A man is cut down in the street by a lunatic. His distraught widow sits in a café, awaiting his best friend. His best friend aspires to take his place as her husband. Translated from Javier Marías’s 2011 Spanish-language novel, “The Infatuations” presents this tangled web of human dealings from the perspective of María, a publisher’s assistant who frequents the same café as the ill-fated Miguel Deverne and Luisa, his widow, and who is slowly drawn into this web.

“The Infatuations” is a profoundly engaging work, although not for the reasons one might think. American press for the book has tended to emphasize the fact that it is nominally a murder mystery. This emphasis is misleading. The plot is so predictable as to be archetypal; one is reminded not of the sharp twists and turns of American or British mystery novels so much as the ritualized forms of Attic tragedy or commedia dell’ arte. In short, there is very little “mystery” to this mystery. Nevertheless, “The Infatuations” is still well worth reading, just as tragedies and commedie are still worth watching—the devil, as always, is in the details.

Marías has not given us a wholly original set of events to ponder; rather, he has given us a reflection on the transience of love and the ultimate insurmountability of death, a rumination of great tranquility reflected in his long, aperiodic sentences, which recall the peacefulness of Camus’s “The Stranger” without that work’s predominant haziness of detail. There are many extended passages on the final quietude of death, none perhaps so clear as an imagined speech that María attributes to the dead Deverne. Speaking of the dead’s indifference toward the activities of the living—specifically his own indifference to the marriage of his best friend and his widow—he says:  “You know that everything will carry on without you, that nothing stops because you have disappeared. But that ‘afterwards’ doesn’t concern you.”

There are many such passages, particularly in the first half of the book. In them one finds a Lucretian sensibility of death as final, for the best, and not to be feared. Like Lucretius in “De Rerum Natura,” however, Marías’s persistent dwelling on the theme of mortality to the exclusion of other concerns—including getting the novel’s action off the ground—seems to belie this message; whether this is the intention of the author or rather a flaw is up to the reader. It seems to be his intention, for Marías knows well the ways in which people think, and accordingly the attribution of a flawed rhetoric should be reserved. It must nevertheless be noted that the novel’s constant digressions occasionally flirt with the trite: “There was still the possibility that it wasn’t, according to him, of course (I would never know more than what he told me, and so I would never know anything for sure; yes, it’s ridiculous, isn’t it, that after all these centuries of practice, after so many incredible advances and inventions, we still have no way of knowing when someone is lying; naturally, this both benefits and prejudices all of us equally, and may be our one remaining redoubt of freedom).” This observation is true, but is so commonplace as to be of questionable value even in a parenthetical statement.

Regardless of any imperfections in execution, “The Infatuations” is a remarkable book, not least in that it accomplishes the very difficult task of holding a reader for half its length before introducing any sort of dramatic conflict. Its ambition of scope is admirable, directly addressing as it does the two most looming themes of human thought, love and death; and yet it still manages to avoid entirely the overwrought tone that almost inevitably plagues such books. Indeed, here perhaps we find the greatest virtue of “The Infatuations”: it brings a peaceful reflection on mortality to our daily lives.