Errante en la sombra (Drifting in the shadow) blurbs

About the characters of Errante en la sombra we could say that tango “looks for them and gives them a name”, it defines them. Our native music role it is not only to create an atmosphere characterized by the well known pathos arrabalero and urban, but also to stamp each story, the characters profiles and their fates.
Andahazi has created a new novel in two ways: a new work for the writer and a new one as a fictional bet, as a attempt – plentiful get – of showing in a book the grace of music comedy, the operetta acting, and as a shot of doing it in the name (as an excuse) of recreate not only the songs but the tango spirit itself. 

F. Sánchez Sorondo, La Nación

In Errante en la sombra, Federico Andahazi increases even more the ornamental tango bet with a literary style that some times seems to have a gardelian tone, even thought with its sixty songs written ad hoc. With the same fate of music comedy, to whose probability the writer appeals to, the novel is very close to Puig melodrama.  

Vicente Muleiro, Ñ, Clarín

If Federico Andahazi is trying to found a new literary genre, as it seems to be, the genre should be called “musical tragedy”.

Jonathan Rovner, Radar, Página12

Errante en la sombra is a novel to read and to sing, to dance and to enjoy from the first chord to the last sol-do.

Rodrigo Campos López, El Tiempo (Colombia)

One day, Federico Andahazi wake up from a dream and sat to write a novel with a detective plot about tango. As time goes by, he understood the tale must have, before anything, a lyric tone and then, the book take a new direction.  (…)
Full of poetic nuances, of a cruel humor, of a never ending imagination, a forceful prose is something many try but many less get. That a novel fascinate is a success; that it makes us read it again is amassing; that it stays in the reader ´s mind long after he had finished it is a miracle. Errante en la sombra is a miracle.
(...)
Close to tango writers than to any other Argentinean author, Andahazi has written a damn and beautiful book after which a tragic story is hidden. And it is already known that there’s always sadness in tango and that there’s not happy endings. It seems to be that in its desolated songs and in its music, the writers confirm that happiness is something that only happens to the others.

Ruth Escalona, Explore (Perú)

The author of The anatomist shows here a new narrative form. With real skill, Andahazi gives at the same time, the pleasure of reading and the excitement of being at the front row of a rare music melodrama about tango.

Bureau de Prensa

(Errante en la sombra) is a really nice store, it’s weaved with tango songs and written over that structure.
The novel rebuilds the Buenos Aires of Gardel. It has a rich plot, subjects, and character relations, fabulous. It shows to the readers a different world, a world of tango, women, sensuality and sexuality.
I recommend the book because it’s easy to read; therefore, because the author is giving with this work, a lot to Latin American literature and his leitmotiv is to aboard forbidden subjects that people want to read. 

Dalton Osorno (escritor ecuatoriano), El Universo (Ecuador)

With a detailed prose, and with the musical acting in every one of the characters, Andahazi rebuilds the beginnings of XX Century with real skill and with enthusiasm. Errante en la sombra is a novel that gives us again that suburban scenario appeared in some short stories of the best Argentinean literature. A song that rises in the middle of a tango paradise, a recurrent subject for local exportation.

Rodrigo Arias, UOL

The new book of the Argentinean Federico Andahzi leads the reader to the sounds of Buenos Aires by means of tango, bandoneon and secret affairs, in which the heart is always blurred.

A subject as Argentinean as tango for a universal novel.