At this point in the film, to talk about Jon Bilbao is to talk about one of the most important voices in Spanish literature. Books like “The strangers” y “Basilisk”mandatory complements of “Spider”, the novel of novels that concerns us today, in which we meet again with the gunman John Dunbar. In other words, our Basilisk, who is on his way to becoming (if he isn’t already) one of the most iconic characters among all those that the recent Iberian literary universe has offered us.
As if it were a Blueberry of national letters, Bilbao’s best-known creation returns with a new company, which will be the leitmotiv of the network of narrative chains that the script will offer us throughout its more than four hundred pages. that make up such an excellent tour of the western path.
That Bilbao is an alchemist of the short story and of the phrases thrown with a harpoon helps to provide more than solid arguments to such a demonstration of control over expressive heterodoxy. Because this book is still another product that emerged from the laboratory of ideas of an author exceeding in his ability to forge literary gadgets where the originality of the visualized form highlights the unlimited excellence of the universe to which he is pushing us. In this case, a world map that crosses from the biblical journey through the United States in search of Paradise, directed by Dunbar, to the trip to Paris by his ex-partner Katharina.
The eras intertwine throughout a fragmented reading in time, where the central context is a western that, at times, makes us think about what a new foray by Tom Spanbauer into gunslinging terrain and the Nevada desert would be like. The capacity for metaphorical adjectives of the North American genius is one of the gifts that he shares with Bilbao, which, with each new literary publication, underlines the relevance of a career that is beginning to be epic. The same one in which “Spider” already occupies a privileged place.
