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Thus Bad Begins: A novel Hardcover – Deckle Edge, November 1, 2016
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From the internationally acclaimed author of The Infatuations comes the mesmerizing story of a couple living in the shadow of a mysterious, unhappy history--a novel about the cruel, tender punishments we exact on those we love.
Madrid, 1980. Juan de Vere, nearly finished with his university degree, takes a job as personal assistant to Eduardo Muriel, an eccentric, once-successful film director. Urbane, discreet, irreproachable, Muriel is an irresistible idol to the young man. But Muriel's voluptuous wife, Beatriz, inhabits their home like an unwanted ghost; and on the periphery of their lives is Dr. Jorge Van Vechten, a family friend implicated in unsavory rumors that Muriel now asks Juan to investigate. As Juan draws closer to the truth, he uncovers only more questions. What is at the root of Muriel's hostility toward his wife? How did Beatriz meet Van Vechten? What happened during the war? Marías leads us deep into the intrigues of these characters, through a daring exploration of rancor, suspicion, loyalty, trust, and the infinitely permeable boundaries between the deceptions perpetrated on us by others and those we inflict upon ourselves.
- Print length464 pages
- LanguageEnglish
- PublisherKnopf
- Publication dateNovember 1, 2016
- Dimensions6.7 x 1.55 x 9.6 inches
- ISBN-101101946083
- ISBN-13978-1101946084
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Editorial Reviews
Review
“As a literary mystery, Thus Bad Begins calls to mind Paul Auster, Donna Tartt, and Carlos Ruiz Zafón; purely as literature, it feels like an heir to the searching human nuance of the novels of Gabriel García Márquez . . . Javier Marías is the real deal . . . Mesmerizing.” —USA Today
“The book that defines Marías’s oeuvre as one of Spain’s most celebrated contemporary writers . . . Marías creates a symphony.” —Boston Globe
“A demonstration of what fiction at its best can achieve.” —Hari Kunzru, The Guardian
“A major work from a global talent, Thus Bad Begins knits Hitchcockian suspense into a hypnotic tale crackling with erotic tension and political strife.” —Minneapolis Star-Tribune
“Erudite, strange, hypnotic, and beautiful . . . One reads Javier Marías for his ability to make the smallest parts of the world come alive . . . I found myself most loving the book for its pages of brilliant observations, its musings and its suspenseful elegant voice . . . I could not put it down.” —Los Angeles Times
“‘Rear Window’ in Madrid . . . Thus Bad Begins delivers all of Marías’s trademark qualities—chewy philosophical meditation, prose of fastidious elegance, and the suspense of an old-fashioned potboiler . . . It’s now clear that Margaret Jull Costa and Javier Marías have forged one of the most fruitful author-translator partnerships in current literature.” —Sam Sacks, Wall Street Journal
“Fascinating . . . Hypnotic . . . As de Vere and Muriel try to get to the heart of matters, they discover secrets they wish they hadn’t . . . but the reader will devour every exquisitely wretched revelation.” —TIME
“I read the final pages in full thrall of Marías’s novelistic power . . . I was reminded too that Marías is a master of a kind of suspense that is rare in the modern novel.” —Karan Mahajan, New York Times Book Review
“Marías is the leading light of a generation of Spanish novelists . . . Thus Bad Begins has lots to say about the political and social changes that have shaped Marías’s outlook. It’s also a kind of tragedy in comic form, or perhaps the other way round . . . Marías never seems seriously troubled by the long list of technical challenges he has to tackle to develop all this. With immense adroitness, he makes sure that Eduardo isn’t simply a wronged husband or a vengeful sadist and keeps Beatriz from turning into a doormat, a hysteric, or a vamp, and thereby maintains the reader’s sympathy for both.” —Christopher Tayler, Harper’s
“On the surface, the novel is part detective caper and part domestic drama. [But] Thus Bad Begins isn’t merely a novel about specific characters and their specific scandals; rather, they are stand-ins for the universal . . . If novels can be calls to action, then this one is a clarion for open dialogue.” —Village Voice
“Javier Marías captures his nation’s long-lasting trauma . . . In Madrid of 1980, the setting for Thus Bad Begins, an entire country finds itself at a crossroads . . . Each of Marías’s characters must decide how much is worth forgiving and how much might be worth forgetting.” —Washington Post
“Javier Marías has entered that rarefied space in which a writer becomes essential to society. He is a critical conscience who can express what philosophers and political scientists can’t…. Thus Bad Begins is a novel, of course, but it could be perfectly read, too, as a beautiful, savage essay on hypocrisy.” —Álvaro Enrigue, Publishers Weekly
“Enticing and absolutely addictive . . . Marías is a writer of formidable skills and achievement.” —Washington Times
“In highly respected Spanish novelist Marías’s new work, we quickly see that political tensions have continued to reverberate [from the Spanish Civil War] . . . Marías reveals how insidiously oppression skews personal lives and relationships year after year.” —Booklist
“Marías’s marvelously idiosyncratic sentences achieve a dazzling textual equivalent of life’s endless complexity. Another challenging, boundary-stretching work from Marías, complete with a jaw-dropping last-chapter revelation.” —Kirkus Reviews (starred)
“Marías’s latest resumes his trademark themes of the quest for truth and the haunting presence of Spain’s civil war . . . It wallops audiences with some startling twists.” —Library Journal
“A novel that teases, tantalises, entertains, and is easily as engrossing as anything he’s written before . . . Marías manages to tread the tightrope between a very literary fiction and an absorbing plot; the book dangles the promise of dark, sexual secrets revealed, even as it draws you into a contemplation of the wrenching dilemmas that have shaped modern Spain.” —Siobhan Murphy, The Times
“Marías is Spain’s own modern-day Cervantes . . . His style is less showy than Umberto Eco’s, and wittier and more playful than Elena Ferrante’s.” —Robert Collins, The Sunday Times
“A simply unputdownable psychological and erotic and political thriller.” —Amanda Craig, BBC Radio 4 Saturday Review
“One of Marías’s most enjoyable and accessible novels.” —Luke Brown, Financial Times
“A ferociously addictive, troubling, seductive read . . . I was gripped by every word.” —Emma Townshend, Independent on Sunday
“Hypnotic . . . There’s a slow-building sense of Hitchcock in Vertigo mode that keeps us engaged.” —Lee Langley, The Spectator
“Magnificent.” —John Harding, Daily Mail
“Never less than seamlessly elegant . . . As brilliantly well conceived and emotionally profound as one has come to expect from this master.” —Rosemary Goring, The Herald (Scotland)
About the Author
Translated from the Spanish by Margaret Jull Costa.
Excerpt. © Reprinted by permission. All rights reserved.
The most striking thing about him, though, when one saw him for the first time or came across a rare full-face photo in the newspaper, was the patch he wore over his right eye, a classic, theatrical or even filmic eyepatch, black and bulky and held in place by a thin black piece of elastic. I have always wondered why such eyepatches have a rough surface, I don’t mean the cloth ones intended only as temporary protection, but the permanent, fitted ones made of some stiff, compact material. (It looked like Bakelite, and I often felt tempted to drum on it with my fingernails to find out how it felt, not that I ever tried this with my employer; I did, however, find out what it sounded like, because sometimes, when he was upset or irritated, but also whenever he paused to think before uttering a sentence or embarking on a speech, with his thumb tucked under one armpit as if it were the tiny riding whip of a soldier or a cavalryman reviewing his troops or his mounts, Muriel did exactly that, drumming on his eyepatch with the fingernails of his free hand, as if summoning the aid of his non-existent or useless eye; he must have liked the sound it made and it was rather pleasing, toc, toc, toc; although until one got used to the gesture it did make one cringe slightly, to see him invoking his absent eye.) Perhaps the somewhat bulky shape of the patch is intended to give the impression that there is an actual eye underneath, when there might only be an empty socket, a hollow, a dent, a depression. Perhaps those patches are convex precisely in order to contradict the awful concavity that, in some cases, they conceal; who knows, perhaps the cavity is filled by a polished sphere of white glass or marble, with the pupil and the iris painted on with pointless, perfect realism, an eye that will never be seen, always covered in black, or seen only by its owner at the end of the day, when, standing before the mirror, he wearily uncovers or perhaps removes it.
And while the patch inevitably drew one’s attention, his useful, visible eye, the left one, was no less striking, being of an intense dark blue, like the sea at evening or perhaps at night, and which, because it was alone, seemed to notice and register absolutely everything, as if it possessed both its own faculties and those of the other invisible, blind eye, or as though nature had wanted to compensate for the loss of its pair by making it more than usually penetrating. Such was the energy and speed of the left eye that I would, gradually and furtively, try to place myself out of its reach so as not to be wounded by its piercing gaze, until Muriel would tell me off: “Move a little to the right, I can barely see you there unless I lean sideways. Don’t forget, my field of vision is more limited than yours.” And at first, when I didn’t know where to look—torn between that living, maritime eye and the dead, magnetic patch—he would have no hesitation in calling me to order: “Juan, I’m talking to you with the seeing eye, not the dead one, so please listen and don’t get distracted by the eye that isn’t saying a word.” Muriel would openly refer to his halved vision, unlike those who draw an awkward veil of silence over any personal defect or disability, however conspicuous and dramatic: people who have had one arm amputated at the shoulder, but who never acknowledge the difficulties they face and do just about everything short of taking up juggling; one-legged people who scale Annapurna on crutches; blind people who go to the cinema and then make a fuss during the scenes with no dialogue, complaining that the image is out of focus; disabled people who pretend they’re not wheelchair-bound and insist on trying to climb stairs rather than using the ramps that are available everywhere nowadays; men with heads like billiard balls, who, whenever there’s a gust of wind, are constantly smoothing their non-existent hair and getting frustrated with their imaginary unruly mop. (Not that I’m criticizing them in the least, of course, they’re free to do exactly as they like.)
But the first time I asked him what had happened to his eye, how his silent eye had been struck dumb, he replied as brusquely as he did sometimes to people who annoyed him, although he rarely did so with me, for he usually treated me with great kindness and affection: “Let’s get one thing straight: I don’t employ you to ask me questions about matters that are none of your business.”
Product details
- Publisher : Knopf; First American Edition (November 1, 2016)
- Language : English
- Hardcover : 464 pages
- ISBN-10 : 1101946083
- ISBN-13 : 978-1101946084
- Item Weight : 1.7 pounds
- Dimensions : 6.7 x 1.55 x 9.6 inches
- Best Sellers Rank: #1,473,953 in Books (See Top 100 in Books)
- #4,862 in Cultural Heritage Fiction
- #9,658 in Psychological Fiction (Books)
- #61,398 in Literary Fiction (Books)
- Customer Reviews:
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About the author

Javier Marías is an award-winning Spanish novelist. He is also a translator and columnist, as well as the current king of Redonda. He was born in Madrid in 1951 and published his first novel at the age of nineteen. He has held academic posts in Spain, the US (he was a visiting professor at Wellesley College) and Britain, as a lecturer in Spanish Literature at Oxford University. He has been translated into 34 languages, and more than six million copies of his books have been sold worldwide. In 1997 he won the Nelly Sachs Award; the Comunidad de Madrid award in 1998; in 2000 the Grinzane Cavour Award, the Alberto Moravia Prize, and the Dublin IMPAC Award. He also won the Spanish National Translation Award in 1979 for his translation of Tristram Shandy in 1979. He was a professor at Oxford University and the Complutense of Madrid. He currently lives in Madrid.
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Top reviews from the United States
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I'm not saying I could do better but the translation seems to me to be less than acceptable.
I'm almost at the end and it's been bothering me. In the last few page I've read words "pipsqueak", "namby pamby"' and "bamboozle". These are not English words I've come across in literature in the last 40 years. I just can't believe they are the most apt English translations.
Does Marias write like this? Not from my memory and I've read all his books. I dont understand what happened to the translation here. It's like it was "called in."
And yet he is a wonderful writer.
This a worthy book.
He should receive the Nobel.
Top reviews from other countries
Set in 1980, just a handful of years after the death of Franco and the establishment of democracy in Spain, at the plot level this contrasts two secrets and two responses by the film director, Muriel: a private revelation by his wife, Beatriz; and the uncovering of a politicised secret that is inextricably linked to Franco's dictatorship. One Muriel can forgive, the other he can't. But while there's certainly some narrative drive related to these, the book is really a cerebral exploration of the themes mentioned above.
Beautifully and with real moral seriousness.
Living in this shadowy world of suspicion, fear, resentment, the only options were exile, or compromise with the regime, with consequent loss of self-respect and loathing for others who had done the same.
So reconciliation and amnesty are not a matter of shaking hands and calling it a day far less forgiveness-neither in public domain nor in the private domain of marriage. Marias seems to suggest that dirty secrets should stay secret, this at least allows people to live without suffering insupportable anguish.
not even a why dunnit
more a how dunnit
the crime ? blackmailing women into having sex
the offenders ? those who backed General Franco during the Spanish Civil War
the victims ? those that didn't … or rather the womenfolk of those that didn't ... wives , sisters , daughters
this dark chapter of Spanish history went on for decades
right up until Franco's death in 1975 … and maybe even after that
many of the victims + perpetrators will still be alive today
the depiction of victims + offenders is worthy of Dostoevsky
the translation into English is flawless
Thus Bad Begins brilliantly to reveal the dark side of masculinity
Reviewed in the United Kingdom on November 9, 2018
not even a why dunnit
more a how dunnit
the crime ? blackmailing women into having sex
the offenders ? those who backed General Franco during the Spanish Civil War
the victims ? those that didn't … or rather the womenfolk of those that didn't ... wives , sisters , daughters
this dark chapter of Spanish history went on for decades
right up until Franco's death in 1975 … and maybe even after that
many of the victims + perpetrators will still be alive today
the depiction of victims + offenders is worthy of Dostoevsky
the translation into English is flawless
Thus Bad Begins brilliantly to reveal the dark side of masculinity






