Comments

“Gaudí’s Silence, work published in Spain, adds to the wave of what is being written, and does it well, taking it over the top. It does not lose freshness even though it revolves around an issue that has been for some time in the narrative arena: the cathedrals. It is very pleasant, with agile and well-constructed dialogues, descriptions and narration of impeccable syntax. In Barcelona, the Sagrada Familia, at 401 Mallorca Street, not only occupies the heart of the city.  Even tough it will not be completed for the next 20 or 25 years, its sacred omnipresence for the Christian flock for over a century is felt by all. It is the protagonist of the novel by JD Morgan. What else could happen with an architectural work, that more than a masterpiece, is divine, and features two creators: one on earth who sublimated the design that the Other commissioned from heaven? To what extent would that be possible today?  Adventure arises, death, violence, research, and the great mystery revealed in secret confession. Above all love gravitates. Are they not men the ministers of God? It is perceived in the novel that Gaudí is not only the one who modified until he infused it with divinity, an immeasurable cathedral, and that even after a century it is still reborn every time, but also that he is present in spirit. Unfinished yes, but so alive, that it is possible to feel its heartbeat; because as Gaudí said referring to the sound of metal tubes containing countless rolls of plans, drawings and sketches in which he worked and also as those who, enamored of his ineffable endeavor, work on it today: it sings with “its own vocal cords.”

Berna de Burell, Mosaico April, 2008

“In the same line of curiosity about Vatican affairs, this book of educated intrigue puts the Pontiff in the spotlight from the first sentence, taking the readers almost without them realizing it to be immersed in a plot in which architecture has a role as prominent as passion, when an ambitious development project in Barcelona threatens to cause structural damage to Gaudi’s masterpiece: La Sagrada Familia. Soon, Basque Jesuits, vengeful terrorists and an enigmatic green eyed architect come into play, which accelerate the pace of the narrative to incredibly frantic points, given the subject matter, demonstrating the ability that the author has reached.”

Panorama, February, 2008