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1 of 1 copy available
1 of 1 copy available

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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    • Publisher's Weekly

      August 16, 2004
      The double motif, which has fascinated authors as diverse as Poe, Dostoyevski and Nabokov, is revived in this surprisingly listless novel by Portuguese master Saramago. Tertuliano Máximo Afonso is a history teacher in an unnamed metropolis (presumably Lisbon). Middle-aged, divorced and in a relationship with a woman, Maria da Paz, he is bored with life. On the suggestion of a colleague, one night Máximo watches a video that changes everything. The video itself is a forgettable comedy, but the actor who plays the minor role of hotel clerk (so minor he isn't listed in the credits) is Afonso's physical double. Soon Afonso is feverishly renting videos, trying to find the actor's name, while hiding his project from his suspicious colleague, his lover and his mother. Finally tracking the man down, he suggests a meeting. The actor, a rather sleazy fellow, resents Afonso's presence, as if his identical appearance were a sort of ontological theft. Soon the two are in a competition that involves sex and power. Narrating in his usual long, rambling sentences, Saramago suspends his characters and their actions in fussy authorial asides. Afonso has several hokey "dialogues" with "common sense"; his situation, which might be the germ for an excellent short story, is stretched out far beyond the length it deserves. This semi-allegory is certainly not one of Saramago's more noteworthy offerings. Agent, Ray-Güde Mertin.

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