspective experience. They are not equivalent works, but they are two compatible approaches to the link between power, crisis and representation.

The complete catalog can be explored at Loft Library in Payhip, he bubok profile and the J. A. Puig profile on Smashwords.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

Chronicles of Sajará: family memory and Spanish history in three novels

Chronicles of Sakhará brings together three novels —The Acropolis of the Marshes, Days of wall and black bread y back to the point— that follow the Colliure family through several decades of Spanish history. Read in order, they form a family saga; Considered separately, they propose three different sections on the formation of a society, the Civil War and the postwar period.

Sajará: a fictitious space with recognizable coordinates

The action takes place in Sajará, an imaginary city near the Mediterranean and the Albufera. This displacement from literal geography allows the place to function as more than just a stage. The landscape of rice fields, swamps, hydraulic works and small properties organizes economic and family relationships; At the same time, the city concentrates conflicts that refer to the contemporary history of Spain.

The procedure does not consist of disguising a real municipality under another name. Sajará is constructed as an autonomous narrative territory, capable of condensing collective experiences without being reduced to a historical document. The author himself presents this space as mythical and linked to Hispanic consciousness in his text. «The acropolis of the swamps».

The Acropolis of the Marshes: origin and fracture of a family

The first installment establishes the world of the Colliure and the social changes that went through it before the Civil War. The family offers an especially useful narrative scale: political processes appear not as an enumeration of events, but as forces that alter work, property, loyalties, and authority within the household.

The dramatic core is the generational confrontation between the head of the family and his firstborn. Around this rupture, a society in transformation unfolds, marked by the labor movement, inequalities and the distance between inherited values ​​and modern aspirations. Whoever wishes to know the formulation of the project by the author can consult his summary of the novel.

Available editions: see The Acropolis of the Marshes in Bubok, consult the digital edition on Smashwords o see all digital bookstores available on Books2Read.

Days of wall and black bread: the war from the rear

The second novel takes the saga to the summer of 1936 and to the Valencian republican rearguard. Its specific interest lies in the local perspective: the war is not observed only from the fronts or the decisions of the great leaders, but from a community where the daily order breaks down and political violence reorganizes previous ties.

Family continuity prevents the conflict from appearing as an isolated episode. The characters come to him with grievances, affections, interests and convictions already formed. In this way, the novel can attend to both the ideological dimension and the material experience of fear, scarcity, and retaliation. The author’s blog preserves a presentation of the work and its context.

Available editions: see Days of wall and black bread in Bubok, consult the digital edition on Smashwords, buy the ebook at Apple Books o check it out on Kobo.

back to the point: survival, memory and postwar

The third installment deals with the time after the Republican defeat. José Colliure returns to the taxi after rejecting the employment substitutes that the new order offers him. The vehicle and the provincial city provide a mobile observatory: they allow us to cross social strata, listen to contradictory versions and show how repression and accommodation penetrate ordinary life.

The postwar period does not appear, therefore, as a simple epilogue. It is a phase with its own moral, work and political rules. The idealism of the protagonist faces the need to survive, and memory becomes at the same time a burden, defense and narrative material. Alba Longa already dedicated a specific analysis to this installment: «Back to the point, a novel of memory, dissidence and form».

Available editions: see back to the point in Bubok, consult the digital edition on Smashwords o buy the ebook at Apple Books.

How to read the trilogy

The publication order is also the clearest to follow the evolution of the characters: The Acropolis of the Marshes, Days of wall and black bread y back to the point. However, each volume delimits a period and has its own central conflict. Deep unity comes from the combination of family memory and historical transformation.

To explore other works from the same catalogue, you can visit the Loft Library in Payhip, he author profile on Bubok or his catalog on Smashwords.

Continue the saga: Back to the point

For those who wish to advance to the post-war period and follow the consequences of the family conflicts narrated in the previous volumes, back to the point offers the third installment of Chronicles of Sakhará. Its editorial file allows you to consult bibliographic data and the bookstores that distribute the printed edition.

Editorial files and ISBN

Alba Longa now brings together the permanent bibliographic records of the three printed editions with their own ISBN: The Acropolis of the Marshes — ISBN 9788409723966, Days of wall and black bread — ISBN 9788409734443 y back to the point — ISBN 9788409855391. For an overview of the author, see also the file of José Alemany Puig.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

The architecture of crime

In summary: the crime novel distributes clues, silences and points of view to regulate what the detective and the reader know. This article examines that narrative architecture.

How criminal knowledge is constructed

Every narrative crime is also a problem of construction. Before a corpse, an investigation or a culprit appears, the novelist has already begun to decide what the reader will be able to know, from what conscience he will observe the events, in what order he will receive the information and what meaning each silence will acquire. The crime novel is born from that invisible architecture.

The architecture of crime. Narratology and composition techniques in the crime novel of the 21st century is an extensive reference work dedicated to studying how the most prominent authors of contemporary crime fiction have used, transformed and taken the resources of modern narratology to their ultimate consequences.

Alba Longa examines the compositional strategies that allow an investigation to be turned into an intellectual, emotional and moral experience. Focalization, point of view, unreliable narrator, time manipulation, clue management, ellipsis, suspense, surprise, plot twist, character construction, dialogue, subtext and space configuration are analyzed as pieces of a narrative system in which each decision modifies the reader's experience.

The theoretical reflection is based on the fundamental contributions of Gérard Genette, Mikhail Bakhtin, Paul Ricoeur, Tzvetan Todorov and other narrative scholars, as well as on the developments of cognitive narratology. However, the book does not limit itself to exposing abstract concepts. It puts them to the test by analyzing specific works by Tana French, Pierre Lemaitre, Leonardo Padura, Fred Vargas, Gillian Flynn, Michael Connelly, Don Winslow, Keigo Higashino and numerous representatives of the different international traditions of crime fiction.

This tour allows us to understand how the genre has evolved during the 21st century. The detective is no longer necessarily the undisputed center of the story; the victim recovers voice and memory; the city stops functioning as a simple setting and becomes a narrative force; Criminal investigation is intertwined with conflicts of class, gender, identity, corruption, power and historical memory. The truth ceases to be a single answer and begins to manifest itself as a fragmentary reality, disputed and, at times, impossible to completely restore.

The work pays special attention to the relationships between author, text and reader. An effective crime novel is not one that arbitrarily hides its solution, but rather one that directs the interpretation without canceling it. The reader participates in the investigation, evaluates testimonies, establishes connections and reviews his or her own hypotheses. In this way, suspense does not depend only on what will happen, but on what each new revelation forces us to reinterpret.

Conceived for writers, readers, critics, teachers, and students alike, this volume combines theoretical depth, expository clarity, and practical application. Its appendices, analysis schemes, composition tools, glossary, chronology, atlas, bibliography and specialized indexes allow it to be used as a reference manual during all stages of writing: from the initial conception to the revision of the manuscript.

The architecture of crime it does not offer formulas designed to produce identical novels. Its purpose is more ambitious: to show the possibilities that open up when the writer understands the deep functioning of a criminal narrative. Because knowing the technique does not eliminate the mystery of creation; allows it to be built with greater freedom, precision and power.

An exhaustive guide to discover how crime is designed on the page, how information is converted into tension and how a novel can lead the reader to the truth while still confronting them with their darkest areas.

If you want to develop this method of analysis—structure, clues, focus, and knowledge production—, The architecture of crime studies it systematically.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

A Farewell to Arms: Love and Loss in the Shadow of War

First published in 1929, A Farewell to Arms is one of Ernest Hemingway’s most celebrated novels and an enduring masterpiece of twentieth-century American literature. Set during the First World War, it combines the historical magnitude of military conflict with the intimate tragedy of two people struggling to preserve their love in a world governed by violence, uncertainty, and loss.

The novel follows Frederic Henry, a young American serving as an ambulance officer in the Italian army. Although he participates in the war, Frederic remains detached from its patriotic rhetoric and heroic ideals. His encounter with Catherine Barkley, a British nurse marked by personal bereavement, gradually transforms his existence. What begins as an uncertain courtship becomes a profound attachment and a private refuge from the chaos surrounding them.

Against the dramatic landscapes of northern Italy, Hemingway depicts military hospitals, dangerous roads, exhausted soldiers and the disastrous retreat following the Battle of Caporetto. Yet A Farewell to Arms is not merely a war novel. It is also a searching meditation on the fragility of happiness and the human need to create meaning where history offers none.

Hemingway’s distinctive prose gives the story much of its power. His apparently simple sentences, restrained dialogue and precise descriptions conceal an extraordinary emotional intensity. Rather than explaining every feeling, he allows gestures, silences, repetitions and physical details to reveal what the characters cannot openly express. Rain, rivers, mountains and roads consequently acquire a symbolic resonance without ceasing to belong to the tangible world.

The novel also offers a profound rejection of the abstract language through which war is glorified. Words such as honor, sacrifice and courage become suspect when confronted with wounded bodies, arbitrary death and the confusion of retreat. Frederic’s farewell to arms is therefore both literal and moral: a renunciation of organized violence and an attempt to choose individual love over collective destruction.

Tender, lucid and devastating, A Farewell to Arms remains a timeless exploration of love under threat. Its greatness lies not in offering easy consolation, but in confronting the precariousness of human existence with honesty and compassion. Hemingway portrays love not as an escape from mortality, but as the most meaningful form of resistance against a world that guarantees neither justice nor permanence.

Back to the point, a novel of memory, dissidence and form

   In a literary panorama saturated with easily consumed stories, back to the point, by José Alemany Puig, emerges as a demanding, lucid and deeply moral work. Third volume of the cycle Chronicles of Sakhará, this novel confirms that it is still possible to narrate collective memory from formal intelligence and ethical intensity. With a style that refers to the great explorers of narrative language—Rafael Chirbes, Juan Benet or Almudena Grandes—, Alemany constructs a fiction where the truth is not proclaimed: it is investigated.

   The novel alternates three narrative registers: the handwritten notebooks of Colliure's father and grandfather, and an external voice that, from the right distance, organizes the fragments. This polyphonic game does not seek structural boasts, but rather to test the different versions of the story. In back to the point, each testimony is confronted with another, and each private memory is measured against the collective one. Thus, truth becomes a process, not a dogma.

   The plot is set in a small provincial town, where José Colliure returns to earn a living as a taxi driver after rejecting the favors of the Franco regime. In local cafes and casinos, his public opposition brings him face to face with old friends, suspicion, and, ultimately, isolation. Their resistance is neither heroic nor pamphleteering: it is civil, everyday, articulated in gestures and silences. Much of the strength of the novel lies in that moral outlook without rhetoric.

   A plot of intrigue is superimposed on this realistic basis. The murder of Rosendo Palacios and the investigations of Sergeant Calatayud introduce a crime novel dimension that functions as an ethical engine: each crime is a question about responsibility. The investigation continually displaces the hypotheses—political revenge or amorous passion? —and, with this, exposes the mechanisms of manipulated truth. What seems like a “solved case” is revealed to be a calculated staging by Santiago Palau, son of the former Republican mayor who was executed: a man who, in his desire for justice, ends up building a theater of deception.

   In the final fragment, the reader witnesses the outcome of this narrative machinery: the bodies, the letters, the reports, the rains and the silences are linked together with almost forensic precision. When the truth finally emerges, it is too late. Clarity comes with the cessation of the rain, under a starry sky that more than illuminates, sentences.

   Nothing in Alemany's writing is incidental. His prose, dense but breathable, is made of long, meticulous sentences that combine elegance with accuracy. The spaces—the “La Linterna” casino, the marsh, the flooded streets—act as witnesses of consciousness. The persistent rain, which soaks the story from beginning to end, is a metaphor for a Spain that has not yet dried its wounds. The novel demonstrates that style can be a form of ethics: writing accurately is also resisting lies.

   back to the point It is also a novel of crossed inheritances. Three generations – grandfather, father and son – narrate, remember and correct the past. This choral structure transforms the family saga into a mirror of the country's history: each voice rewrites the previous one, and in that rereading the possibility of a shared truth is articulated. Memory, here, is not an accumulation of memories, but an act of responsibility.

   Far from nostalgic reconstructions or speeches of revenge, Alemany proposes a literature that observes and reasons. The presence of diaries, letters and confessions is not an aesthetic resource, but a declaration of principles: if society is built on silences, literature must be the place where those silences are broken. As Paul Ricœur points out, remembering is also interpreting; and this novel moves right in that territory where memory becomes knowledge.

   In times of polarization and easy stories, back to the point He defends that memory continues to be a space of intelligence. Rereading the postwar period does not imply opening old wounds, but rather learning to look at them without fear. Alemany Puig turns narrative into a moral laboratory: a place where the truth is sought with the rigor of the historian, the sensitivity of the poet and the patience of the judge.

   In short, back to the point It not only continues a literary saga; vindicates a tradition: that of writers who understand that narrating is not indoctrinating, but thinking. And in that commitment to memory as a form of lucidity, José Alemany Puig writes one of the most solid and necessary novels on the current Spanish scene.

https://books2read.com/ap/nlkMyA/JA-Puig

Where to find Back to the point

The printed edition of back to the point has its own ISBN 9788409855391 and international distribution through Ingram. The permanent editorial profile of Alba Longa It brings together bibliographic data and links of international availability. You can also consult the file of José Alemany Puig and the joint presentation of Chronicles of Sakhará.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

The Geneva Conspirator: the novel that reveals what no one dares to tell

How far would you be willing to go to discover the truth? The Geneva Conspirator It is not just a novel: it is a journey to the very heart of the conspiracies that marked the recent history of France. The Clearstream, elf, Taiwan frigates and rhodia cases left behind a trail of political intrigues, financial maneuvers and scandals that even today continue to resonate in the courts and in the headlines.

Inspired by this real magma, the novel builds a relentless thriller in which bankers, ministers and executives play a game without rules. Paul Reitzenstein, heir to a financial dynasty, becomes the epicenter of a fierce struggle where nothing is what it seems and each alliance covers up a betrayal. Secret meetings at midnight, missing files, fortunes that change hands in a matter of hours: the reader advances page after page with the feeling of witnessing a forbidden secret.

What differentiates The Geneva Conspirator from other novels of the genre is its style. With powerful images and a rhythm that combines the tension of a thriller with literary density, the author makes Lake Geneva, carpeted offices and guarded mansions become characters in their own right. It is not just a story of power: it is a sensory experience that surrounds the reader in an environment of constant suspicion.

If you enjoy novels where political suspense is mixed with the psychological portrait of complex characters, The Geneva Conspirator is your next essential read. A work that reminds us that, on the border between truth and lies, there is always someone willing to pull the strings.

Are you ready to delve into the conspiracy?

Buy it here:

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Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

Between Empire and Eternity: Theological and Political Intrigues in a Carolingian Abbey

Historical fiction at its highest level does not merely reconstruct the past; it interrogates it. The novel under consideration, set in the year 797, situates itself at the very cusp of Charlemagne’s imperial coronation by Pope Leo III, a moment that would redefine the political and religious cartography of medieval Europe. The Frankish monarch, whose campaigns had secured the western borders of Christendom, is here portrayed not only as the guarantor of the Church’s temporal power but as the symbolic center of an emergent Christian universality. Yet the novel’s stage is not Aachen, nor Rome, but a secluded German abbey, a locus where the tensions between empire, theology, and clandestine ambition converge.

At the heart of the drama lies a fabulous object—vestige of an older wisdom, perhaps a relic, perhaps an artifact—which tradition ascribes a capacity to bestow limitless power. Its custody, entrusted to the enigmatic Ramiro, a Spanish exile reputed to possess arcane knowledge, recalls the early medieval intertwining of Christian piety with lingering echoes of esoteric traditions. Ramiro’s death unleashes a clandestine war within the abbey: imperial agents, foreign spies, and ecclesiastical factions engage in a struggle that mirrors, in miniature, the broader geopolitical fractures of the age.

The protagonist, Bernardo, a young novice of noble lineage, provides the narrative’s lens. Through his eyes, the reader discovers a monastic universe at once sacred and perilous. The abbey is not merely a house of prayer; it is a microcosm of Carolingian society, where intellectual labor in the scriptorium coexists with brutal contests for dominance. The presence of the missi dominici, imperial envoys charged with overseeing the King’s law, evokes the Carolingian program of administrative centralization, while theological disputes among the monks reproduce the wider debates that would shape Christian orthodoxy: the filioque controversy, the Trinitarian mystery, and the perennial tension between visible institutions and invisible truths.

Stylistically, the novel achieves a rare synthesis. Its descriptive passages, reminiscent of medieval chronicles yet enriched with modern psychological insight, conjure landscapes in which nature reflects human turmoil: November forests glazed with frost, cloisters reverberating with whispered conspiracies, snow-covered courtyards where innocence is hunted by intrigue. The prose oscillates between lyric evocation—where children perceive the world with a flayed sensitivity—and scholastic disputation, where questions of the soul’s immortality, divine justice, and the possibility of magic become urgent rather than abstract.

One of the work’s most striking dimensions is its meditation on power. The fatal destiny of all those who attempt to seize the hidden relic without grasping its key suggests that true authority cannot be reduced to mere possession. Here the novel echoes the Augustinian vision of earthly power as precarious unless rooted in justice (De civitate Dei, XIX). Likewise, the monastic debates on the Trinity and the soul highlight the precarious balance between orthodoxy and heresy in a world where theological error could prove as dangerous as political treason.

What emerges, ultimately, is a narrative that transcends the boundaries of the historical thriller. The abbey becomes a stage upon which the eternal dialectic between faith and ambition, knowledge and secrecy, justice and domination, is played out. Bernardo, in deciphering the enigma that consumes others, represents not only youthful innocence but the possibility of wisdom purified of greed. The novel thus situates itself within a venerable lineage—from Augustine’s reflections to Umberto Eco’s Il nome della rosa—in which the cloistered world of monks serves as the crucible for universal questions.

In this sense, the book is more than a tale of espionage in a medieval monastery. It is a meditation on the nature of power, the fragility of truth in a world of factions, and the enduring human temptation to grasp the infinite through finite means. To read it is to be reminded that the Carolingian world, for all its distance from us, was haunted by dilemmas that remain strikingly contemporary.

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THE HOUSE NEXT DOOR

For more than three decades, a handful of brilliant forgers, all of them at the same time renowned painters, worked so hard and so well that today no one can put their hand in the fire and say, without batting an eyelid, that they possess the original of this or that painting, of any famous painter, of this or no matter what other era. The scientific experts, skilled in the most modern techniques of dating and attribution, the most prestigious gallery owners, art historians, auctioneers, and other intervenors in the field, have all let slip fakes that have consequently been catalogued as authentic and sold as such. The existence of two and even three or more apocrypha of many of them was later discovered. A strict censorship has been imposed on the media; a real veto has fallen from the highest levels that has turned the subject into a sacred taboo. For if it were to spread, panic would spread, as distrust spreads regarding what the system has turned into the supreme currency of exchange, which not only never devalues itself, but has, in recent years, increased in value according to a geometrical progression. The safe-haven value that has more than replaced gold. The elites who hold absolute power would lose colossal amounts of money and their influence would be diminished, to the detriment of their unspeakable projects. With a perfect mastery of the technique of thriller and suspense, Alba Longa tells us the story in which he himself was involved and, during which, he almost cost him his skin. THE HOUSE NEXT DOOR is set in cosmopolitan Nice that is about to experience the most dramatic events in its history. To tell the truth, you don’t come out well reading this novel. The reader is left with the impression that the most sacred words in the world today: freedom, democracy, human rights, social progress and so many others, are nothing but manufactured mirages, a smokescreen called NWO (New World Order) that prevents us from seeing ourselves for what we are: the new slaves of the Empire, at the unconditional service of other Nero and Caligula  who are not mad, and for that very reason is more wicked than the former.  

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Masks always speak with an English accent.

Clara Bardés, granddaughter of a famous deceased painter, has been hired to restore a series of paintings, some dating from the Middle Ages, which are preserved in the Notre-Dame Cathedral in Paris. During a solitary visit to the upper part of the building, when the tourists have already left, she notices the deformed silhouette of Ergaster, a perverse torturer whom she believed to be dead and of whom she could have been another victim, along with Professor Alba Longa, had it not been for the fact that, at the last moment, Commissioner Tynianov intervened. The cathedral closed behind her, and the criminal, who had apparently not seen her, remained inside. Once in her apartment, terrified, she called Alba Longa and he contacted Tynianov. Between the three of them, pulling the thread of the presence in the cathedral of this murderer, a specialist in the so-called “death of a thousand cuts,” they discover a terrible conspiracy, the disastrous consequences of which are expected for the next few days.

Second year of Macron’s reign. As we predicted in the previous book, France is under the sign of chaos and desolation. For the twentieth consecutive Saturday, the streets of Paris and the main cities of the country are the scene of a confrontation, violent and intransigent, between a people and a police that has unconditionally placed she herself at the orders of an elite; which, by an anti-democratic and corrupting procedure of an already defective political system, has illegitimately seized all the organs of power and is not willing to yield an inch to the massive protests of an entire social body, whose standard of living has been dangerously degraded by the various previous governments, in which it already dominated,   although not with the arrogance, with the morgue, with the absolute and unfailing contempt that it is doing now, completely devoid of any humanitarian feeling towards those who have no choice but to live on salaried work.

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“Unraveling the Mystery: The Notre-Dame de Paris Fire and Its Myriad Theories”

THE POLITICAL AND SOCIAL BACKGROUND OF THE ALBA LONGA SERIES.

   The French Antilles are inflamed. The images that reach us are shocking: cars and buildings burning, pickets filtering traffic in the roundabouts and shooting with real bullets at the police, armored vehicles patrolling the streets, helicopter whirring in the night sky and the government sending special forces and anti-terrorist units to suppress, according to the way they are trained, the rebellion.

   In the metropolis, journalists, commentators, debaters and other agents of authority rush, cutting each other off, to declare that the situation in these overseas departments is not in danger of being transmitted to metropolitan France. No? Have we not seen similar images on this shore of the Atlantic for three consecutive years? Have not the Champs Elysées caught fire, Saturday after Saturday? Haven't cars and motorcycles set fire to the main avenues of all major French cities? Have such events not left a sad consequence of one-eyed and crippled people, as a consequence of the terrible orders that the two Macron governments have given to the police in charge of repression?

   Have the reasons that pushed people to take to the streets disappeared? Not at all. The inflation of recent months, the increase in the prices of gas, electricity, firewood, bread, not to mention that what has increased is everything except salaries, constitute elements that allow us to assume that social anger not only will not decrease, but will progressively increase, given that the government has done absolutely nothing to alleviate the precarious situation of the majority. With the exception of reversing the disastrous pension reform, although they do not hide at all that it is only a postponement, that they do not renounce it in any way and that, as soon as Macron is re-elected, they will implement it without the slightest hesitation, because in reality it was already approved and only the arrival of the pandemic stopped it. in extremis the ax already raised by the executioner's hand.

   The health crisis attenuated the manifestation of social unrest, but did not make it disappear. Despite the restrictions and obstacles to the free movement of people, at no time did the tumults and demonstrations of grievance against that haughty and hypocritical, manipulative and contemptuous power cease, a wolf in sheep's clothing to better surprise and devour the common people, who, by the way, was he, along with his predecessors of the same suit, who cut the allocations to the public hospital until it was bloodless.  

   This health crisis is, certainly, rightly or wrongly, one more excuse to launch the machine of discontent against the other machine of tyranny, which is supported by propaganda and the sophisticated weapons of the riot police. But not only that, how can we trust those who have lost all vestiges of shame and sense of honesty, justice and loyalty? People imagine things, and at this point, how can you blame them for doing so?

   In the analysis we made of the current French political context in the Alba Longa series, particularly in its last two installments, The House Next Door y The masks always speak with an English accent, we believe we have not made a mistake in the diagnosis, which, by the way, continues to be confirmed. Macron was chosen by the financial elite (entire France was wallpapered with that individual's advertising and this was neither done for free, nor did it constitute a free free data), to carry out, against all odds, the ad hominem policy that the traditional parties, representatives of the rights of said oligarchic elite, had proven incapable of carrying out. The risk was the social explosion in a gasoline tank. And their pulse did not tremble to do so. However, the consequences could be unpredictable. What is happening in the Antilles is certainly neither the beginning nor probably the end.

   The only solution, in my opinion, is for him to turn his face, like the wise man, and look at what his predecessor did at the end of his mandate.

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GABINETE RESERVADO

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DILEMMA

   Mauricio de Sully went, alone, on Monday night, to check if Fabrice had returned. Still, breaking his word to John Temple Graves, he did not call the police. In recent times, enough scandals have involved the Church to make a mistake due to a not entirely justified haste and in relation to a simple sacristan. If something has happened to this bastard, it's well deserved, because deep down he's nothing more than a cunt. With so much time he's had since he's been here to make the astracanada of yore and it occurs to him to carry it out precisely at this crucial and, I would even dare to say, dramatic moment. What a joke the pelafustan has prepared for us. Days before what is going to happen in this same cathedral, which will turn the world upside down, and here he sends us to the police, no less, the police, to poke their noses into every corner of the building looking for this thief that God confuses. No, there are people who definitely have the gift of opportunity.

   Irritated, the rector archpriest retired to his chambers and, despite everything, slept on both ears.

   The next day he woke up refreshed and without thinking in the slightest about the matter. After washing the complicated face that was his property, he went to the dining room in search of breakfast and the morning newspapers. As usual, everything was already ready. He poured a glass of freshly squeezed orange juice to the brim and drank it in one gulp. He filled it out again, but this time, before finishing it, as he usually did, with speed and determination, he reached out his hand and glanced at the headlines of the first newspaper. He went white. His eyeballs seemed to want to pop out of their sockets and fall, like pingpong balls, onto the table. All the newspapers carried the same or similar headlines. "Wave of disappearances in Paris within the city walls. No less than half a dozen have been recorded in twenty-four hours and the police suspect there will be more." Then he read the details: "According to official media, the disappearances have all occurred within the indicated radius of action, although in the most heterogeneous scenarios, the street, the subway, a cinema and even the interior of a private home. Never in the history of crime has such activity been recorded. The entire Paris police are in a state of maximum alert and the greatest caution is strongly recommended, avoiding, for example, moving alone, through remote and solitary places. The victims do not have a precise profile. Anyone can be considered in danger.”

   Monsignor de Sully was stunned. That didn't stop him from gulping down, as always, the glass of juice and putting the entire breakfast between his chest and back, without wasting a single crumb.

   He then went to look for the key to the sacristanesque apartment and carry out a final check.

   As he feared, it was empty and the bed was as made as the day before. He hasn't come back, the big bastard. If you make me call the police and then nothing happens to you, I'm going to hit you with one of those cigars… A cigar that not even Fidel Castro could have dreamed of being made in the very country of cigars. A cigar that the sacristan dancer who has assigned us will not be able to hold it with both hands. He will spend a year ringing the cathedral bells, manually, the old-fashioned way.

   He returned to the dining room and placed his cell phone in front of him, on the white tablecloth. Black on white. That's how split he was. If I call, I endanger something very important, an unprecedented operation and I even run the risk of attracting the wrath of the Inveterate Enemy, who could accuse me of treason. On the other hand, the plan of the True Church could collapse. And all for a sacristan. No, if the thing has eggs. Wow he has them.

   On the other side of the scale is that, if I don't call, given the circumstances, I could even find myself in the dock for not providing aid to a person in danger. Furthermore, if the plan, despite everything, continues its course and comes to fruition, such an attitude could raise the suspicions of the police, who would handle the case from the field and the official perspective.

   Bad if I walk and bad if I don't walk. To do? Because, whatever the circumstances, you always have to act, especially when someone has some type of authority. Authority is responsibility. And where will the ox go that does not plow?

   He extended his left hand toward his cell phone. The screen lit up and he entered the access code for the device. Yes, you will have to call the police, but not just anyone. He searched his repertoire for the right person. He carefully dropped the broad tip of his index finger that could call, if that were possible, three adjacent contacts at once. The correct name appeared on the screen and, on the third signal, a deep bass voice emerged.

-Commissioner Esteban de Velasco, at your service, Monsignor.

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FRAGMENT FROM “MASKS ALWAYS SPEAK WITH AN ENGLISH ACCENT.”

VIII

   Bemoz and his lieutenants, as well as his operational team and other members of his entourage, had been assigned a mansion on the outskirts of Paris as their domicile for the duration of operations in that capital.

   Sitting alone, on the porch of his temporary residence, in front of a gargantuan table covered with a blindingly white tablecloth, he devoured the lunch that his personal cook, who accompanied him on all his trips to the five continents, had prepared for him that Sunday. The waiters came periodically to remove the empty plates, as well as the mountains of spines and bones, absolutely plain, that the colossus was leaving aside.

   In the perfect silence of the mansion, only the singing orchestra of the winged inhabitants of the thick jungle made up of the garden that surrounded the main building was tolerated.

   From time to time, a servant in livery would approach and refill the glass that was never to be shown empty. Between trips, the servant was busy uncorking the different bottles of white or red wine, always the best and most expensive wines, depending on the established program. To finish, a bottle of champagne, whose value exceeded the monthly salary of a worker, was chilling in the refrigerator, waiting to be opened at the right moment for the sophisticated dessert.

   While Bemoz's powerful jaws chewed the different delicacies with the power and sufficiency of a hydraulic machine, his brain ruminated on the latest events.

   The idea of ​​taking advantage of the notorious dislike of the rector archpriest, Maurice de Sully, for Viollet-le-Duc had turned out to be brilliant. The result produced was something unusual, unthinkable, apparently contradictory, and highly profitable. The inveterate and bitter enemies collaborating in a common cause. Of course, in a punctual and temporary manner, absolutely exceptional.

   The archpriest had shown himself to be an intransigent negotiator, he had bargained short, both with respect to the formal commitment of the State to rebuild according to a precise plan, and in relation to the subsequent reaction of the Church, collaborative, yes, but only to a certain point and limited in time. The essential thing, however, had been achieved, namely, that he did not shout to the heavens and did not call, out of hand, for a crusade. Anyway, the main head of the beast, although not the only one, we control. If they decided to break part of the conditions, they wouldn't get very far.

   Now everything is ready. A special fuel was needed to make those ancient, almost fossilized beams burn. Agni already has one made from liquid oxygen in his tabuco and knows how to use it. In a few minutes, the roof will burn like a torch, illuminating the Paris sky at dusk. The statues of Viollet-le-Duc have been removed with the double excuse of being restored and cleaned, for the common people, and to prevent them from causing, with their weight, greater harm by collapsing, for the archpriest. It was necessary to promise that they will never be replaced.  

   The symbols, not only of Paris, but of all of France, are the Eiffel Tour y Notre-Dame. When the French see the latter engulfed in flames, there will be a national commotion equivalent to a declaration of war. The entire country will be left breathless and all other worries and disagreements will take a backseat. The social body will remain united like a pineapple waiting for the instructions of the head of state. Goodbye to the weekly carnival of the yellow vests. The revolt will be uprooted, since no one goes out to scream in the streets when they are short of breath. The rest will depend on the skill of the politicians, who will certainly receive instructions on how to behave in due course.

   Once the revolution is suffocated in France, it will immediately be extinguished in the rest of the world. Once and for all, his Masters must recognize how much he is worth, how much he deserves the bread they feed him and the few, although expensive, whims they grant him.  

   It was the first time that Bemoz was going to use his new toy and, given the special characteristics of his baptism of fire, he had given him the name Agni. And Agni will stay with him forever, he decided. There is something ineffable in the Indian that inspires, even in him, the beast arising from the earth, a sacred terror. From the beginning he had sensed that it would be of great use to him. Under his rule, there will be no shortage of missions. It would have been an intolerable waste for such an individual to be lost.

   Once his mission is completed, he will escape through the sewers like the filthy and gigantic rat that he is, without anyone seeing him leave the cathedral. Afterwards, a team will recover it and bring it here, where I will put it in its case until the new operation. Now, it will be necessary to give him, from time to time, the food he needs, without which his loyalty will not be available. For this there are places much more remote than this and enemies worthy of your care and attention.

   After scraping the bone from the last leg of lamb, he sucked it noisily and left it on the tablecloth, as if it were just another knife, a wild butcher's knife. He grabbed a napkin and unfolded it, wiping it first over his mouth and chin, reaching up to part of his cheeks, all of which had accumulated an enormous amount of fat and glistened as if the skin were illuminated from the inside, then his hands, equally sticky. After that, he grabbed the cup, which resembled a mass chalice, and emptied it in one gulp.

   Immediately the waiter came with the trays of cakes and the pourer with the champagne. Bemoz swallowed them whole and drank more than a greeter. After that waiter came another and then another and finally one more, until a formidable, thunderous belch, worthy of the giant Gargantua, put a sudden end to all that. ballet of liveries and trays and silver and gold cutlery, the hustle and bustle ceasing until nightfall.    Everyone knew that the ogre would take a nap for hours and then they could unbutton the last buttons on their shirts and breathe deeply. As long as the entire body of the building shook with their snoring, they could enjoy a period of serenity. Then everything had to start again for dinner.

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