I have no idea how Prada manages to be such a scandalous right-winger everywhere he goes and end up writing utterly apolitical novels like Lucía en la noche, or all the rest of them that I’ve read. The two most recent ones I haven’t read because they are about WW2 and I hate WW2 literature. So maybe those are political, I don’t know.
The only thing in Lucía that can be vaguely seen as political is the storyline about a corrupt NGO that abuses refugees in a Syrian refugee camp. Which is a stance that everybody across the political spectrum will support because there’s no pro-abuse of refugees party on the left or the right.
I liked the novel until the Syrian refugees made a showing. My dislike of this storyline isn’t content-based. I didn’t like it because it’s clumsily done and feels like something completely extraneous to the novel. Prada needed to tie the loose ends and he came up with this narrative device that is not elegant and does not add to the enjoyment of the novel. You can absolutely write about Syrian refugees in a way that will improve a novel. Prada, however, didn’t manage that. He decided to wrap things up, had no idea how to do it, and tacked a spy-who-came-in-from-the-cold ending to a novel about a writer’s struggle to regain his creative impetus. Some people should write about refugees but Prada is not one of them. He should write about writers. Those are his best novels by far.