The year of the plague / The year of the plague Marc Shepherd
Editorial Granada / RBA
1st edition, 2010
Genre: Novel fantastic
360 pages ISBN: 9788482649887 (Cat.)
ISBN: 9788498678437 (cast.)
If there is one thing that has shown us with Pastor Marc year of the plague that he is the author of a particular genre. He began his literary career with Montecristo (Proa, 2007), a novel centered around pressoners escape the concentration camp Mauthaussen; followed with The poor woman (The Granada / RBA, 2008), black novel that he be either the prize Crimes Ink and now presents a science fiction adventure where some commit suicide for no apparent reason grandparents and Víctor Negro worker social begins to sniff that something strange happens, especially when he sees that all the deaths were a plant eucalyptus home.
First of all it's worth to note that comparisons between year of the plague and The bad woman is a mistake, because novels are very different. The beginning of this last book is very much like the movie The incidente M. Night Shyamalan (one in which a virus caused strange behavior in people committing suicide until the end). This, for those who have seen the f ilm
, already represents a small handicap, and it can seem that history tells us that Mark Shepherd as we know it, but you should continue reading to see that the novel installed beyond. In year of the plague, the author draws on several films (The invasion of Los Ladrones de cuerpos directed by Don Siegel), books ( Soy Legend, Richard Matheson) and several songs, making this work a curious cultural mix that perfectly defines the personality of Mark Shepherd.
The problem I see in this novel is that of the 360 \u200b\u200bpages you have, most are more dedicated to Victor Black (as he thinks, how it relates ...) who own the plague and its effects. In addition, the reader begins to have data on the magnitude of this invasion until nearly page 150, when it is clear that not really a human issue is causing suicides (also on page 90 to know that only a Grandma has died and many people have been fond of eucalyptus plants).
is undeniable, however, that Marc Shepherd writes with much credit, in a quite natural that the reader appreciates, especially because the novel is full of film references, literary and music that make reading very quickly. But still, in this case it was not enough to have me glued to the plot, because when you already familiar with the prose (flawless), you start to need to have more action and pace, something that missed. From page 214, one hopes that some situations occur that do not reach the voltage and the denouement is as open as the novel itself.
Manel Haro
First of all it's worth to note that comparisons between year of the plague and The bad woman is a mistake, because novels are very different. The beginning of this last book is very much like the movie The incidente M. Night Shyamalan (one in which a virus caused strange behavior in people committing suicide until the end). This, for those who have seen the f ilm
, already represents a small handicap, and it can seem that history tells us that Mark Shepherd as we know it, but you should continue reading to see that the novel installed beyond. In year of the plague, the author draws on several films (The invasion of Los Ladrones de cuerpos directed by Don Siegel), books ( Soy Legend, Richard Matheson) and several songs, making this work a curious cultural mix that perfectly defines the personality of Mark Shepherd. The problem I see in this novel is that of the 360 \u200b\u200bpages you have, most are more dedicated to Victor Black (as he thinks, how it relates ...) who own the plague and its effects. In addition, the reader begins to have data on the magnitude of this invasion until nearly page 150, when it is clear that not really a human issue is causing suicides (also on page 90 to know that only a Grandma has died and many people have been fond of eucalyptus plants).
is undeniable, however, that Marc Shepherd writes with much credit, in a quite natural that the reader appreciates, especially because the novel is full of film references, literary and music that make reading very quickly. But still, in this case it was not enough to have me glued to the plot, because when you already familiar with the prose (flawless), you start to need to have more action and pace, something that missed. From page 214, one hopes that some situations occur that do not reach the voltage and the denouement is as open as the novel itself.
Manel Haro
