La cita que abre Doble Crimen, de Ariel Magnus, y que pertenece a Edgar Allan Poe, asegura que el saber m\u00e1s importante es invariablemente superficial. Esta parece ser una afirmaci\u00f3n pertinente para una nouvelle policial protagonizada y narrada por un modesto barquero de la Patagonia, quien pasa sus d\u00edas desliz\u00e1ndose de un margen al otro del lago Epuy\u00e9n, e intenta determinar, en un largo mon\u00f3logo, qui\u00e9n o qui\u00e9nes fueron los autores de ese doble crimen, y cu\u00e1les fueron sus razones. Pero como suele pasar con los ep\u00edgrafes y en ocasiones tambi\u00e9n con los t\u00edtulos-, en lugar de orientar al lector en la interpretaci\u00f3n de la obra que preceden, muchas veces, como en este caso, funcionan m\u00e1s bien como desv\u00edos, como una clave de lectura puesta al rev\u00e9s o simplemente distorsiva. En Doble Crimen, ese saber m\u00e1s importante del que habla Poe no es en absoluto superficial: el mon\u00f3logo del barquero, Quint\u00edn An\u00edbal Alvarado un personaje digno del escritor Thomas Bernhard-, es alucinado y profundo, y en su poderoso caudal narrativo confunde hechos, personajes y \u00e9pocas, dejando en claro que no es posible atravesar el lago Epuy\u00e9n sin tener en cuenta el bosque sumergido ni el cielo. Hern\u00e1n Arias<\/p>\n","protected":false},"excerpt":{"rendered":"
La cita que abre Doble Crimen, de Ariel Magnus, y que pertenece a Edgar Allan Poe, asegura que el saber m\u00e1s importante es invariablemente superficial. Esta parece ser una afirmaci\u00f3n pertinente para una nouvelle policial protagonizada y narrada por un modesto barquero de la Patagonia, quien pasa sus d\u00edas desliz\u00e1ndose de un margen al otro 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