El unicornio

In this novel, Javier Tomeo, a firm activist of anti-realism, anticipates the eccentricity that will characterize all of his work, plagued since The Hunter by allegories and symbols, simultaneous narratives, dreamlike passages, word games and grotesque characters subjected to the forces of Destiny and Absurd. Kafka, Camus, Beckett, Poe, Ionesco... are the indisputable references that reaffirm his will to create counter-literature at a time when literature was supposed to be the scourge of the dictatorship. In the remote kingdom of Vandalia, ruled with an iron hand by Duke Tancred IV, revolutionaries march towards the ducal palace. The fury of the tyrant is unleashed, the bloodthirsty mechanisms of power have already been set in motion: here there is no room for disagreement or sedition. At the same time, nine spectators are ready to enjoy such a cruel performance. But as the performance progresses, a hidden force will cause actors and spectators to merge into the same plot, and the room becomes a ghostly stage where death presses, suffocates and hammers. A few meters from the theater, down the street, in a dingy and dark room, a man and a woman undress to chase away loneliness. There is no hope for them either.