Review: The Winner Stands Alone

“During the past few decades, we have lived in a culture that has privileged fame, money and power. Many of us have been led to believe that these were the only values worth pursuing, unaware that the real, behind-the-scenes manipulators remain anonymous. These manipulators understand that the most effective power is the kind that goes unnoticed by anyone — until it is too late, and we are trapped.”

Paulo Coelho’s latest novel, The Winner Stands Alone, has at its core some very salient and strong messages about the nature of fame, celebrity, power, and — as Coelho states in the preface — the manipulation of dreams.

The beautiful, the powerful, and the wannabes have gathered for the renowned Cannes Film Festival. Coelho’s tale follows the fortunes of several characters over the course of one day during the festival.

Igor, a wealthy Russian entrepreneur, follows his ex-wife Ewa and her new husband Hamid to Cannes. Does he really still love Ewa, or is it that he just can’t stand being thwarted? In life as in business, his tenet is that the ends justify the means.

Gabriela, like so many other hopeful actors, is in Cannes desperately trying to be discovered. It looks like she may have finally been granted her wish — but will it be all she has longed for?

Jasmine does not seek fame and celebrity as others do, but her striking beauty opens the door for her to access her real dreams through modelling. Staying true to her dreams will be her challenge.

As well as musings on the spurious delights of notoriety and influence, a significant amount of the book is given over to Coelho’s comments on the so-called “Superclass”, a term that relates to the truly powerful and manipulative. They are not instantly recognisable celebrities, but are significant in the rise of many. These are obviously issues about which Coelho feels very fervently.

Unfortunately, this passion often dominates the story to the point where it often felt like two separate books were vying for attention — the actual fiction, and a diatribe on fame and power. As such, both lost much of their impact. The story suffered for the long breaks in action, and Coelho’s observations at times felt repetitive despite the very important points that were being made.

From the author who brought the world such wonderful tales as The Alchemist and Veronika Decides to Die, The Winner Stands Alone is a vaguely dissatisfying addition to Coelho’s catalog.

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