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Surrender Paperback – February 25, 2020

4.0 4.0 out of 5 stars 33 ratings

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"[A] riveting, and original, achievement."—WIRED

From award-winning Spanish author Ray Loriga comes a dystopian novel about authority, manipulation, and the disappearance of privacy that “calls to mind The Handmaid’s Tale by Margaret Atwood [and] Blindness by José Saramago” (Alfaguara Prize Winner Citation).

Ten long years have passed since war first broke out, and one couple still does not know the whereabouts of their children, or what their country is even fighting for. They follow orders and their lives go by simply, routinely, until—one day—a mute boy walks onto their property. When the authorities announce that the area needs to be evacuated and that everyone must relocate to “the transparent city,” the three leave together.

At first, the city proves to be a paradise: a stunning glass dome of endless highways, buildings, trains, and markets. Everything its inhabitants need is provided to them—food, protection, shelter—and the family quickly, unquestioningly, settles into their new life. But, soon, a sinister underlay begins to emerge. Neither secrets nor walls are permitted here, and strict order, authoritarian calm, and transparency must always reign supreme.

In a society in which everything private is public, the most chilling portent of our future emerges.
Surrender is an urgent novel about dignity and rebellion and the lengths we go to preserve love, hope, and humanity.

"Loriga envisions in this gripping tale an unsettling dystopia in which all secrets are forbidden...This memorable page-turner will appeal to fans of Brave New World."—Publishers Weekly 

Editorial Reviews

Review

WINNER OF THE ALFAGUARA PRIZE (SPAIN), 2017 WINNER OF THE NORTHERN CALIFORNIA BOOK AWARD IN TRANSLATION “Ray Loriga is a fascinating cross between Marguerite Duras and Jim Thompson.” —Pedro Almodóvar "[A] riveting, and original, achievement." WIRED, "13 Must-Read Books for Spring" "Loriga envisions in this gripping tale an unsettling dystopia in which all secrets are forbidden... [His] chilling portent of the future will undoubtedly resonate with readers concerned about the erosion of privacy. This memorable page-turner will appeal to fans of Brave New World." Publishers Weekly  “[Surrender is] a Kafkaesque and Orwellian story about authority and collective manipulation, a parable on our societies exposed to the gaze and judgment of all. Through the use of a modest and thoughtful voice, with unexpected bursts of humor, the author constructs a luminous fable about exile, loss, paternity and attachment.” —Alfaguara Prize Winner Citation  “Part allegory, part dystopian nightmare, Ray Loriga's Surrender narrates one man's futile search for a separate peace under a totalitarian regime . . . A descendant of Orwell's Winston Smith and Kafka's nameless protagonists, he endures his country's authoritarian whimsies with stoicism and surface submission. His voice is deadpan, non-confrontational, yet every so often he sneaks in a telling comment, slyly critical of the authorities. The challenge for the translator, Carolina De Robertis, which she handles with terrific aplomb, is to capture the subtle shifts in tone that signal his inner rebellion.” —Northern California Book Award Winner Citation “[Surrender’s] climax packs abundant weight…this novel has plenty of power.” Kirkus Reviews "[A] contemplative dystopian story...With an allegorical tone, Spanish writer Loriga presents a spare novel that yields harsh realizations and a deeply felt perception of humanity." Booklist “Loriga can be considered the originator of writing that moves away from Spanish realism, to mental monologue in a desolate landscape, as if taken from a Hopper painting, with protagonists whose only social nucleus, generally broken, is that of refined writing, of short paragraphs, that does not describe but rather goes, silently, like the tires of a car on a highway.” La Vanguardia 

About the Author

RAY LORIGA is an author, screenwriter, and film director. Surrender, which won the prestigious Alfaguara Prize in Spain in 2017, is his third novel to be published in the United States. His previous, Tokyo Doesn't Love Us Anymore, received rave reviews in the New York Times, Washington Post, and elsewhere. Loriga has been translated into fourteen languages. He lives in Madrid.

Caro De Robertis is the award-winning, bestselling author of So Many Stars, The Palace of Eros, and more, and the literary translator of six Latin American novels. They live in California.

Product details

  • Publisher ‏ : ‎ HarperVia (February 25, 2020)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 224 pages
  • ISBN-10 ‏ : ‎ 1328528529
  • ISBN-13 ‏ : ‎ 978-1328528520
  • Item Weight ‏ : ‎ 2.31 pounds
  • Dimensions ‏ : ‎ 5.31 x 0.59 x 8 inches
  • Customer Reviews:
    4.0 4.0 out of 5 stars 33 ratings

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4 out of 5 stars
33 global ratings

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It's all goes down hill
4 out of 5 stars
It's all goes down hill
I got this book as part of the amazon vine program for free in exchange for an honest review.The version I got was an advanced readers copy. I may have some spoilers in my review.The books interesting. I didn't realize until a couple pages in that the husband was the main narrator. I've read sci-fi before and I don't know why this surprised me, maybe I just read a lot of YA with the main narrator being the female. Who knows? The story is told in the form of stream of consciousness. I don't find that method of writing used often, so it was refreshing, although I was admittedly taken aback when he every so often said that he and his wife "f@*ked." Don't think this book is geared towards too young a demographic.Either was the journey to this so called transparent city was interesting. I found a lot of vague mentions of "the enemy" and neighbors going missing due to "snitching." It sadly reminded me of details I learned about the Holocaust. People going missing in Nazi German one day and everyone accepting that they're gone or at least not saying anything for fear of retribution.I enjoy reading the relationship between the husband and his wife. You can tell he very much loves her, almost idolizes her and it's endearing to see their relationship thrive despite the potential loss of their children and their struggle to survive a war in the beginning of the story.The transparent city is just sooo weird. The fact that literally everything except books and food are see through is crazy. The poop fight at his job was disgusting. I don't care if you can't smell it, that's just naastyyy.And as far as the style the writer chose an interesting concept to go with, too. Transparency is all people talk about with government and society and even relationships. The idea that openness shouldn't be feared and we shouldn't have anything to hide from one another. And the author literally brings that to life, albeit vague associations to an enemy that turned out to be possibly the good guys in the war. It's scary, however, because the authors world is not as transparent as you think. Emotional transparency is obviously frowned upon. It's a nightmare that the main character/narrator can't even complain or cry or express his true feelings. He's literally trapped in his own body. It's hidden behind a medically forced facade given to him by a doctor. And it's heart breaking and infuriating that he's slowly losing his own true feelings too. And it just goes down from there.This was a good read. Just from those things. I won't spoil the rest of it. I'd definitely recommend this a as a read though.The book came in on time and in good condition.
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Top reviews from the United States

  • Reviewed in the United States on January 29, 2020
    Amazon Vine Customer Review of Free Product( What's this? )
    Tendrils of both Huxley’s Brave New World and Orwell’s 1984 curl through Spanish writer Ray Loriga’s brief, lean, and stark dystopian novel SURRENDER, a fine fable of paradox about personal freedom and sense of self. Instead of Oceania or World State, it’s the Transparent City. Instead of soma, a crystalline product in the water creates a feeling of constant peace and wellbeing. Like the novels before, the people are controlled by government manipulation with an absurdist execution of an ideology that nevertheless is widely accepted by the citizens. Yet, in SURRENDER, it’s difficult for anyone to literally define this ideology. Rather, the dwellers soon adapt to the lifestyle or are labeled traitors.

    A decade of war has been going on in an unnamed country. The protagonist—also unnamed—and his unnamed wife haven’t heard from their two sons in years; they are off fighting this war in parts unknown. This man and his wife have lost their farm, the animals have disappeared and the water has almost dried up. Moreover, they have taken in and grown fond of a young mute boy they call Julio, who showed up six months ago at their farm, before the transfer to their new home. This transfer is accomplished by a rounding up effort via regional agents.

    Cooperative citizens are taken to the Transparent City, where everything is made of glass or some derivative or similarity. All is transparent; you can see what everyone is doing at all times. It never even gets dark—there is no night, so day is day and night is day, too. Nothing has an odor anymore—not even people. No longer the enjoyable and complex odors of your spouse. And everyone has ample food; shelter; a job; clothing; and supplies. They lack for nothing, and don’t need money. All is complacent and serene. The narrator works at a sewerage plant—but no worries, waste matter has no smell.

    What compelled me was the convincing voice of the narrator/protagonist. He is getting weary with all this happiness, with the enforcement of compliant behavior by a government that doesn’t state what it stands for—in fact, the new citizens become the government, by direct complicity in its function. Does nobody question what is going on and why? The purpose of the provisional government is implied--to commandeer happiness, and to keep the masses obedient. But, to what end? What is the agenda? “Nobody here is different or better than anyone else, and nobody gives orders…We ourselves are the provisional government.” As the narrator becomes increasingly fraught with existential unease, the stakes get higher on the issue of resistance or surrender

    A shout out to Carolina de Robertis for her remarkable, smooth translation. I'm a huge fan of her novels.
    One person found this helpful
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  • Reviewed in the United States on March 2, 2020
    Amazon Vine Customer Review of Free Product( What's this? )
    “Surrender” was originally published in Spanish in 2017, and the English translation came out in 2020. A word about the translation: to most Americans, the f bomb used exclusively as the word indicating intimate relations, is crude sounding and takes away from what really is a loving relationship between the narrator and his wife. For some readers, this is offensive and could have been very easily avoided by an astute editor.
    The story is told by a narrator who remains nameless. He started life as an uneducated laborer, and eventually married his widowed boss, who took it upon herself to educate him in the ways of a gentleman. Theirs is a loving relationship, and over the course of time they had two sons, who both joined the army. The location and time period of the story is vague. The location, with its small insular village, wide areas of wild forests, and sharp seasons, makes it appear to be a couple of hundred years ago in Europe. However they have television and motor vehicles. The science fiction elements are wonderful, with the mysterious “pulse” powering an under-the-skin-wrist communicator that allows the wearer to receive news, and see and hear loved ones in real time, even tracking their heartbeats.
    As the story begins, there have been years of a nameless war, the pulse power has been turned off, and the couple has been enduring increasing privations. A lost and injured boy had wandered onto their property, and now lives with them, becoming a surrogate for their missing older sons. The boy, who they named Julio, is smart, but chooses not to speak.
    Most of the people in their area are rounded up and told they must be relocated out of harms way as the war is being lost. They are loaded onto buses and taken to the Transparent City, passing abandoned towns, escaping a bombing run, and eventually arriving at the City on foot. The Transparent City is a marvel: completely clear from the walls to the pipes to the trains and roadways, and is covered by a huge geodesic dome. Lights are constantly on and any awareness of the outside world is erased by the light. Seemingly a refuge at first, the narrator eventually finds himself at odds with just how perfect everything is. Although this is great sci fi stuff, at this point to me the story becomes an allegory for what some think heaven might be like. If one is always happy (in this case happiness is the result of a crystallization process that takes place upon entering the City), there is no boredom, no jealousy, no fear, no progress. Nobody is better or different, and there is no one to complain to. There does not appear to be anyone in charge and all decisions are made by union vote. However, the narrator begins to realize that knowing what he knew about people on the outside, this life on the inside rings false. As he starts to remember his sons in the army and realizing his wife has surrendered to the attentions of another man, and he should care about that, he decides to leave. So he does, and just walks out and returns to the burnt out remains of his old home. Toward the end of the book, there came a point where the people around the narrator try to convince him that he is ill, and the crystal city is really made of solid concrete, and that other events in the past few years were of his own delusions. Then the story becomes sort of a “Life of Pi” moment: Was the tiger real or not?
    The story is very thought provoking about what it takes to be happy. Do humans require some sort of conflict to feel alive or content?
    3 people found this helpful
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