I don't know if former minister Alberto Garzón loves series as much as his former friend (and former vice president) Pablo Iglesias. If you haven't seen it yet, I recommend you the second season of Feud (HBO), dedicated to Truman Capote and his swans, the ladies of New York's high society who formed his entourage in the sixties and swore eternal enmity, as they saw themselves depicted in the editorial preview of Prayers Attended, the unfinished chronicle of the vices and misery of the upper bourgeoisie of the United States. Certainly one of the cruelest, most brutal and most entertaining slanders in the history of universal literature. It cost its author ostracism for exposing his friends' filth, and we suspect he didn't regret it: it was a good price.
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Capote betrayed everything and everyone for his fame and his books. With him there is no valid distinction between the artist and his work, because all his works are due to the perfidy of their author: without his insidious character, his cynicism and his way of feigning friendships in order to undermine the lives he tells there If I wanted to, there would be no In Cold Blood, Music for Chameleons or Answered Prayers, and the world would be worse. This is told very well in “Feud,” directed by Gus Van Sant and divinely performed by a troupe of actresses in their prime. That is why I recommend it to all readers, but with a special mention for Alberto Garzón and his traveling companions of what he describes in the statement published this week as “the political space for which I have worked so hard”. €.
It would be unfair to compare Garzón's prose with Capote's. I also don't think Ryan Murphy will produce a season of Feud that chronicles the rise and fall of Podemos. If I did, I would have to start with the moment Garzón accepts the job offer from a consulting firm that represents everything they conspired to attack heaven for, and then rejects it as a victim of the rage of the righteous. From the Pact of Bottles to the offices of Acento, a soap opera about betrayed friendships and loves and about ideals imprinted on the carpets of the ministries. The story undoubtedly has its merits, but it lacks glamor and literature. We'll stick with Capote's betrayal and let everyone reflect on it however they want.
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