En Düsseldorf no hay ni puede haber leones

Many surprises await the reader of this novel, including the delicate art of the goldsmith and Ignacio Abad’s precise way of developing and unfolding the plot. Thanks to his ability to construct the story and the consistent voice of his protagonist – an unnamed journalist – we discover a fractured story that moves between the past, present and future, leading to an astonishing game of mirrors or, rather, a labyrinth of intersecting stories. As we read on, it becomes harder to distinguish between the truth and the lie, the real and the imagined, or to know which side of the blurred line separating them we are on, offering a disturbing, exciting challenge for the reader.