Joan Estruch Tobella Knihy

The Roman Catholic organization Opus Dei has sparked intense debate, facing accusations of being a "secret society," a "cult," and an "ecclesiastical mafia" that employs mind-control tactics and intimidates critics. Despite this, it enjoys powerful support, notably from Pope John Paul II, who championed its founder, Monsignor Escriva de Balaguer, whose beatification drew 200,000 followers in 1992. Joan Estruch, through extensive interviews and Opus Dei's literature, crafts an authoritative portrait of this enigmatic group. He delves into Escriva's life, revealing details often omitted from official biographies, such as his reaction to Vatican II, his desire for aristocratic status, and his complex character—ambitious yet sincere. Estruch also clarifies that Opus Dei was founded in 1939, not 1928, and its origins are intertwined with Franco's regime. He argues that the Jesuits, often seen as rivals, initially inspired Escriva, suggesting that their conflicts stem from shared traits. This exploration tracks Opus Dei's transformation from a local movement in Madrid to a global entity with 75,000 disciplined members wielding significant influence. First published in Spain in 1993, this work serves as a reliable resource on Opus Dei's history, ideology, and role in the Church, appealing to those intrigued by its mystery and the Catholic Church's contemporary impact.

La Regenta is the great novel of 19th-century Spanish literature. The passions, hatreds, jealousy, and obsessions awakened by Ana Ozores in Vetusta—a fictional representation of Oviedo—serve as a basis for "Clarín" to deliver an unflinching examination of the late 19th-century Spanish bourgeoisie. In Vetusta, the provincial capital, Ana Ozores marries the former Regent of the city's Audiencia, Víctor Quintanar, a kind but eccentric man much older than she. Feeling emotionally abandoned, Ana begins to attract the attention of the provincial seducer Álvaro Mesía. To complicate matters, the canon magistral D. Fermín de Pas, Ana's confessor, also falls in love with her, becoming an unacknowledged rival to Mesía. A rich tapestry of secondary characters, portrayed with merciless irony by Clarín, completes the human landscape of the novel.