El lado frío de la almohada
El lado frío de la almohada

The Cold Side of the Pillow

El lado frío de la almohada

In the year 2003 Philip Hull, a North American diplomatic based in Madrid, finds himself involved in a labyrinth when he accepts a role as a go-between in a deal with security agents from Cuba. Laura Bahía, a young Spanish agent of Cuban origin, appears on the scene to cast doubt on his own skeptical, individualistic and sometimes generous nature. The love story between them reflects the story of the difficulties of the Cuban revolution. Meanwhile, Laura writes intimate letters to someone who is not Hull but the director of a best-selling newspaper. El lado frío de la almohada questions the conflict between the individual and the community; the book asks for the stories that we expect, internalizes the role of the non-imaginable and makes a staunch case for the need to defend the Cuban revolution today.

SERIESNarrativas hispánicas


  • France (Seuil)
  • Italy (Neri Pozza)
  • Brazil (Mundo Editorial)
  • Turkey (Alef)
  • China (People's Literature Publishing House)
Belén Gopegui

Belén Gopegui

Belén Gopegui was born in Madrid in October 1963. In 1992 she published the novel La escala de los mapas, which had an extraordinary impact: “An overwhelmingly powerful work… the stunning thing about this novel is the originality of its narrative strategy in full concordance with the rhythm of its prose” (Carmen Martín Gaite). After her fascinating second novel, Tocarnos la cara (1995), with the third, La conquista del aire (1998), she took a definitive step forward: “A perfect novel” (Francisco Umbral). In 2001 she wrote her fourth novel, Lo real: “Belén Gopegui is the writer who produces the best and wisest example of the novel as an instrument of investigation, reflection and political analysis, in the widest possible sense: that relating to the question of the polis” (Ignacio Echevarría, El País). Her fifth novel was El lado frío de la almohada:“The only surprise provided by each new novel by Belén Gopegui is not its quality —something that we can take for granted— but finding out the way she has succeeded” (Rafael Conte, El País). And, in 2007, she wrote her sixth novel, El padre de Blancanieves: “A serious and important work that deserves to be read, because, aside from being interesting because of the plot that sustains it, it urges a reflection on reality”. (Santos Sanz Villanueva, El Cultural); “The reader is seduced by a prose that aims to show reality in ways that are similar to certain works by Godard or through the films of Kluge, Fassbinder, etc.” (Joaquín Arnáiz, La Razón); “With this novel, she reaches her most ambitious heights” (Rafael Conte, El País). Her novels have been translated into Chinese, French, Italian, Turkish, German, Portuguese, Polish, Finnish, Serbian and Dutch.