The Double

by José Saramago, Margaret Costa

José Saramago’s critically acclaimed novel and the inspiration for the major motion picture "Enemy" starring Jake Gyllenhaal and directed by Denis Villeneuve.

  • Format: Paperback
  • ISBN-13/ EAN: 9780156032582
  • ISBN-10: 0156032589
  • Pages: 336
  • Publication Date: 10/03/2005
  • Carton Quantity: 36

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About the Book
About the Authors
Excerpts
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  • About the Book
    The inspiration for the major motion picture "Enemy" starring Jake Gyllenhaal and directed by Denis Villeneuve
     
    Tertuliano Máximo Afonso is a divorced, depressed history teacher. To lift his spirits, a colleague suggests he rent a certain video. Tertuliano watches the film, unimpressed. But during the night, when he is awakened by noises in his apartment, he goes into the living room to find that the VCR is replaying the video. He watches in astonishment as a man who looks exactly like him-or, more specifically, exactly like he did five years before, mustachioed and fuller in the face-appears on the screen. He sleeps badly.

    Against his better judgment, Tertuliano decides to pursue his double. As he roots out the man's identity, what begins as a whimsical story becomes a "wonderfully twisted meditation on identity and individuality" (The Boston Globe). Saramago displays his remarkable talent in this haunting tale of appearance versus reality.

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  • About the Author
  • Excerpts

    THE MAN WHO HAS JUST COME INTO THE SHOP TO RENT A video bears on his identity card a most unusual name, a name with a classical flavor that time has staled, neither more nor less than Tertuliano Máximo Afonso. The Máximo and the Afonso, which are in more common usage, he can just about tolerate, depending, of course, on the mood he's in, but the Tertuliano weighs on him like a gravestone and has done ever since he first realized that the wretched name lent itself to being spoken in an ironic, potentially offensive tone. He is a history teacher at a secondary school, and a colleague had suggested the video to him with the warning, It's not exactly a masterpiece of cinema, but it might keep you amused for an hour and a half. Tertuliano Máximo Afonso is greatly in need of stimuli to distract him, he lives alone and gets bored, or, to speak with the clinical exactitude that the present day requires, he has succumbed to the temporary weakness of spirit ordinarily known as depression. To get a clear idea of his situation, suffice it to say that he was married but can no longer remember what led him into matrimony, that he is divorced and cannot now bring himself to ponder the reasons for the separation. On the other hand, while the ill-fated union produced no children who are now demanding to be handed, gratis, the world on a silver platter, he has, for some time, viewed sweet History, the serious, educational subject which he had felt called upon to teach and which could have been a soothing refuge for him, as a chore without meaning and a beginning without an end. For those of a nostalgic temperament, who tend to be fragile and somewhat inflexible, living alone is the harshest of punishments, but, it must be said, such a situation, however painful, only rarely develops into a cataclysmic drama of the kind to make the skin prick and the hair stand on end. What one mostly sees, indeed it hardly comes as a surprise anymore, are people patiently submitting to solitude's meticulous scrutiny, recent public examples, though not particularly well known and two of whom even met with a happy ending, being the portrait painter whom we only ever knew by his first initial, the GP who returned from exile to die in the arms of the beloved fatherland, the proofreader who drove out a truth in order to plant a lie in its place, the lowly clerk in the Central Registry Office who made off with certain death certificates, all of these, either by chance or coincidence, were members of the male sex, but none of them had the misfortune to be called Tertuliano, and this was doubtless an inestimable advantage to them in their relations with other people. The shop assistant, who had already taken down from the shelf the video requested, entered in the log book the title of the film and the day's date, then indicated to the customer the place where he should sign. Written after a moment's hesitation, the signature revealed only the last two names, Máximo Afonso, without the Tertuliano, but like someone determined to clarify in advance something that might become a cause of controversy, the customer murmured as he signed his name, It's quicker like that. This precautionary explanation proved of little use, for the assistant, as he transferred the information from the customer's ID onto an index card, pronounced the unfortunate, antiquated name out loud, in a tone that even an innocent child would have recognized as deliberate. No one, we believe, however free of obstacles his or her life may have been, would dare to claim that they had never suffered some similar humiliation. Although, sooner or later, we will all, inevitably, be confronted by one of those hearty types to whom human frailty, especially in its most refined and delicate forms, is the cause of mocking laughter, the truth is that the inarticulate sounds which, quite against our wishes, occasionally emerge from our own mouth, are merely the irrepressible moans from some ancient pain or sorrow, like a scar suddenly making its forgotten presence felt again. As he puts the video away in his battered, teacher's briefcase, Tertuliano Máximo Afonso, with admirable brio, struggles not to reveal the displeasure provoked by the shop assistant's gratuitous sneer, but he cannot help thinking, all the while scolding himself for the vile injustice of the thought, that the fault lay with his colleague and with the mania certain people have for handing out unasked-for advice. Such is our need to shower blame on some distant entity when it is we who lack the courage to face up to what is there before us. Tertuliano Máximo Afonso does not know, cannot imagine or even guess that the assistant already regrets his gross impertinence, indeed, another ear, more finely tuned than his and capable of dissecting the subtle vocal gradations in the assistant's At your service, sir, offered in response to the brusque Good afternoon thrown back at him, would have told him that a great desire for peace had installed itself behind the counter. After all, it is a benevolent commercial principle, laid down in antiquity and tried and tested over the centuries, that the customer is always right, even in the unlikely, but quite possible, eventuality that the customer's name should be Tertuliano.

    Sitting now on the bus that will drop him near the building where he has lived for the last six or so years, that is, ever since his divorce, Máximo Afonso, and we use the shortened version of his name here, having been, in our view, authorized to do so by its sole lord and master, but mainly because the word Tertuliano, having appeared so recently, only six lines previously, could do a grave disservice to the fluency of the narrative, anyway, as we were saying, Máximo Afonso found himself wondering, suddenly intrigued, suddenly perplexed, what strange motives, what particular reasons had led his colleague from the Mathematics Department, we forgot to mention that his colleague teaches mathematics, to urge him so insistently to see the film he has just rented, when, up until then, the so-called seventh art had never been a topic of conversation between them. One could understand such a recommendation had it been an indisputably fine film, in which case the pleasure, satisfaction, and enthusiasm of discovering a work of high aesthetic quality might have obliged his colleague, over lunch in the canteen or during a break between classes, to tug anxiously at his sleeve and say, I don't believe we've ever talked about cinema before, but I have to tell you, my friend, that you absolutely must see The Race Is to the Swift, which is the title of the video Tertuliano Máximo Afonso has in his briefcase, something we also neglected to mention. Then the history teacher would ask, Where's it being shown, to which the mathematics teacher would respond, explaining, Oh, it's not being shown anywhere at the moment, it was on four or five years ago, I can't understand how I missed it when it first came out, and then, without a pause, concerned as to the possible futility of the advice he was so fervently offering, But maybe you've already seen it, No, I haven't, I hardly ever go to the cinema, I just make do with what they show on TV, and I don't see very much of that, Well, you should make a point of seeing it then, you'll find it in any video store, you can always rent it if you don't want to buy it. That is how the dialogue might have gone if the film had been worthy of praise, but things happened rather more prosaically, I don't want to stick my nose in where it isn't wanted, the mathematics teacher had said as he peeled an orange, but for a while now you've struck me as being rather down, and Tertuliano Máximo Afonso agreed, You're right, I have been feeling a bit low, Health problems, No, I'm not ill as far as I know, it's just that everything tires me and bores me, the wretched routi...

  • Reviews

    PRAISE FOR THE DOUBLE

    "In varying proportions [Saramago] is melancholy, funny, scary and socially enraged. Such elements have rarely worked better together than in The Double. It's tempting to think of it as his masterpiece."--The New York Times

    "Saramago has the gift of gab. Our impression is of a writer, like Faulkner, so confident of his resources and ultimate destination that he can bring any impossibility to life by hurling words at it."--John Updike, The New Yorker

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