The life of the spy is, for the most part, the life of an ordinary person. And so it must be. There are no lights on it, no impacting cars, no sophisticated cocktails, no beauties emerging from the waters of the tropics. However, the characters created by Fleming, Le Carre, Follet, or Clancy are stereotypes that the reader of this type of genre passionately searches among its pages. Rather, I believe that people who work for secret services are closer to those described by Graham Green or Javier Marías; away from all stridency. And, it is possible, that not only that. Their lives must pass in buildings that are not very striking or in government headquarters, and their days will be composed of the reception, analysis, reports and data archiving. If they operate outside their country, a fortiori they must amalgamate among the people with whom they live. And, nevertheless, exist and today are very focused on counteracting or preventing terrorist actions both international and domestic. Ian McEwan, through his elegant prose, polished and, not for that matter, concise, even dry at times, introduces us into the gray, mediocre and unimpressive espionage world of the female administrative staff of MI5 in the 70s. And it does so by developing an enveloping and imaginative plot concluded in a splendid final circle. The flashes, sometimes intense and brief and others in prolonged bursts on the social situation of the British society of the 70s is gratifying and enlightening at the same time. There is no issue that does not address, from the musical currents, the crisis of beliefs, sexual liberation, easy access to drugs, labor conflicts of the miners and many others that, in that decade we had around 20 years , we are familiar and remote, at the same time. The description of the characters, both that of the protagonist, and those of the secondary ones is fascinating. Really one can not help but pity, not without rejection, his main character with his tragicomic traits so well drawn. The stylistic structure of “Operation Sweet” resembles an escherian stairwell that in the end stops being it to become a solid and monolithic story of which to enjoy in each paragraph.

La vida de l’espia és, en la seva major part, la vida d’una persona comuna. I així ha de ser. No hi ha focus sobre ella, ni cotxes impactants, ni còctels sofisticats, ni belleses emergint de les aigües del tròpic. Tot i això, els personatges creats per Fleming, Le Carre, Follet, o Clancy són estereotips que el lector d’aquest tipus de gènere busca apassionadament entre les seves pàgines. Més aviat crec que les persones que treballen per als serveis secrets s’acosten més als descrits per Graham Greene o Javier Marías; allunyats de tota estridència. I, és possible, que ni tan sols això. Les seves vides han de transcórrer en edificis poc cridaners o en seus governamentals, i els seus dies es compondran de la recepció, anàlisi, informes i arxiu de dades. Si operen fora del seu país, amb més raó han de confondre’s entre la gent amb la qual conviuen. I, no obstant això, existir existeixen i avui molt centrats en contrarestar o impedir les accions terroristes tant internacionals com domèstiques.

Ian McEwan, a través de la seva prosa elegant, polida i, no per això, concisa fins i tot seca de vegades, ens introdueix en el món de l’espionatge més gris, mediocre i poc estimulant del personal administratiu femení del MI5 a la dècada dels 70. i ho fa desenvolupant una trama envoltant i imaginativa conclosa en un cercle final esplèndid. Els flaixos, unes vegades intensos i breus i altres a ràfegues prolongades sobre la situació social de la societat britànica dels 70 son gratificants i aclaridors a la vegada. No hi ha tema que no tracti, des dels corrents musicals, la crisi de creences, l’alliberament sexual, l’accés fàcil a les drogues, els conflictes laborals dels miners i tants d’altres que, als que en aquesta dècada teníem al voltant de 20 anys , ens resulten familiars i remots, alhora.

La descripció dels personatges, tant el de la protagonista, com els dels secundaris és fascinant. Realment un no pot deixar de compadir, no sense rebuig, al seu personatge principal amb els seus trets tragicòmics tan ben dibuixats.

L’estructura estilística d ‘ “Operación Dolç” s’assembla a una escala escheriana que al final deixa de ser-ho per convertir-se en un sòlid i monolític relat del que gaudir en cada paràgraf.

La vida del espía es, en su mayor parte, la vida de una persona común. Y así debe ser. No hay focos sobre ella, ni coches impactantes , ni cócteles sofisticados, ni bellezas emergiendo de las aguas del trópico. No obstante, los personajes creados por Fleming, Le Carre, Follet, o Clancy son estereotipos que el lector de este tipo de género busca apasionadamente entre sus páginas. Más bien creo que las personas que trabajan para los servicios secretos se acercan más a los descritos por Graham Green o Javier Marías; alejados de toda estridencia. Y, es posible, que ni tan solo eso. Sus vidas deben transcurrir en edificios poco llamativos o en sedes gubernamentales, y sus días se compondrán de la recepción, análisis, informes y archivo de datos. Si operan fuera de su país, con mayor razón deben amalgamarse entre la gente con la que conviven. Y, sin embargo, existir existen y hoy muy centrados en contrarrestar o impedir las acciones terroristas tanto internacionales como domésticas.

Ian McEwan, a través de su prosa elegante, pulida y, no por ello, concisa incluso seca en ocasiones, nos introduce en el mundo del espionaje más gris, mediocre y poco estimulante del personal administrativo femenino del MI5 en la década de los 70. Y lo hace desarrollando una trama envolvente e imaginativa concluida en un círculo final espléndido. Los flashes, unas veces intensos y breves y otras en ráfagas prolongadas sobre la situación social de la sociedad británica de los 70 es gratificante y esclarecedora al tiempo. No hay tema que no trate, desde las corrientes musicales, la crisis de creencias, la liberación sexual, el acceso fácil a las drogas, los conflictos laborales de los mineros y tantos otros que, a los que en esa década teníamos alrededor de 20 años, nos resultan familiares y remotos, a la vez.

La descripción de los personajes, tanto el de la protagonista, como los de los secundarios es fascinante. Realmente uno no puede dejar de compadecer, no sin rechazo, a su personaje principal con sus rasgos tragicómicos tan bien dibujados.

La estructura estilística de “Operación Dulce” se asemeja a una escalera escheriana que al final deja de serlo para convertirse en un sólido y monolítico relato del que disfrutar en cada párrafo.

The life of the spy is, for the most part, the life of an ordinary person. And so it must be. There are no lights on it, no impacting cars, no sophisticated cocktails, no beauties emerging from the waters of the tropics. However, the characters created by Fleming, Le Carre, Follet, or Clancy are stereotypes that the reader of this type of genre passionately searches among its pages. Rather, I believe that people who work for secret services are closer to those described by Graham Green or Javier Marías; away from all stridency. And, it is possible, that not only that. Their lives must pass in buildings that are not very striking or in government headquarters, and their days will be composed of the reception, analysis, reports and data archiving. If they operate outside their country, a fortiori they must amalgamate among the people with whom they live. And, nevertheless, exist and today are very focused on counteracting or preventing terrorist actions both international and domestic. Ian McEwan, through his elegant prose, polished and, not for that matter, concise, even dry at times, introduces us into the gray, mediocre and unimpressive espionage world of the female administrative staff of MI5 in the 70s. And it does so by developing an enveloping and imaginative plot concluded in a splendid final circle. The flashes, sometimes intense and brief and others in prolonged bursts on the social situation of the British society of the 70s is gratifying and enlightening at the same time. There is no issue that does not address, from the musical currents, the crisis of beliefs, sexual liberation, easy access to drugs, labor conflicts of the miners and many others that, in that decade we had around 20 years , we are familiar and remote, at the same time. The description of the characters, both that of the protagonist, and those of the secondary ones is fascinating. Really one can not help but pity, not without rejection, his main character with his tragicomic traits so well drawn. The stylistic structure of “Operation Sweet” resembles an escherian stairwell that in the end stops being it to become a solid and monolithic story of which to enjoy in each paragraph.