El Túnel

The Tunnel

1951 edition (publ. Emecé Editores)
Author	Ernesto Sabato
Original title	El túnel
Country	Argentina
Language	Spanish
Genre	{Existentialism}
Publisher	Editorial Sur
Publication date	1948
ISBN
OCLC	17522865

The Tunnel (Spanish: El túnel) is a dark, psychological novel written by Argentine writer Ernesto Sabato about a deranged porteño painter, Juan Pablo Castel, and his obsession with a woman. The story's title refers to the symbol for Castel's emotional and physical isolation from society, which becomes increasingly apparent as Castel proceeds to tell from his jail cell the series of events that enabled him to murder the only person capable of understanding him. Marked by its existential themes, El Túnel received enthusiastic support from Albert Camus and Graham Greene following its publication in 1948.

The story begins with the main character introducing himself as "the painter who killed María Iribarne" before delving into the circumstances that led to their first encounter. Castel's obsession begins in the autumn of 1946 when at an exhibition of his work he notices a woman focusing on one particularly subtle detail of his painting "Maternidad" ("Maternity"). He considers this observation deeply significant since it is a detail that he values as the most important aspect of the painting but to which nobody besides him and the woman pay any attention.

Missing out on an opportunity to approach her before she leaves the exhibition, he then spends the next few months obsessing over her, thinking of ways to find her in the immensity of Buenos Aires, and fantasizing about what to say to her.

Ultimately, after seeing her entering a building which he presumes to be her place of employment, he considers how to go about asking her about the detail in the painting. He approaches her and learns that her name is María Iribarne. Following their discussion about the painting, Castel and María agree to see each other again. It later becomes clear that she is married to a blind man named Allende and lives on Posadas Street in the northern part of the city. As Castel continues to see María, however, their relationship comes to be dominated by his obsessive interrogations of her life with her husband, why she does not take her husband's last name, and of her inner thoughts, questions she is unable to answer to his satisfaction. Out of this disconnect, Castel's obsessive thoughts lead him to all sorts of irrational doubts about the love he has come to believe that they have for one another.

This anxiety intensifies after he and Maria make a trip to an estancia, a country ranch in Mar del Plata owned by Allende's cousin Hunter. The atmosphere, the presence and attitudes of the other visiting relatives, and realizing Hunter's jealousy all feed into Castel's paranoia, forcing him to flee the ranch with little more than a word to one of the service staff.