01-Revolution feat. Gentleman
02-Big up Papa
03-Good Cannabis
04-Revolution (Instrumental)
Wednesday, December 17, 2008
Laundromats In Manhattan That Are 24 Hours
SOUNDS Queen Omega "Revolution [2008]
01-Revolution feat. Gentleman
02-Big up Papa
03-Good Cannabis
04-Revolution (Instrumental)
01-Revolution feat. Gentleman
02-Big up Papa
03-Good Cannabis
04-Revolution (Instrumental)
Monday, December 1, 2008
Liuxury Speed Boats For Sale
The Natty Combo - In Flames [2008]
You'll
01-02-03 in flames
"Both
04-13 Lives (Feat. Alika)
05-Do not cry to the final 06-07-Agredezco
my luck
My song
08-09-I believe in your love
10-I will not apologize to
Although
11-12-Willow tree (Alton Ellis)
You'll
01-02-03 in flames
"Both
04-13 Lives (Feat. Alika)
05-Do not cry to the final 06-07-Agredezco
my luck
My song
08-09-I believe in your love
10-I will not apologize to
Although
11-12-Willow tree (Alton Ellis)
***** *******
Lupus And Thrush Symptoms
Roots and Culture - In Victoria
1. Enter
source: http:reggae-fluke.blogspot.com
1. Enter
2. In Victoria
3. Little Brother
4. Persistence
5. Attention
6. Come From
7. Good Boy
8. To Whom It Concerns
9. Ganja
10. Crying
11. Without Her
12. Real Rastaman
13. What About
14. Man charged
15. Falling
source: http:reggae-fluke.blogspot.com
Saturday, October 25, 2008
Make A A3 Poster In Windows
Percy Galindo. As the real heroes. Cope editions. Lima, 2008. 400 pp.
Como los verdaderos héroes de Percy Galindo, escrita en primera persona y en presente histórico, set in his native Huancavelica, tells fluently, and at times a real and passionate delirium-the adventures of a guy who intends to dispense with all his past, including its name, in the exercise narrative assumes. But it is a narrative exercise that does not ignore the reflection that some events involve not missing an opportunity to describe various urban and rural areas of the former Villa Rica de Oropesa, and ignores the history near, far and remote area of \u200b\u200bPeru.
Like true heroes is a complex novel, but simple structure: two very well defined from the crisis of the narrator-character with no name. This crisis is nothing a physical and emotional collapse. Galindo limit referred to in this situation (as a human experience and narrative as a boundary between the first and second parts of the novel) as follows: "I do not answer and I sink deeper into the soil. / Shot in the middle of the track, I think, is going to rain. / I lift my head and back. Calculate how much you have to move, dragging me back, arms, to return to the park, my starting point. " (P. 192)
The second part of the book consists of testimonies (fragments) that, like pieces of a puzzle narrative will give a greater depth or texture to unfinished record of the first part. But not lose sight of the fall of the character literal and metaphorical: the true extent of this will be appreciated by the end of the novel, the "testimony" of Iris Ramirez. Here we are at the same event, but from outside, ie, reframed and interpreted from the psychological dimension of an unfriendly character with the protagonist: "Because that's what I thought, that of pure drunkenness or the prevailing cold the bastard was dead lying there on the bench. I know not where I got then courage and encouraged me to touch your forehead, burning, burning like hell itself, despite the rain and cold. Is the heat of the devil, I said, frankly scared, and went back to moving again. " (P. 357)
plain Unlike verbal marks the first part, the second is a sequence of points of view fairly rugged. In some ways it is as if the author offered the desert coast, the apparent flatness of the monotonous landscape from north to south through undulating just a speech, to interrupt suddenly, from the second half, with ups and downs such as the Andean landscape. That is, as if every part of the record corresponding to a field or geographical area.
But this rugged landscape, that is, the narrative terrain rugged, broken or difficult access is the second part of As the real heroes, is an order on which it is appropriate to reflect.
So as you can see the Andes from the window of a plane and throws up sequences in a disposition and harmonic variation in the same way we find, firstly, the registration of Professor Soto. In this follow Iris Ramirez, Jesus Urruchi, Alberto Ramirez (fourth place), Lenin Huarancca, Ms. Lopez and Carlitos Limachi. After you enter a new sequence: Professor Soto, Amador Garcia, Sergeant Ruiz, Alberto Ramirez (fourth place), Ms. Lopez and Carlitos Limachi. In the third sequence: Professor Soto, Lenin Huarancca, Javiercito Waldo Contreras and Perez. In the fourth: Professor Soto, Iris Ramirez, Jose Carlos and Abilio Curi. In the fifth, Professor Soto, Lenin Huarancca, Paulino Atúncar professor Ruby Reef. In the sixth, Professor Soto, Iris Ramirez, Lenin Huarancca, Carlitos Limachi, Waldo Contreras, Alejandro Vega and Alberto Ramírez. In the seventh, Professor Soto, Alberto Ramírez, Lenin and nurse Esther Huarancca Piscoya. In short: 17 controls (figure anything free) and 36 witnesses.
These records also establish itself as a great seven-part polyphonic unity, are apparent in the reading as a succession of voices that are giving birth and at the same time, expanding the universe of the novel with a sense very well calculated. This set could be assumed, by its function as a sort of Greek chorus. As is known, in the plays of ancient Greece, the choir presented the context and also summarized the facts and situations to which the public could follow the events smoothly. This choir would comment on the main themes of the work and nothing trivial matter, teaching the public how to react to the staging.
Many of the references to this sort of Greek chorus-Huancavelica-for its ability to explain and discuss what has happened with some gossip tone Picture Rating the tragic hero with no name " create intersections with the facts of the first part. The stimulating and rewarding of this proposal is how Galindo will provide a changing and relative truth, which enriches the story line above.
not forget that the real heroes is, in large part, and from his first words: "Seventeen stab wounds" - a crime novel, so that the use of evidence and witnesses, in many cases, rather than explain, reveal, confuse or contradict, exacerbate the narrative rhythm. We are facing verbal instincts that suggest an open auction and ironic ("A brief note of an order") that has the initials of the author (PGR) as a signature-final where even the authorship of the record of the testimony is in doubt. Impulses that create furrows subplots also because, as happens in life is really no fact-although isolable isolated.
Galindo, with remarkable skill of harmonizing these stories high in a pretty solid body. And it is free of voices that this cluster has as its epigraph a phrase from Charles Baudalaire ("The only true sports hero), which echoes the title of the novel and, especially, reveals the following sardonic grin gestures protagonist.
The classic hero-from Gilmagesh, Odysseus and Aeneas, even the hero-artist who descends into hell for love, as Orpheus and Dante, to the romantic-like hell of Lermontov, or recent urban-as outlined by the great Sabato-all, without exception, as French poet suggests, are mostly solitary creatures if not bored.
This certainly makes it more interesting novel Galindo and drags his protagonist without identity to a point where there is no turning back. Or maybe, if we still believe in the idea that love is a disease that cures everything and ends with the real heroes. 
Como los verdaderos héroes de Percy Galindo, escrita en primera persona y en presente histórico, set in his native Huancavelica, tells fluently, and at times a real and passionate delirium-the adventures of a guy who intends to dispense with all his past, including its name, in the exercise narrative assumes. But it is a narrative exercise that does not ignore the reflection that some events involve not missing an opportunity to describe various urban and rural areas of the former Villa Rica de Oropesa, and ignores the history near, far and remote area of \u200b\u200bPeru. Like true heroes is a complex novel, but simple structure: two very well defined from the crisis of the narrator-character with no name. This crisis is nothing a physical and emotional collapse. Galindo limit referred to in this situation (as a human experience and narrative as a boundary between the first and second parts of the novel) as follows: "I do not answer and I sink deeper into the soil. / Shot in the middle of the track, I think, is going to rain. / I lift my head and back. Calculate how much you have to move, dragging me back, arms, to return to the park, my starting point. " (P. 192)
The second part of the book consists of testimonies (fragments) that, like pieces of a puzzle narrative will give a greater depth or texture to unfinished record of the first part. But not lose sight of the fall of the character literal and metaphorical: the true extent of this will be appreciated by the end of the novel, the "testimony" of Iris Ramirez. Here we are at the same event, but from outside, ie, reframed and interpreted from the psychological dimension of an unfriendly character with the protagonist: "Because that's what I thought, that of pure drunkenness or the prevailing cold the bastard was dead lying there on the bench. I know not where I got then courage and encouraged me to touch your forehead, burning, burning like hell itself, despite the rain and cold. Is the heat of the devil, I said, frankly scared, and went back to moving again. " (P. 357)
plain Unlike verbal marks the first part, the second is a sequence of points of view fairly rugged. In some ways it is as if the author offered the desert coast, the apparent flatness of the monotonous landscape from north to south through undulating just a speech, to interrupt suddenly, from the second half, with ups and downs such as the Andean landscape. That is, as if every part of the record corresponding to a field or geographical area.
But this rugged landscape, that is, the narrative terrain rugged, broken or difficult access is the second part of As the real heroes, is an order on which it is appropriate to reflect.
So as you can see the Andes from the window of a plane and throws up sequences in a disposition and harmonic variation in the same way we find, firstly, the registration of Professor Soto. In this follow Iris Ramirez, Jesus Urruchi, Alberto Ramirez (fourth place), Lenin Huarancca, Ms. Lopez and Carlitos Limachi. After you enter a new sequence: Professor Soto, Amador Garcia, Sergeant Ruiz, Alberto Ramirez (fourth place), Ms. Lopez and Carlitos Limachi. In the third sequence: Professor Soto, Lenin Huarancca, Javiercito Waldo Contreras and Perez. In the fourth: Professor Soto, Iris Ramirez, Jose Carlos and Abilio Curi. In the fifth, Professor Soto, Lenin Huarancca, Paulino Atúncar professor Ruby Reef. In the sixth, Professor Soto, Iris Ramirez, Lenin Huarancca, Carlitos Limachi, Waldo Contreras, Alejandro Vega and Alberto Ramírez. In the seventh, Professor Soto, Alberto Ramírez, Lenin and nurse Esther Huarancca Piscoya. In short: 17 controls (figure anything free) and 36 witnesses.
These records also establish itself as a great seven-part polyphonic unity, are apparent in the reading as a succession of voices that are giving birth and at the same time, expanding the universe of the novel with a sense very well calculated. This set could be assumed, by its function as a sort of Greek chorus. As is known, in the plays of ancient Greece, the choir presented the context and also summarized the facts and situations to which the public could follow the events smoothly. This choir would comment on the main themes of the work and nothing trivial matter, teaching the public how to react to the staging.
Many of the references to this sort of Greek chorus-Huancavelica-for its ability to explain and discuss what has happened with some gossip tone Picture Rating the tragic hero with no name " create intersections with the facts of the first part. The stimulating and rewarding of this proposal is how Galindo will provide a changing and relative truth, which enriches the story line above.
not forget that the real heroes is, in large part, and from his first words: "Seventeen stab wounds" - a crime novel, so that the use of evidence and witnesses, in many cases, rather than explain, reveal, confuse or contradict, exacerbate the narrative rhythm. We are facing verbal instincts that suggest an open auction and ironic ("A brief note of an order") that has the initials of the author (PGR) as a signature-final where even the authorship of the record of the testimony is in doubt. Impulses that create furrows subplots also because, as happens in life is really no fact-although isolable isolated.
Galindo, with remarkable skill of harmonizing these stories high in a pretty solid body. And it is free of voices that this cluster has as its epigraph a phrase from Charles Baudalaire ("The only true sports hero), which echoes the title of the novel and, especially, reveals the following sardonic grin gestures protagonist.
The classic hero-from Gilmagesh, Odysseus and Aeneas, even the hero-artist who descends into hell for love, as Orpheus and Dante, to the romantic-like hell of Lermontov, or recent urban-as outlined by the great Sabato-all, without exception, as French poet suggests, are mostly solitary creatures if not bored.
This certainly makes it more interesting novel Galindo and drags his protagonist without identity to a point where there is no turning back. Or maybe, if we still believe in the idea that love is a disease that cures everything and ends with the real heroes.
Thursday, October 23, 2008
Chikan Vids Streaming
Denisse Vega Farfán. A dwelling after the realms. Lustra Editores-CCE. Lima, 2008. 50 pp.
An abode after realms is a book which shows two very clear: [a] that its author, poet Denisse Vega Farfán, can articulate with a steady job and you want to say-and not be tempted to favor the exercise of owner on the north of the noun-, and [two] that his inner-cultivated, no doubt, with readings that have enhanced its poetic sensibility (as a reflection of the human aesthetic) - not a product of coincidence but of intention and strenuous work: to explore the possibilities of latent (inactive seemingly) in conjunction with the resources of language. Vega Farfán
provides the results of their investigation at the border of biology to culture, from the anecdotal to the historical and literary. In some cases a certain minimalist strokes (just a few lines that cut like a sharp above) and other (most) are a dialogue between two voices (poetic presences) are being defined in an increasingly intense counterpoint.
An abode after kingdoms is divided into four parts. In each, the author works a figure of irregular sides. But seen together these forms at some distance fit together perfectly. This interest metonymic-that does not neglect the whole or overall vision, but on the contrary, it gives a greater glare- is held in a job, verse by verse, which stresses the power of metaphor, as well as the pleasure of heteroglossia (ownership and foreign languages \u200b\u200brecreation) in the field of intertextuality, ie the idea that a text is a result of other and predecessor of some who are going to occur. It is precisely this continuity in the literary-aesthetic projection of a future based on knowledge and acceptance of a tradition, which is secured by Vega Farfán build enthusiasm in the verse that illuminates and sustain the image that leads to action to meditate and reflect with depth.
At this point, it should notice the figure of the King. But before Clarification: Vega Farfán creative license is taken not to use capital letters in his book as required by English orthography. The poems are written entirely in lowercase, except the word "king", presented initially capitalized in all cases. An abode after kingdoms is a book with keywords. Among these, the word "king" is both essential, revealing, as it gives a particular meaning to the title and transverse momentum to each of the four parties.
La Vega Farfán first used the word "king" (in the third poem, "outside the realm we") is precisely to play down the sense that this word entered the dictionary of the English Language in the first sense: king or sovereign prince of a kingdom. To quote the poet:
who knows if the kingdom is a king who left his beheaded
powers
Then later in the eighth poem ("have joined the chorus'), the contrapuntal voice concerns:
in the kingdom no one is more worthy than the King
bone with a crown of serpents
his coat and flies feast
So, she returned at the end, apparently, in an ironic appearance and degeneration, "certain attributes royal (crown, coat and banquet). In the same poem ("have joined the chorus'), there is another reference:
and between hands have left a
manual to learn the first jumps over the rope
until King
android dress that string will be
order in which all jump
In these verses of regal majesty Vega Farfán is reduced to a mockery of the human, that is, an automaton figure of a man (android), but the poet emphasizes power, but for a minor issue (fun, trivial and even ludicrous).
In the following reference, located in the eighth poem ("have joined the chorus') the term "king" is used in its most traditional and disastrous possibility: as the person who decides life and death over his subjects.
but the King will raise the thumb
While there is a distortion of the royal figure, it is clear the stereotype and, in any case, it poses some ambiguity of gesture that indicates positive or approving.
Moreover, the routine is highlighted in the following verses of the ninth poem
perhaps the King is that I live to share
skin and lining of unwanted pictures?
In this case the royal figure has been reduced to that of any mortal, but this is definitive for the question mark. And later, in the same poem, read with the same questioning tone: is it
this navel
which binds me to the deck of the first King?
their vile spells the way forward to the dungeon of their brothers?
Here are two possibilities: that of a king-or early-pristine power, or with the letter K in the deck or French, to take the word "deck" is not as large wooden hammer, but as a certain group (hopefully) of cards.
pages later in the twelfth poem ("that's the same sky") Vega Farfán proposes:
must have been the daughter of King
that broke the scepter fortune
As shown, the regal figure retrieves one of his symbols of power, the scepter, but at the same time, this recovery in the field of consciousness is a renunciation of sovereignty-effective loss of real substance "on the facts of the poem. And this, from the perspective of the author and the logic of poems, is a fortune (luck).
Later in the thirteenth poem ("the kingdom is my sign and my name"), Vega Farfán once again used the term "king", but with a twist:
way out of the kingdom
sunk there in each
how to escape the designs of an abject King
that is self love and deer
be both victim and murderer
world swiftly by which our faith is battered and our boots
We face a very special. On the one hand, it emphasizes the dark side of power ('abject King "). Furthermore, establishing a democratic sense of the word "king", but in the most nefarious and paradoxical. In the following verses of the poem, repeats and deepens the democratic meaning of the word:
certainly when everything is thrown
a grain of every King
lead to inhabit the realm of ivory
eternally condemned to see the dead
who left their hands up in an invisible
quicksilver
From these points of view The title of the book - An abode after the kingdoms - radiates different tracks to enrich your reading. Moreover, if proposed by the authors after the tradition will definitely enhance the scope connotative word "king" and make wider the chance to feel and enjoy the book Vega Farfán.
Moreover, we must not forget the ancient idea, legendary, historical the king is elected or appointed by God to govern and thus has divine powers. In the Judeo-Christian tradition, the same figure of Christ evokes this idea to the point of mockery, when the Roman soldiers placed the banner with the inscription INRI on the cross.
Similarly, the term, as is employed by Vega Farfán, brings to mind the Kingfisher, neutered or crippled character of the legend of the Holy Grail, which he used in his acclaimed TS Eliot poem The Waste Land . In some rewriting of the legend, the sovereign is called Amfortas-name which means he has no power, and only finds solace fishing. The legend says that the wound Fisher King heal when you get a pure knight castle where the Holy Grail and raises the key question. And this perhaps is also the key to An abode after the kingdoms : ask certain questions, notice the sterility of the kingdom and find the right path to find the house. Possible clue that would relate to the journey of Odysseus to reach their happy kingdom, the island of Ithaca-family dwelling that fills and restores human in scale, after a long heroic exercise.
Given this, it is becoming established aesthetic maturity Vega Farfán. The author, far from being commonplace, designs, shapes and lines with conservative styling originality, but not to dazzle to surprise but to approach the truth imprisoned in the mystery of the poetic image, one that sustains the charm of poetry well executed.
And after all the writing, there remains the question of whether each poem in the book is, indeed, a realm where Denisse Vega Farfán extends the territory of the word, and displays its power and sovereignty. That is, how it works especially beautiful outcrop of literary truth, gives us his worldview and explains how to understand the miracle-and hope-for life. Miracle and hope in the person of a child (as recorded in the title of Part III: the child in the kingdom) and especially towards the end of the book (Part IV, entitled: final resting place), in which the incisive voice counterpoint raises no kingdoms or kingdom, but freedom to see through the heart because the final resting place, perhaps, is one same. 
An abode after realms is a book which shows two very clear: [a] that its author, poet Denisse Vega Farfán, can articulate with a steady job and you want to say-and not be tempted to favor the exercise of owner on the north of the noun-, and [two] that his inner-cultivated, no doubt, with readings that have enhanced its poetic sensibility (as a reflection of the human aesthetic) - not a product of coincidence but of intention and strenuous work: to explore the possibilities of latent (inactive seemingly) in conjunction with the resources of language. Vega Farfán provides the results of their investigation at the border of biology to culture, from the anecdotal to the historical and literary. In some cases a certain minimalist strokes (just a few lines that cut like a sharp above) and other (most) are a dialogue between two voices (poetic presences) are being defined in an increasingly intense counterpoint.
An abode after kingdoms is divided into four parts. In each, the author works a figure of irregular sides. But seen together these forms at some distance fit together perfectly. This interest metonymic-that does not neglect the whole or overall vision, but on the contrary, it gives a greater glare- is held in a job, verse by verse, which stresses the power of metaphor, as well as the pleasure of heteroglossia (ownership and foreign languages \u200b\u200brecreation) in the field of intertextuality, ie the idea that a text is a result of other and predecessor of some who are going to occur. It is precisely this continuity in the literary-aesthetic projection of a future based on knowledge and acceptance of a tradition, which is secured by Vega Farfán build enthusiasm in the verse that illuminates and sustain the image that leads to action to meditate and reflect with depth.
At this point, it should notice the figure of the King. But before Clarification: Vega Farfán creative license is taken not to use capital letters in his book as required by English orthography. The poems are written entirely in lowercase, except the word "king", presented initially capitalized in all cases. An abode after kingdoms is a book with keywords. Among these, the word "king" is both essential, revealing, as it gives a particular meaning to the title and transverse momentum to each of the four parties.
La Vega Farfán first used the word "king" (in the third poem, "outside the realm we") is precisely to play down the sense that this word entered the dictionary of the English Language in the first sense: king or sovereign prince of a kingdom. To quote the poet:
who knows if the kingdom is a king who left his beheaded
powers
Then later in the eighth poem ("have joined the chorus'), the contrapuntal voice concerns:
in the kingdom no one is more worthy than the King
bone with a crown of serpents
his coat and flies feast
So, she returned at the end, apparently, in an ironic appearance and degeneration, "certain attributes royal (crown, coat and banquet). In the same poem ("have joined the chorus'), there is another reference:
and between hands have left a
manual to learn the first jumps over the rope
until King
android dress that string will be
order in which all jump
In these verses of regal majesty Vega Farfán is reduced to a mockery of the human, that is, an automaton figure of a man (android), but the poet emphasizes power, but for a minor issue (fun, trivial and even ludicrous).
In the following reference, located in the eighth poem ("have joined the chorus') the term "king" is used in its most traditional and disastrous possibility: as the person who decides life and death over his subjects.
but the King will raise the thumb
While there is a distortion of the royal figure, it is clear the stereotype and, in any case, it poses some ambiguity of gesture that indicates positive or approving.
Moreover, the routine is highlighted in the following verses of the ninth poem
perhaps the King is that I live to share
skin and lining of unwanted pictures?
In this case the royal figure has been reduced to that of any mortal, but this is definitive for the question mark. And later, in the same poem, read with the same questioning tone: is it
this navel
which binds me to the deck of the first King?
their vile spells the way forward to the dungeon of their brothers?
Here are two possibilities: that of a king-or early-pristine power, or with the letter K in the deck or French, to take the word "deck" is not as large wooden hammer, but as a certain group (hopefully) of cards.
pages later in the twelfth poem ("that's the same sky") Vega Farfán proposes:
must have been the daughter of King
that broke the scepter fortune
As shown, the regal figure retrieves one of his symbols of power, the scepter, but at the same time, this recovery in the field of consciousness is a renunciation of sovereignty-effective loss of real substance "on the facts of the poem. And this, from the perspective of the author and the logic of poems, is a fortune (luck).
Later in the thirteenth poem ("the kingdom is my sign and my name"), Vega Farfán once again used the term "king", but with a twist:
way out of the kingdom
sunk there in each
how to escape the designs of an abject King
that is self love and deer
be both victim and murderer
world swiftly by which our faith is battered and our boots
We face a very special. On the one hand, it emphasizes the dark side of power ('abject King "). Furthermore, establishing a democratic sense of the word "king", but in the most nefarious and paradoxical. In the following verses of the poem, repeats and deepens the democratic meaning of the word:
certainly when everything is thrown
a grain of every King
lead to inhabit the realm of ivory
eternally condemned to see the dead
who left their hands up in an invisible
quicksilver
From these points of view The title of the book - An abode after the kingdoms - radiates different tracks to enrich your reading. Moreover, if proposed by the authors after the tradition will definitely enhance the scope connotative word "king" and make wider the chance to feel and enjoy the book Vega Farfán.
Moreover, we must not forget the ancient idea, legendary, historical the king is elected or appointed by God to govern and thus has divine powers. In the Judeo-Christian tradition, the same figure of Christ evokes this idea to the point of mockery, when the Roman soldiers placed the banner with the inscription INRI on the cross.
Similarly, the term, as is employed by Vega Farfán, brings to mind the Kingfisher, neutered or crippled character of the legend of the Holy Grail, which he used in his acclaimed TS Eliot poem The Waste Land . In some rewriting of the legend, the sovereign is called Amfortas-name which means he has no power, and only finds solace fishing. The legend says that the wound Fisher King heal when you get a pure knight castle where the Holy Grail and raises the key question. And this perhaps is also the key to An abode after the kingdoms : ask certain questions, notice the sterility of the kingdom and find the right path to find the house. Possible clue that would relate to the journey of Odysseus to reach their happy kingdom, the island of Ithaca-family dwelling that fills and restores human in scale, after a long heroic exercise.
Given this, it is becoming established aesthetic maturity Vega Farfán. The author, far from being commonplace, designs, shapes and lines with conservative styling originality, but not to dazzle to surprise but to approach the truth imprisoned in the mystery of the poetic image, one that sustains the charm of poetry well executed.
And after all the writing, there remains the question of whether each poem in the book is, indeed, a realm where Denisse Vega Farfán extends the territory of the word, and displays its power and sovereignty. That is, how it works especially beautiful outcrop of literary truth, gives us his worldview and explains how to understand the miracle-and hope-for life. Miracle and hope in the person of a child (as recorded in the title of Part III: the child in the kingdom) and especially towards the end of the book (Part IV, entitled: final resting place), in which the incisive voice counterpoint raises no kingdoms or kingdom, but freedom to see through the heart because the final resting place, perhaps, is one same.
Saturday, September 27, 2008
Wednesday, September 17, 2008
Gay In Public Showers
Carlos Calderón Fajardo. Human night. Cope editions. Lima, 2008. 252 pp. Several authors
According to the author, human The night could have been called Snowy The triptych. Let me disagree. This novel by Carlos Calderón Fajardo (eighth Publishing) had no chance to graduate otherwise. I do not think, also, and above all, concerned three nouvelles (which could sustain the temptation to call it 'three') because this is a great character-space: a dark Paris mystical dialectic, whose epiphany occurs in three chapters: "The ear of ecstasy", "The movements of silence" and "Life Interrupted" as an invention but substantially trill , which links the powerful quote from San Juan de la Cruz, to erase the boundaries of things and facts, and suggest the eternal against the force of enjoyment (sexual) and impotence at the urging (overwhelming and vulgar) of death. Eros and Thanatos in three stages and perfect unity, in spite of syphilis and mercury that healthy, TB and saving protection, metastasis and poetry that sanctifies.
"The ear of ecstasy", the first part of human The night would be-as is-a great introduction to the novel's central conflict: how to confront or respond aesthetically to the physical world. Fajardo Calderon uses the creative freedom to raise a period impossible to live fully and updated by one person, unless the person-subject-fiction supernatural sign a pact to get more years there due to him. The author addresses the question twice: getting not only the realistic probability but the possibility of a metaphysical solution.
In the introduction to the night human, Fajardo Calderon presents his characters in a particular everyday life, that is, without doubt, the advent of sleaze exquisite: a focused Paris in the 1930's. In this scenario charged for night and rapture, Helba Huara talks with Cesar Vallejo. The renowned dancer will share their sorrows to the great poet of love, pain that makes you promiscuous life of his girlfriend, Gonzalo More, lighting of Antonin Artaud. Gonzalo extraordinary fornicator, reincarnation of the god Dionysus, "is going to whores" with Henry Miller, serves as a model for Lawrence Durrell and sexual and literary powers to Anaïs Nin. And this holds and protects the marriage More-Huara, however Helba and Anaïs that are antagonistic. This table of characters "real" living independently as plotted by Calderón Fajardo under the umbrella of human Night, individual stocks are no less real but not available through biographies and documents in civil registers.
This boundary between those that existed, leaving evidence of his life and work, and were possibly the death-fading to be a matter of forgetting, "Calderón Fajardo novel designs and builds a sui generis, which boasts of his master narrative to grab the reader. But also, the author gives you the creative opportunity that to close or to conclude what this former teachers, who left to follow this story Dante structured in concentric circles. In this limit or no man's land rescues Calderón Fajardo Miluska intense presences Ginsburg-Snowy-and-tan Peruvian Calato naked to no name. Both are a couple strange and unreal, dreamy counterpoint marking a night of emphasizing the human as a dark version and instinctive acceptance of the barbaric contraband in an environment whose members pride themselves civilized, one of the most emblematic Western culture. Jewish
addition
Peruvian surrealist poet, Snowy is Paris, the character cutting across the three strands of human The night that manages to survive, evade the order, becoming, rebirth, transmigration, and even reinvent "Reload." Is the weed that never dies, and is also good to smoke weed Antonio Salas writer and dancer Yvonne in "The movements of silence" through which the world becomes not a symbol but as a ghost Mallarmean laden postmodern avant-garde that is as surreal an aesthetic explanation looking for an ethical life correspondence with the point of interruption. Thus, the novel perspective of Calderón Fajardo, Paris is envisioning, in turn, as a city-light-in-shade to discover a new and revealing way title "The human night" .
Parisian experience Calderón Fajardo is poured in raging passion narrative swings knot of the novel is, in "The movements of silence." This space is worth considering a radical literary intention, avoiding at all costs a faithful and detailed reconstruction of the reality that haunts the writer Antonio Salas. Calderón Fajardo, through him, takes the path of creation with the same effort, but with better luck than his ill-fated character. Antonio Salas, protagonist of the second chapter, do not get reincarnated plenamente a Gonzalo More, pero logra, al menos, quizá porque parece moro, atarse a una francesa marginal, una pied noire —ciudadana francesa que residía en Argelia y que se vio obligada a salir de ese país tras el asesinato de sus padres—, una bailarina de ballet que en principio se proyecta como continuidad física de Helba Huara y que después se perfila como extensión emocional de Milú, hasta concluir la transformación y culminar la identidad Yvonne-Milú. Así, Calderón Fajardo flexibiliza y potencia la dimensión de sus personajes en otros sujetos de ficción con el objeto de exorcizarlos de sí mismos. Suerte de versión narrativa de lo que en psicoanálisis se denomina «transferencia» —ideas o sentimientos derivados de una situación anterior, que el paciente proyecta sobre su analista durante el tratamiento, del que es parte esencial— para «curar» al personaje de todo aquello que lo hace infeliz en cuerpo y espíritu.
Calderón Fajardo se proyecta o refleja en Antonio Salas y Carrasco F. no para ocultar su identidad sino para sortear lo biográfico y ser más fiel a sus recuerdos, es decir, a como él ha memorizado sus andanzas para convertirlas en referentes personales o experiencia. Encarnado como uno u otro —aprendiz de escritor o escritor joven— supera la necesidad de distraerse en detalles —el principal conflicto de Antonio Salas que luego heredará Carrasco F. cuando Yvonne meet and engage with Snowy, with a clear sense of offering the reader a wider scope of exploration, interpretation and creative responsibility to relate the facts and reflections. Also find Julio Ramón Ribeyro, by name, in "The movements of silence." Virgil is the guide to Antonio Salas to the dam of the lamb of history that haunts him: Helba Huara, at a gathering at the house of the Russian Désirée Lieven. Then Ribeyro appears become Pedro Pablo J. in "Life Interrupted" but not as a guide, but as another literary master sentenced to death, trapped like F. Carrasco and R. Amador by the charms of Snowy, who, in turn, drag and embodies the tradition of bohemian Paris Peru over half a century.
This stele of characters who are no longer to take other forms and identities from one chapter to another to be the same, after all, writing the same story, but, above all, experiencing the same pain and orgasm, gives to human Night a very particular way to refer to reality in terms of novelistic. The author gives the reader an idea of \u200b\u200brealistic fiction for both its unorthodox narrative development as the art of poetry that seeps stealthily through Antonio Salas and F. Carrasco in his literary wanderings. Risky position and brave to the extent permitted gender, literary realism as strength to the point of almost breaking it. Achieved thus realism mean anything intelligent, which actually shows a more fully holistic, well logically sequential and predictable. And the best part is that no sure ways to try to repeat published in Spain as the mood a novel in a remote Peruvian village controlled by terrorists and drug traffickers, and to support his story in journalistic issues, kidnappings, political petty corruption and mass graves. Nor choose to target templates to please those who believe the only serious literary work when "clone" certain works that have fallen to be ideological monuments can not be questioned because they shed light on the deep Peru, denounce the social injustice of the time depict violence or try to specify "how long we're screwed." Calderón Fajardo
not hesitate to take several licenses to be faithful to its principles of narrator committed to an aesthetic and a code that allows you to desecrate the blank. In effect, a writer who does not focus on editorial and marketing to sales success formulas that impose seals and commercial events. In human the night, prevailing literary, but the risk is the indifference of critics writers used to be intoxicated by the fashion power concentrated in a resume that will satisfy their literary agents across the pond.
As an outcome, "Life Interrupted" leads to a climax rootlessness and longing. Disease and death, elements or present in the action-reflection and dialogues of the characters finally meet a redemptive function of the triad-Pedro Pablo F. Carrasco-Amador R. J. to the Snowy almost supernatural figure, the great survivor of the horrors of war, ignorance and indifference. From the mythical-historical vision of Robert Graves, Snowy would be an archetypal woman, that is, the 'female': 'It's the devil that has triple fallen man as a mother, girlfriend and shrouded. The first five days of spinning the thread of his life, the second was flattered with the hope of fame, the third so corrupted with lust, the fourth lulls in the sleep of death, the fifth mourns his dead body. " Snowy-mask as well and Paris is even more disturbing, perhaps from the source of their survival, possibly when it manages to transcend the physical desire to possess Helba.
Night In human , Calderón Fajardo shows a history with the necessary local color to show the inside of Peru, but with sufficient discretion to avoid the scenery and folk customs and manners of a group Peruvians in Paris-which, incidentally, is offered devoid of the Eiffel Tower and other public areas of the former City of Light. As universal as Peruvian human The night is a key novel bio-bibliography of Carlos Calderón Fajardo, writer who has made a prominent place by dint of not being overcome by a literary space in which the banality and lack of trade is ignored because Strange is preferred to the good stuff to know. 
According to the author, human The night could have been called Snowy The triptych. Let me disagree. This novel by Carlos Calderón Fajardo (eighth Publishing) had no chance to graduate otherwise. I do not think, also, and above all, concerned three nouvelles (which could sustain the temptation to call it 'three') because this is a great character-space: a dark Paris mystical dialectic, whose epiphany occurs in three chapters: "The ear of ecstasy", "The movements of silence" and "Life Interrupted" as an invention but substantially trill , which links the powerful quote from San Juan de la Cruz, to erase the boundaries of things and facts, and suggest the eternal against the force of enjoyment (sexual) and impotence at the urging (overwhelming and vulgar) of death. Eros and Thanatos in three stages and perfect unity, in spite of syphilis and mercury that healthy, TB and saving protection, metastasis and poetry that sanctifies. "The ear of ecstasy", the first part of human The night would be-as is-a great introduction to the novel's central conflict: how to confront or respond aesthetically to the physical world. Fajardo Calderon uses the creative freedom to raise a period impossible to live fully and updated by one person, unless the person-subject-fiction supernatural sign a pact to get more years there due to him. The author addresses the question twice: getting not only the realistic probability but the possibility of a metaphysical solution.
In the introduction to the night human, Fajardo Calderon presents his characters in a particular everyday life, that is, without doubt, the advent of sleaze exquisite: a focused Paris in the 1930's. In this scenario charged for night and rapture, Helba Huara talks with Cesar Vallejo. The renowned dancer will share their sorrows to the great poet of love, pain that makes you promiscuous life of his girlfriend, Gonzalo More, lighting of Antonin Artaud. Gonzalo extraordinary fornicator, reincarnation of the god Dionysus, "is going to whores" with Henry Miller, serves as a model for Lawrence Durrell and sexual and literary powers to Anaïs Nin. And this holds and protects the marriage More-Huara, however Helba and Anaïs that are antagonistic. This table of characters "real" living independently as plotted by Calderón Fajardo under the umbrella of human Night, individual stocks are no less real but not available through biographies and documents in civil registers.
This boundary between those that existed, leaving evidence of his life and work, and were possibly the death-fading to be a matter of forgetting, "Calderón Fajardo novel designs and builds a sui generis, which boasts of his master narrative to grab the reader. But also, the author gives you the creative opportunity that to close or to conclude what this former teachers, who left to follow this story Dante structured in concentric circles. In this limit or no man's land rescues Calderón Fajardo Miluska intense presences Ginsburg-Snowy-and-tan Peruvian Calato naked to no name. Both are a couple strange and unreal, dreamy counterpoint marking a night of emphasizing the human as a dark version and instinctive acceptance of the barbaric contraband in an environment whose members pride themselves civilized, one of the most emblematic Western culture. Jewish
addition
Peruvian surrealist poet, Snowy is Paris, the character cutting across the three strands of human The night that manages to survive, evade the order, becoming, rebirth, transmigration, and even reinvent "Reload." Is the weed that never dies, and is also good to smoke weed Antonio Salas writer and dancer Yvonne in "The movements of silence" through which the world becomes not a symbol but as a ghost Mallarmean laden postmodern avant-garde that is as surreal an aesthetic explanation looking for an ethical life correspondence with the point of interruption. Thus, the novel perspective of Calderón Fajardo, Paris is envisioning, in turn, as a city-light-in-shade to discover a new and revealing way title "The human night" .
Parisian experience Calderón Fajardo is poured in raging passion narrative swings knot of the novel is, in "The movements of silence." This space is worth considering a radical literary intention, avoiding at all costs a faithful and detailed reconstruction of the reality that haunts the writer Antonio Salas. Calderón Fajardo, through him, takes the path of creation with the same effort, but with better luck than his ill-fated character. Antonio Salas, protagonist of the second chapter, do not get reincarnated plenamente a Gonzalo More, pero logra, al menos, quizá porque parece moro, atarse a una francesa marginal, una pied noire —ciudadana francesa que residía en Argelia y que se vio obligada a salir de ese país tras el asesinato de sus padres—, una bailarina de ballet que en principio se proyecta como continuidad física de Helba Huara y que después se perfila como extensión emocional de Milú, hasta concluir la transformación y culminar la identidad Yvonne-Milú. Así, Calderón Fajardo flexibiliza y potencia la dimensión de sus personajes en otros sujetos de ficción con el objeto de exorcizarlos de sí mismos. Suerte de versión narrativa de lo que en psicoanálisis se denomina «transferencia» —ideas o sentimientos derivados de una situación anterior, que el paciente proyecta sobre su analista durante el tratamiento, del que es parte esencial— para «curar» al personaje de todo aquello que lo hace infeliz en cuerpo y espíritu.
Calderón Fajardo se proyecta o refleja en Antonio Salas y Carrasco F. no para ocultar su identidad sino para sortear lo biográfico y ser más fiel a sus recuerdos, es decir, a como él ha memorizado sus andanzas para convertirlas en referentes personales o experiencia. Encarnado como uno u otro —aprendiz de escritor o escritor joven— supera la necesidad de distraerse en detalles —el principal conflicto de Antonio Salas que luego heredará Carrasco F. cuando Yvonne meet and engage with Snowy, with a clear sense of offering the reader a wider scope of exploration, interpretation and creative responsibility to relate the facts and reflections. Also find Julio Ramón Ribeyro, by name, in "The movements of silence." Virgil is the guide to Antonio Salas to the dam of the lamb of history that haunts him: Helba Huara, at a gathering at the house of the Russian Désirée Lieven. Then Ribeyro appears become Pedro Pablo J. in "Life Interrupted" but not as a guide, but as another literary master sentenced to death, trapped like F. Carrasco and R. Amador by the charms of Snowy, who, in turn, drag and embodies the tradition of bohemian Paris Peru over half a century.
This stele of characters who are no longer to take other forms and identities from one chapter to another to be the same, after all, writing the same story, but, above all, experiencing the same pain and orgasm, gives to human Night a very particular way to refer to reality in terms of novelistic. The author gives the reader an idea of \u200b\u200brealistic fiction for both its unorthodox narrative development as the art of poetry that seeps stealthily through Antonio Salas and F. Carrasco in his literary wanderings. Risky position and brave to the extent permitted gender, literary realism as strength to the point of almost breaking it. Achieved thus realism mean anything intelligent, which actually shows a more fully holistic, well logically sequential and predictable. And the best part is that no sure ways to try to repeat published in Spain as the mood a novel in a remote Peruvian village controlled by terrorists and drug traffickers, and to support his story in journalistic issues, kidnappings, political petty corruption and mass graves. Nor choose to target templates to please those who believe the only serious literary work when "clone" certain works that have fallen to be ideological monuments can not be questioned because they shed light on the deep Peru, denounce the social injustice of the time depict violence or try to specify "how long we're screwed." Calderón Fajardo
not hesitate to take several licenses to be faithful to its principles of narrator committed to an aesthetic and a code that allows you to desecrate the blank. In effect, a writer who does not focus on editorial and marketing to sales success formulas that impose seals and commercial events. In human the night, prevailing literary, but the risk is the indifference of critics writers used to be intoxicated by the fashion power concentrated in a resume that will satisfy their literary agents across the pond.
As an outcome, "Life Interrupted" leads to a climax rootlessness and longing. Disease and death, elements or present in the action-reflection and dialogues of the characters finally meet a redemptive function of the triad-Pedro Pablo F. Carrasco-Amador R. J. to the Snowy almost supernatural figure, the great survivor of the horrors of war, ignorance and indifference. From the mythical-historical vision of Robert Graves, Snowy would be an archetypal woman, that is, the 'female': 'It's the devil that has triple fallen man as a mother, girlfriend and shrouded. The first five days of spinning the thread of his life, the second was flattered with the hope of fame, the third so corrupted with lust, the fourth lulls in the sleep of death, the fifth mourns his dead body. " Snowy-mask as well and Paris is even more disturbing, perhaps from the source of their survival, possibly when it manages to transcend the physical desire to possess Helba.
Night In human , Calderón Fajardo shows a history with the necessary local color to show the inside of Peru, but with sufficient discretion to avoid the scenery and folk customs and manners of a group Peruvians in Paris-which, incidentally, is offered devoid of the Eiffel Tower and other public areas of the former City of Light. As universal as Peruvian human The night is a key novel bio-bibliography of Carlos Calderón Fajardo, writer who has made a prominent place by dint of not being overcome by a literary space in which the banality and lack of trade is ignored because Strange is preferred to the good stuff to know.
Saturday, September 13, 2008
Project Report For Opening New Company
. 17 Peruvian fantastic tales. Rimachi anthology prepared by Gabriel and Carlos Sotomayor. Editorial Casatomada. Lima, 2008. 225 pp. Rocío
Thanks to the initiative of Charles Gabriel Sotomayor and Rimachi, we can celebrate the appearance of an important book that adds points to the very recent and growing-interest to address the traditionally no domestic production of stories are not realistic. The title-kabbalistic and obvious-emphasizes the quantitative, but best of all is that this is a project that promises at least a second part. This is obviously a necessary exploration work and rescue proposals, if they were presented from the perspective of an anthology of fairy tale, would be likely to go unnoticed. And this detail is the contribution of this newly published Casatomada Editorial.
17 Peruvian fantastic tales is a meeting, as the title says, the same number of accounts of two separate national writers, which appear in this order: Carlos Calderón Fajardo, José B. Adolph, Enrique Prochazka, Joseph Guiche, Carlos Rengifo, Ricardo Sumalavia, who writes, Víctor Miró Quesada Vargas, José de Pierola, Gonzalo Málaga, Marco García Falcón, Santiago Roncagliolo, Fernando Sarmiento, Jeremias Gamboa, Julio César Vega, Lucho Zúñiga and Johann Page.
In order that he can get an idea of \u200b\u200btheme and narrative treatment of each story in the anthology, it should make some clarifications on what is meant and should mean for fantasy literature. In general, specialists in literary theory does not consider the fantastic is a genre but rather a kind of fiction. Strictly, the genre is the novel, short stories, essays, poetry, ie some form or manner in which a writer has a reader his literary material. It is therefore better to speak of fantasy fiction, which encompasses genres and, above all, a creative world view in the literary field, a passive attitude to the "inexorable" laws of the physical world. Thus, besides the property properly and express ourselves, we give a hint of aesthetic stance to those who fall or slip, which are more than what you imagine, in such works of genius.
Yet the concept of fantasy literature is vague. More rigorously, but without wishing to be Cerradicas academic, it is considered as expressions of the great terror (in particular the Gothic), the absurd, unusual and even science fiction (although for many it is a separate type of fiction , as real marvel in the case of fiction fairy).
[1] "The man watching the sea," Carlos Calderón Fajardo immerses us literally a dream hunt maritime world. This author raises a very interesting game poetically: what appears to be a danger is not nothing but a full and intimate experience between a rational and a body marine jellyfish. Beautiful and strange metaphor that ends with an exchange of gestures that invite the reader to pick up the story to find some clues that were missed.
[2] Joseph Adolph, with fine humor and irony, apparently holds a slight text: "Do not believe stories of dogs." Nothing more wrong. Adolph takes the reader far as the imagination allows, on the basis of sound scientific knowledge leading to a course in philosophy of language, a very pleasant reflection on the canine psyche, their logical thinking and inability to distinguish waking from sleep . The lesson is clear with a fun and surprising end of last line.
[3] "You, you came with me" by Enrique Prochazka is the perfect text to begin a discussion on the relationship between fiction fantasy and science fiction, itching to run the risk of a sterile debate between Martians. The author is revealed without the reader to realize an unsuspected world, through a discourse between enlightened, erudite and playful, which is poured into the dialogue between a man and a woman. Like the best, Prochazka pays inspired cult of power of the word.
[4] In the same line that separates (or links) fantasy fiction and science fiction, "The Stone Temple Pilots" Joseph Güicho is a distressing story of a group of airmen who lives like a captive to the myth of Sisyphus. Military discipline is giving way to evidence that "higher beings" reality control technology. And like Camus's essay, Guiche recreates the metaphor of the unsuccessful effort of the individual who spends his life in unproductive work.
[5] In the field of gothic horror, Carlos Rengifo develops a story whose logic turns into a disturbing nightmare and gradual transformation of the protagonist. The title, a little film - "Creatures of the shadows" - prevents the reader to some extent on the pulse creepy story, but it is by reading that such evidence is line upon line to enhance the acceptance of a sad and unsurpassed fitness: the degeneration of the subject in sordid and vile street art.
[6] Six microstories Book Encyclopedia Minimum Ricardo Sumalavia give a very interesting value to 17 Peruvian fantastic tales. "True friends," "The soul of the party ',' Lost Souls ',' The Girl in the Mirror", "Bad Dream" and "Relics" are a brilliant constellation. Sumalavia texts, including the suggestion and innuendo, get raise forcefulness and resolve in a few words and phrases the breakdown of reality that characterizes many fantastic stories.
[7] With regard to my story 'between two eclipses "I must confess that I was never very clear whether it was strictly a fantasy or realistic fiction (for the latter would have to accept the bulk of body text like a dream or hallucination .) By contagion, if read in the context of this anthology, the reader may feel free to give it the label of fantasy. We should read lab, safe from any virus or germ fantasy. Or, rather, a realistic fiction anthology entitled 17 times 17.
[8] "The riesgo de ser personaje» de Víctor Miró Quesada es un texto equilibrado y con buen enganche. El autor, con una prudente dosificación de la información, mantiene la expectativa hasta el desenlace. Así, el suspenso de este relato, que lleva irremediablemente al lector a asumir el quehacer literario como una experiencia reveladora, se torna en una estocada fatal, tras un derrotero que nos ha permitido reflexionar en torno al ejercicio de la ficción y su incumbencia en la realidad.
[9] José de Piérola plantea cómo un objeto común e insignificante puede convertir una existencia gris y anodina en una vida, de pronto, azarosa, agitada y llamativa. «Lápices» nos muestra con esmerada sencillez y prolijidad el conflicto entre la creencia y la ciencia. Lo fantástico —apenas una sutil descripción de cómo unos pequeños lápices se liquidan en la garganta del personaje para ser tragados por este— resulta un cándido pretexto para explorar la alegría y el terror de ser y de la existencia.
[10] «Speechman» de Gonzalo Málaga es una desgarradora farsa gótica que indaga en los límites de tolerancia de una pareja, víctima del elocuente e inoportuno Speechman. Málaga combina dos recursos de la ficción fantástica con gran acierto y cálculo: el absurdo (kafkiano) y el final sorpresivo (cortazariano). La combinación no solo resulta conveniente sino que le permite un final tan dramático como esclarecedor, que explica la esencia textual del personaje cuyo nombre es el título del relato.
[11] Marco García Falcón, autor de «El resplandor de Céline», ofrece un muy consistente relato sobre la atracción entre un estudiante de artes plásticas y una modelo que habita en la escuela. Podría pensarse que se trata de un cuento realista, pero la cita del místico y teósofo Emanuel Swendenborg nos anuncia el quiebre de la realidad: «No a cualquiera le es dado reconocer una aparición maravillosa». Declaración que cobra vigencia páginas más adelante cuando Céline —como un leve resplandor— se borra.
[12] Con "The passenger next door", Santiago Roncagliolo readers gives him a vicious blow in the form of narrative unveiling. What seems an effective flirtation between a blonde and a tourist on a city bus suddenly becomes, after winks, glances and blushes corner, in a painful and gloomy revelation. This is a day that trembles Gothic mode as it concerns the death and the metaphysical experience that that implies. In short, a text very fluid, direct and very heartbreaking.
[13] "The Last Laugh" by Fernando Sarmiento is an irrefutable demonstration of force in Peruvian narrative, which no subject is foreign. Arguably, this story is set more realistic: there is nothing in it strictly impossible, unless we accept as real the existence of Bruce Wayne and Batman. Goth is not only marked by gruesome comic elements but by the same decay of the great hero, who is sentenced to death and disturbed by the immortal Joker.
[14] Jeremiah Gamble has designed its "internal Evening" to surprise the reader twice. What initially appears as a voyeuristic game between a man and a woman, becomes scenery with individual alleged faced mannequins to be characters in a very different picture from that commercial reality. Gamboa, despite the quiescence of the characters, gives impetus to the text with a 'pan' mental intrudes on the presumptions of the subject.
[15] Julio César Vega offers an intensely hilarious story and at the same time, sorry. "The cat of the abyss" is the story of a suicide, caused by a female angel, fails to carry out its purpose. Between a tragic poverty, Christian guilt for fornication with an angel and the relentless promiscuity of the divine being, the character ceases to be a clown of himself and others, to return to the same point where the story begins, perhaps end what you want to resume.
[16] "The boat" Lucho Zúñiga emphasizes the idea writer-god who decides the fate of his characters and test the mettle and faith of those in a situation increasingly intolerable limit. Beyond the anecdotal and philosophical and aesthetic sense of the story that this implies, Zuniga gets to draw a scene with tension cycles very well made. And all this expectation has to assume a catastrophic end is diluted in the real or illusory hope that seems to be drawn on the monotonous horizon.
[17] In a typical existentialist title, 'The Wall', Johann Page shows a very direct line between reality and fiction. The construction of the wall is an absurd metaphor for the current collective response against a phantom threat, and it becomes even more irrational when the only constructor survivor, almost identified with his mutant work, discovers that the world is a network of walls in competition. Incisive story with Gothic effect on the social paranoia. 
Thanks to the initiative of Charles Gabriel Sotomayor and Rimachi, we can celebrate the appearance of an important book that adds points to the very recent and growing-interest to address the traditionally no domestic production of stories are not realistic. The title-kabbalistic and obvious-emphasizes the quantitative, but best of all is that this is a project that promises at least a second part. This is obviously a necessary exploration work and rescue proposals, if they were presented from the perspective of an anthology of fairy tale, would be likely to go unnoticed. And this detail is the contribution of this newly published Casatomada Editorial. 17 Peruvian fantastic tales is a meeting, as the title says, the same number of accounts of two separate national writers, which appear in this order: Carlos Calderón Fajardo, José B. Adolph, Enrique Prochazka, Joseph Guiche, Carlos Rengifo, Ricardo Sumalavia, who writes, Víctor Miró Quesada Vargas, José de Pierola, Gonzalo Málaga, Marco García Falcón, Santiago Roncagliolo, Fernando Sarmiento, Jeremias Gamboa, Julio César Vega, Lucho Zúñiga and Johann Page.
In order that he can get an idea of \u200b\u200btheme and narrative treatment of each story in the anthology, it should make some clarifications on what is meant and should mean for fantasy literature. In general, specialists in literary theory does not consider the fantastic is a genre but rather a kind of fiction. Strictly, the genre is the novel, short stories, essays, poetry, ie some form or manner in which a writer has a reader his literary material. It is therefore better to speak of fantasy fiction, which encompasses genres and, above all, a creative world view in the literary field, a passive attitude to the "inexorable" laws of the physical world. Thus, besides the property properly and express ourselves, we give a hint of aesthetic stance to those who fall or slip, which are more than what you imagine, in such works of genius.
Yet the concept of fantasy literature is vague. More rigorously, but without wishing to be Cerradicas academic, it is considered as expressions of the great terror (in particular the Gothic), the absurd, unusual and even science fiction (although for many it is a separate type of fiction , as real marvel in the case of fiction fairy).
[1] "The man watching the sea," Carlos Calderón Fajardo immerses us literally a dream hunt maritime world. This author raises a very interesting game poetically: what appears to be a danger is not nothing but a full and intimate experience between a rational and a body marine jellyfish. Beautiful and strange metaphor that ends with an exchange of gestures that invite the reader to pick up the story to find some clues that were missed.
[2] Joseph Adolph, with fine humor and irony, apparently holds a slight text: "Do not believe stories of dogs." Nothing more wrong. Adolph takes the reader far as the imagination allows, on the basis of sound scientific knowledge leading to a course in philosophy of language, a very pleasant reflection on the canine psyche, their logical thinking and inability to distinguish waking from sleep . The lesson is clear with a fun and surprising end of last line.
[3] "You, you came with me" by Enrique Prochazka is the perfect text to begin a discussion on the relationship between fiction fantasy and science fiction, itching to run the risk of a sterile debate between Martians. The author is revealed without the reader to realize an unsuspected world, through a discourse between enlightened, erudite and playful, which is poured into the dialogue between a man and a woman. Like the best, Prochazka pays inspired cult of power of the word.
[4] In the same line that separates (or links) fantasy fiction and science fiction, "The Stone Temple Pilots" Joseph Güicho is a distressing story of a group of airmen who lives like a captive to the myth of Sisyphus. Military discipline is giving way to evidence that "higher beings" reality control technology. And like Camus's essay, Guiche recreates the metaphor of the unsuccessful effort of the individual who spends his life in unproductive work.
[5] In the field of gothic horror, Carlos Rengifo develops a story whose logic turns into a disturbing nightmare and gradual transformation of the protagonist. The title, a little film - "Creatures of the shadows" - prevents the reader to some extent on the pulse creepy story, but it is by reading that such evidence is line upon line to enhance the acceptance of a sad and unsurpassed fitness: the degeneration of the subject in sordid and vile street art.
[6] Six microstories Book Encyclopedia Minimum Ricardo Sumalavia give a very interesting value to 17 Peruvian fantastic tales. "True friends," "The soul of the party ',' Lost Souls ',' The Girl in the Mirror", "Bad Dream" and "Relics" are a brilliant constellation. Sumalavia texts, including the suggestion and innuendo, get raise forcefulness and resolve in a few words and phrases the breakdown of reality that characterizes many fantastic stories.
[7] With regard to my story 'between two eclipses "I must confess that I was never very clear whether it was strictly a fantasy or realistic fiction (for the latter would have to accept the bulk of body text like a dream or hallucination .) By contagion, if read in the context of this anthology, the reader may feel free to give it the label of fantasy. We should read lab, safe from any virus or germ fantasy. Or, rather, a realistic fiction anthology entitled 17 times 17.
[8] "The riesgo de ser personaje» de Víctor Miró Quesada es un texto equilibrado y con buen enganche. El autor, con una prudente dosificación de la información, mantiene la expectativa hasta el desenlace. Así, el suspenso de este relato, que lleva irremediablemente al lector a asumir el quehacer literario como una experiencia reveladora, se torna en una estocada fatal, tras un derrotero que nos ha permitido reflexionar en torno al ejercicio de la ficción y su incumbencia en la realidad.
[9] José de Piérola plantea cómo un objeto común e insignificante puede convertir una existencia gris y anodina en una vida, de pronto, azarosa, agitada y llamativa. «Lápices» nos muestra con esmerada sencillez y prolijidad el conflicto entre la creencia y la ciencia. Lo fantástico —apenas una sutil descripción de cómo unos pequeños lápices se liquidan en la garganta del personaje para ser tragados por este— resulta un cándido pretexto para explorar la alegría y el terror de ser y de la existencia.
[10] «Speechman» de Gonzalo Málaga es una desgarradora farsa gótica que indaga en los límites de tolerancia de una pareja, víctima del elocuente e inoportuno Speechman. Málaga combina dos recursos de la ficción fantástica con gran acierto y cálculo: el absurdo (kafkiano) y el final sorpresivo (cortazariano). La combinación no solo resulta conveniente sino que le permite un final tan dramático como esclarecedor, que explica la esencia textual del personaje cuyo nombre es el título del relato.
[11] Marco García Falcón, autor de «El resplandor de Céline», ofrece un muy consistente relato sobre la atracción entre un estudiante de artes plásticas y una modelo que habita en la escuela. Podría pensarse que se trata de un cuento realista, pero la cita del místico y teósofo Emanuel Swendenborg nos anuncia el quiebre de la realidad: «No a cualquiera le es dado reconocer una aparición maravillosa». Declaración que cobra vigencia páginas más adelante cuando Céline —como un leve resplandor— se borra.
[12] Con "The passenger next door", Santiago Roncagliolo readers gives him a vicious blow in the form of narrative unveiling. What seems an effective flirtation between a blonde and a tourist on a city bus suddenly becomes, after winks, glances and blushes corner, in a painful and gloomy revelation. This is a day that trembles Gothic mode as it concerns the death and the metaphysical experience that that implies. In short, a text very fluid, direct and very heartbreaking.
[13] "The Last Laugh" by Fernando Sarmiento is an irrefutable demonstration of force in Peruvian narrative, which no subject is foreign. Arguably, this story is set more realistic: there is nothing in it strictly impossible, unless we accept as real the existence of Bruce Wayne and Batman. Goth is not only marked by gruesome comic elements but by the same decay of the great hero, who is sentenced to death and disturbed by the immortal Joker.
[14] Jeremiah Gamble has designed its "internal Evening" to surprise the reader twice. What initially appears as a voyeuristic game between a man and a woman, becomes scenery with individual alleged faced mannequins to be characters in a very different picture from that commercial reality. Gamboa, despite the quiescence of the characters, gives impetus to the text with a 'pan' mental intrudes on the presumptions of the subject.
[15] Julio César Vega offers an intensely hilarious story and at the same time, sorry. "The cat of the abyss" is the story of a suicide, caused by a female angel, fails to carry out its purpose. Between a tragic poverty, Christian guilt for fornication with an angel and the relentless promiscuity of the divine being, the character ceases to be a clown of himself and others, to return to the same point where the story begins, perhaps end what you want to resume.
[16] "The boat" Lucho Zúñiga emphasizes the idea writer-god who decides the fate of his characters and test the mettle and faith of those in a situation increasingly intolerable limit. Beyond the anecdotal and philosophical and aesthetic sense of the story that this implies, Zuniga gets to draw a scene with tension cycles very well made. And all this expectation has to assume a catastrophic end is diluted in the real or illusory hope that seems to be drawn on the monotonous horizon.
[17] In a typical existentialist title, 'The Wall', Johann Page shows a very direct line between reality and fiction. The construction of the wall is an absurd metaphor for the current collective response against a phantom threat, and it becomes even more irrational when the only constructor survivor, almost identified with his mutant work, discovers that the world is a network of walls in competition. Incisive story with Gothic effect on the social paranoia.
Wednesday, August 6, 2008
Tuesday, August 5, 2008
Scoparsi Casalinghe Mature
Alika - Educate Yourself [2008]
1 INTRO 2 3
HEY MY FRIEND IS ALL TIME NATIVE AMERICA feat.Pety
4 feat. Akil Ammar
5 ACCORDING TO THE EMPRESS
6 FOLLOWING THE EMPRESS
DUB DEM GOT NO LOVE 7 8 Galang
9 AGAINST ALL NEGATIVE
10 ASK FOR DANCING
11 12 SISTER IN THE MICROPHONE
BEAM
13 14 ASK AN EXPLANATION
15 SUNSHINE LOVER feat.Anthony B, Boomer
16 TEACH THE YOUTH
Sunday, August 3, 2008
Homemade Automatic Rabbit Waterer
K2R Riddim - Live
- Miss Millie Freestyle
- Murder One by one
- Blackboard Jungle
- Al Capone Tribute
Saturday, August 2, 2008
Types Of Indian Women Boobs
Dread Mar I - LOVE / IS! [2008]
ACA LES DEJO EL DISCO NEW PUBLISHED IN THIS 2008 OF THIS GREAT SINGER ARGENTINO" Marion "" DREAD MAR I.
YOU ENJOY.
01 - My Lord
02 - Sunshine
03 - Nena
04 - The Goal
05 - Frio
06 - Life
07 - Donde Estes
08 - I believe what I
09 - Rain, Clouds, Sadness
10 - They say
11 - My Love
12 - Your Name
13 - Salvame
14 - Me Dice
15 - In Vain
16 - Alone and Sad
17 - There was a time when
18 - I feel sorry
19 - I see
ACA LES DEJO EL DISCO NEW PUBLISHED IN THIS 2008 OF THIS GREAT SINGER ARGENTINO" Marion "" DREAD MAR I.
YOU ENJOY.
| | |
01 - My Lord
02 - Sunshine
03 - Nena
04 - The Goal
05 - Frio
06 - Life
07 - Donde Estes
08 - I believe what I
09 - Rain, Clouds, Sadness
10 - They say
11 - My Love
12 - Your Name
13 - Salvame
14 - Me Dice
15 - In Vain
16 - Alone and Sad
17 - There was a time when
18 - I feel sorry
19 - I see
What Can I Put In My Resume For Clotheing
Qespi. Sleeping in the water. Alien world. Lima, 2008. 100 pp. Enrique
The collection of stories Sleeping in the water (also the title of the sixth story), besides being a literary bet that denotes the rough skin of certain areas of Peruvian society, is a form of narrative that makes dream of a truly original backdrop to avoid falling or literal result in a proposal of the reality that surrounds us. It
interesting invitation to dialogue Quispe Agnoli extends to the reader. The first and last story, that is, "The Magnificent Ambersons" and "The Devil Höllental" raw offer two family scenes marked, respectively, for thanatos and eros. In the first story, Quispe Agnoli develops a typical introduction to using the wonderful fiction. But this fairy world, prefigured and rigid character (whether hero, donor, foreman, assistant villain or traitor, including the beloved or desired, as the old Vladimir Propp), is different as the little star-Martina wake up to reality or, rather, stop dreaming. From the title, referring to the fourth item of the law of God as Judeo-Christian tradition is a very effective nod theme of the story. Quispe Agnoli
in this story gets put on the table of power relations in Peruvian society, and all that these imply for their perpetuation in the most dismal oppression, abuse, intolerance, exclusion and discrimination by sex and color skin. In a family atmosphere that prevails in the double moral principles have no place and the law (the Fourth Commandment) is of an 'authentic interpretation', which turns into a revenge confined to the punishment of retaliation. But Quispe Agnoli, to achieve it, weaves dreams, projections, reflections and actions, leading to the loss of innocence of Martina and the end of a wonderful array space-saver.
And all this just in 'The Magnificent Ambersons ", somehow recovers in" The Devil Höllental', from the metaphor of the concept of life. As the opening paragraphs of "The Magnificent Ambersons", typically fey, allusions to the wonderful world do not break in the last story in the book Sleeping in the water. The surprise or break is in the psychological dimension of the antihero (The Devil Höllental), character -More-Dionysian evil, dark, disturbing and fascinating stops leaking-pages-of a "children's story" to exist in the mind of a woman who is preparing for motherhood, the desire to be emanating the subtle boundary between waking and dreaming the dream itself as such. And as the Devil Höllental was defeated by Prince Ludwig in the story, just as the Dionysian character, dark, disturbing and fascinating is moved in the bed of the narrator of the story. The lesson is becoming clear: family harmony has a high price, in some cases can mean sacrificing some of its members the common good, and in others, namely yield and balance the powers of the Apollonian and the Dionysian, or assemble them into a creature.
The stories Quispe Agnoli has disposed between the first and the last story are variations of the domain, betrayal and death, and their counterparts: the submission, fidelity and life (such as erotic drive.)
"Acari Cemetery", the second text Sleeping in the water, is a heartbreaking story in which fiction has been a fun fairy twist, ie, Quispe Agnoli develops a realistic narrative, wonderful heady Rulfo theme dye, for eschatology. The choice of Acari is not free and random, you should know that the name "Acari" comes from the Quechua word "ñacari" which means suffering, so that the semantic load, enhanced by the recognition of this area of \u200b\u200bsouthern Peru as a place that has inspired legends that go beyond imagination, is present in every line of the story. The author places the characters and events in a place where elements and composition are unique, in a time when the masters of European origin and African slaves formed a symbiosis today is unacceptable and difficult to understand. Against this background of superstition and rigid traditions, the author presents the preparations a rite whose significance festivals, the celebration of life "is reversed from a historical point of view after the funeral, and exhumation.
"Frederick" is a detailed counterpoint on how you build another erotic attraction between a man and a woman. But obtaining the object of desire is only in terms of desire and speculation. It is truly ironic that the failure occurs between two readers of the French writer Roland Barthes semiologist. But perhaps this morbid emphasis on the interpretation of the gesture, a wink, the sign and the sign in general, to find the meaning and relevance as bland and meaningless, in the disproportionate attention in the course or question. This gap between two individuals who are attracted to is not nothing but a dramatic metaphor for love erected on the outskirts of the building platonic, or conditioned, calculated and, therefore, distorted in its pure, full and constructive. This amount of misunderstanding, Quispe-Agnoli and poses a pathetic paradoxical situation: communication in the hands of specialists to develop messages can ensure knowledge transfer or knowledge, but not necessarily seeks happiness or the satisfaction of experiencing the freedom or believe the feeling of freedom.
"To visit museums" rather than a key instructional subtle humor, is a reflection on the ultimate meaning of the building or institution whose goal is the acquisition, preservation, study and public exhibition of objects of cultural interest. It is appropriate to note that a museum is a modern invention-not-that is home to contemporary teaching approach collections of objects (art, science) outside their natural contexts, in order to be and be an exercise in abstraction, compared the visitor. In a strict sense, "to visit museums" is not a story, and this included half-forced to distort the story collection Sleeping in the water - lies precisely the right decision Quispe Agnoli have incorporated this fiction to his selection of stories, like a museum piece as an object weird, odd and therefore , valuable. So, she breaks the scheme story possibilities of the genre and breathes the words "To visit museums' the characteristics of the short story. Only in this perspective could appreciate the relevance and satire from the standpoint of the author but not the narrator-character in this particular fiction that questions the limits of humanity, and the basis of the main buildings physical and mental being contemporary.
The deployment of sexual freedom and erotic rite or discovery of the other, is the centerpiece of "Guitar in charge" and "Sleeping in the water ', respectively, fifth and sixth stories of the book. In these stories, Quispe Agnoli delves into the folds of the body, explores the ripple of lovers, remains in the desire itself, by explicit descriptions and passages and flowing fluid. But there is an interesting difference between a story and another, the protagonists are women of opposite sexuality. One with a sexual appetite to rule and election of their "prey", the other with limited appetite for carnal pleasure and subjection humiliation. But there is a quiescent polarity, they are characters developed in mankind horizons that recreate the uncertainty and contradiction, in the pursuit of pleasure and pain meet in the intensity of life and the indifference of their environments as a transparent material or ethereal nature.
"Guitar reins" ignores the moral guidelines, which generally act as flanges and undermine the integrity of the individual to focus on the development of history in the ethical and erotic smell of the protagonist, ie as should be as sexually correct. Thus, Quispe Agnoli the protagonist faces a sexual experience marked by the cadence, the sound and rhythm, or musical essence libido of intense erogenous composition. The female body, become a sort of transmutation erotic guitar is displayed with total sexual freedom to a genuine liberation that recognizes the boundaries of existence, which supports the repentance process and the reconsideration for not only achieving peace after intercourse for meet, but, above all, cultivating a joy full in the other, like implying a well-earned and well deserved orgasm. On the other side, "Sleeping in the water" emphasizes the constancy and forgiveness, but without the dust of the Christian faith and superstition. Quispe Agnoli, in its full year to invent, imagine and tell stories, not only recreates the reality but also reinterprets the dream as a place of revelation, but governed, to some extent, by the laws of the vigil. I dream like a sea that flows across continents as possible and the impossible, poles between which varies both the rational and instinctive human nature.
And in this sea between these continents is the Island of Sal, "the seventh story of Sleeping in the water . While the management of the plot (narrative dosing information for the purpose of catching the reader) is quite successful in all accounts in this story, in particular, reaches a high point of attainment. Quispe Agnoli leads the reader a present to a past vague determined by a memory that will be the source of an ambitious project (a beach resort, for more precise), in an uncertain future. But the project is only possible on the basis of a reversal of roles (the strong become weak and vice versa) and apparently a very substantial change, that is, that this island called stop and go to call Gorgona Island Salt Air Rulfo theme returning, but now as a dialogue between bodies, ghosts and living people. And like the suggestive Acari cradle of legends, second story space, in the penultimate story is the typical location is unlikely to exist in the Atlas, ie reality is stranger than fiction and as incredible scenario enhances the scope of what is told.
According to Greek mythology, the Gorgons were monstrous flames are three sisters, Euryale and Medusa. In Homer's Odyssey, the Gorgon is a ghostly head that lives in Hades (the Greek underworld, the abode of the dead). These mythological references allegedly passed the background if the reader is informed that this is a volcanic island located off the Colombian Pacific coast, in the 1950's, worked as a prison of the most dangerous criminals in Colombia. But the story does not end there: from the Eurocentric view, this island was discovered by Diego de Almagro and Francisco Pizarro in 1527, the Gorgona called the large number of snakes. These were reminiscent of the horrid sisters of Greek mythology who had snakes in the head instead of hair. And with an explanation bordering on the logic of myth, Quispe Agnoli get finish the story without falling into the temptation of the explicit. Without doubt, a strong echo that is also found in other texts, the author has woven with sustained passion and talent.
The author of the collection, Rocío Quispe Agnoli, has gone beyond the simple fact of bringing together eight stories and call them, under the concept of book Sleeping in the water. No Indeed, the publication of this work is a reunion between Quispe Agnoli, who has lived abroad for many years, and its roots, and, above all, it means a job as quiet as exceptional, the result is a mature and coherent book in which is not superfluous or missing anything. The first book to which you do not need to look the other way to save him, because what the reader will find when you take it is a collection of stories fleeing format "workshop story" that characterizes almost every delivery. 
The collection of stories Sleeping in the water (also the title of the sixth story), besides being a literary bet that denotes the rough skin of certain areas of Peruvian society, is a form of narrative that makes dream of a truly original backdrop to avoid falling or literal result in a proposal of the reality that surrounds us. It interesting invitation to dialogue Quispe Agnoli extends to the reader. The first and last story, that is, "The Magnificent Ambersons" and "The Devil Höllental" raw offer two family scenes marked, respectively, for thanatos and eros. In the first story, Quispe Agnoli develops a typical introduction to using the wonderful fiction. But this fairy world, prefigured and rigid character (whether hero, donor, foreman, assistant villain or traitor, including the beloved or desired, as the old Vladimir Propp), is different as the little star-Martina wake up to reality or, rather, stop dreaming. From the title, referring to the fourth item of the law of God as Judeo-Christian tradition is a very effective nod theme of the story. Quispe Agnoli
in this story gets put on the table of power relations in Peruvian society, and all that these imply for their perpetuation in the most dismal oppression, abuse, intolerance, exclusion and discrimination by sex and color skin. In a family atmosphere that prevails in the double moral principles have no place and the law (the Fourth Commandment) is of an 'authentic interpretation', which turns into a revenge confined to the punishment of retaliation. But Quispe Agnoli, to achieve it, weaves dreams, projections, reflections and actions, leading to the loss of innocence of Martina and the end of a wonderful array space-saver.
And all this just in 'The Magnificent Ambersons ", somehow recovers in" The Devil Höllental', from the metaphor of the concept of life. As the opening paragraphs of "The Magnificent Ambersons", typically fey, allusions to the wonderful world do not break in the last story in the book Sleeping in the water. The surprise or break is in the psychological dimension of the antihero (The Devil Höllental), character -More-Dionysian evil, dark, disturbing and fascinating stops leaking-pages-of a "children's story" to exist in the mind of a woman who is preparing for motherhood, the desire to be emanating the subtle boundary between waking and dreaming the dream itself as such. And as the Devil Höllental was defeated by Prince Ludwig in the story, just as the Dionysian character, dark, disturbing and fascinating is moved in the bed of the narrator of the story. The lesson is becoming clear: family harmony has a high price, in some cases can mean sacrificing some of its members the common good, and in others, namely yield and balance the powers of the Apollonian and the Dionysian, or assemble them into a creature.
The stories Quispe Agnoli has disposed between the first and the last story are variations of the domain, betrayal and death, and their counterparts: the submission, fidelity and life (such as erotic drive.)
"Acari Cemetery", the second text Sleeping in the water, is a heartbreaking story in which fiction has been a fun fairy twist, ie, Quispe Agnoli develops a realistic narrative, wonderful heady Rulfo theme dye, for eschatology. The choice of Acari is not free and random, you should know that the name "Acari" comes from the Quechua word "ñacari" which means suffering, so that the semantic load, enhanced by the recognition of this area of \u200b\u200bsouthern Peru as a place that has inspired legends that go beyond imagination, is present in every line of the story. The author places the characters and events in a place where elements and composition are unique, in a time when the masters of European origin and African slaves formed a symbiosis today is unacceptable and difficult to understand. Against this background of superstition and rigid traditions, the author presents the preparations a rite whose significance festivals, the celebration of life "is reversed from a historical point of view after the funeral, and exhumation.
"Frederick" is a detailed counterpoint on how you build another erotic attraction between a man and a woman. But obtaining the object of desire is only in terms of desire and speculation. It is truly ironic that the failure occurs between two readers of the French writer Roland Barthes semiologist. But perhaps this morbid emphasis on the interpretation of the gesture, a wink, the sign and the sign in general, to find the meaning and relevance as bland and meaningless, in the disproportionate attention in the course or question. This gap between two individuals who are attracted to is not nothing but a dramatic metaphor for love erected on the outskirts of the building platonic, or conditioned, calculated and, therefore, distorted in its pure, full and constructive. This amount of misunderstanding, Quispe-Agnoli and poses a pathetic paradoxical situation: communication in the hands of specialists to develop messages can ensure knowledge transfer or knowledge, but not necessarily seeks happiness or the satisfaction of experiencing the freedom or believe the feeling of freedom.
"To visit museums" rather than a key instructional subtle humor, is a reflection on the ultimate meaning of the building or institution whose goal is the acquisition, preservation, study and public exhibition of objects of cultural interest. It is appropriate to note that a museum is a modern invention-not-that is home to contemporary teaching approach collections of objects (art, science) outside their natural contexts, in order to be and be an exercise in abstraction, compared the visitor. In a strict sense, "to visit museums" is not a story, and this included half-forced to distort the story collection Sleeping in the water - lies precisely the right decision Quispe Agnoli have incorporated this fiction to his selection of stories, like a museum piece as an object weird, odd and therefore , valuable. So, she breaks the scheme story possibilities of the genre and breathes the words "To visit museums' the characteristics of the short story. Only in this perspective could appreciate the relevance and satire from the standpoint of the author but not the narrator-character in this particular fiction that questions the limits of humanity, and the basis of the main buildings physical and mental being contemporary.
The deployment of sexual freedom and erotic rite or discovery of the other, is the centerpiece of "Guitar in charge" and "Sleeping in the water ', respectively, fifth and sixth stories of the book. In these stories, Quispe Agnoli delves into the folds of the body, explores the ripple of lovers, remains in the desire itself, by explicit descriptions and passages and flowing fluid. But there is an interesting difference between a story and another, the protagonists are women of opposite sexuality. One with a sexual appetite to rule and election of their "prey", the other with limited appetite for carnal pleasure and subjection humiliation. But there is a quiescent polarity, they are characters developed in mankind horizons that recreate the uncertainty and contradiction, in the pursuit of pleasure and pain meet in the intensity of life and the indifference of their environments as a transparent material or ethereal nature.
"Guitar reins" ignores the moral guidelines, which generally act as flanges and undermine the integrity of the individual to focus on the development of history in the ethical and erotic smell of the protagonist, ie as should be as sexually correct. Thus, Quispe Agnoli the protagonist faces a sexual experience marked by the cadence, the sound and rhythm, or musical essence libido of intense erogenous composition. The female body, become a sort of transmutation erotic guitar is displayed with total sexual freedom to a genuine liberation that recognizes the boundaries of existence, which supports the repentance process and the reconsideration for not only achieving peace after intercourse for meet, but, above all, cultivating a joy full in the other, like implying a well-earned and well deserved orgasm. On the other side, "Sleeping in the water" emphasizes the constancy and forgiveness, but without the dust of the Christian faith and superstition. Quispe Agnoli, in its full year to invent, imagine and tell stories, not only recreates the reality but also reinterprets the dream as a place of revelation, but governed, to some extent, by the laws of the vigil. I dream like a sea that flows across continents as possible and the impossible, poles between which varies both the rational and instinctive human nature.
And in this sea between these continents is the Island of Sal, "the seventh story of Sleeping in the water . While the management of the plot (narrative dosing information for the purpose of catching the reader) is quite successful in all accounts in this story, in particular, reaches a high point of attainment. Quispe Agnoli leads the reader a present to a past vague determined by a memory that will be the source of an ambitious project (a beach resort, for more precise), in an uncertain future. But the project is only possible on the basis of a reversal of roles (the strong become weak and vice versa) and apparently a very substantial change, that is, that this island called stop and go to call Gorgona Island Salt Air Rulfo theme returning, but now as a dialogue between bodies, ghosts and living people. And like the suggestive Acari cradle of legends, second story space, in the penultimate story is the typical location is unlikely to exist in the Atlas, ie reality is stranger than fiction and as incredible scenario enhances the scope of what is told.
According to Greek mythology, the Gorgons were monstrous flames are three sisters, Euryale and Medusa. In Homer's Odyssey, the Gorgon is a ghostly head that lives in Hades (the Greek underworld, the abode of the dead). These mythological references allegedly passed the background if the reader is informed that this is a volcanic island located off the Colombian Pacific coast, in the 1950's, worked as a prison of the most dangerous criminals in Colombia. But the story does not end there: from the Eurocentric view, this island was discovered by Diego de Almagro and Francisco Pizarro in 1527, the Gorgona called the large number of snakes. These were reminiscent of the horrid sisters of Greek mythology who had snakes in the head instead of hair. And with an explanation bordering on the logic of myth, Quispe Agnoli get finish the story without falling into the temptation of the explicit. Without doubt, a strong echo that is also found in other texts, the author has woven with sustained passion and talent.
The author of the collection, Rocío Quispe Agnoli, has gone beyond the simple fact of bringing together eight stories and call them, under the concept of book Sleeping in the water. No Indeed, the publication of this work is a reunion between Quispe Agnoli, who has lived abroad for many years, and its roots, and, above all, it means a job as quiet as exceptional, the result is a mature and coherent book in which is not superfluous or missing anything. The first book to which you do not need to look the other way to save him, because what the reader will find when you take it is a collection of stories fleeing format "workshop story" that characterizes almost every delivery.
Monday, July 28, 2008
Serious Wedding Telegram Ideas
Horace Andy - livin in The Flood
1 After All (5:13) 2
Smiling Face (3:54)
3 Juggling (3:54 )
4 My Lord (4:16)
5 Seven Seals (3:34)
6 Johnny Too Bad (3:38)
7 Doldrums (4:21)
8 Right Time (3:09)
9 True Love (4:35)
10 Living in the Flood (4:54)
11 Girl of My Dreams (4:06)
12 Some People (3:32)
13 Don't Blame the Children (4:51)
14 After All (Fuji Mix)(*) (9:16)
1 After All (5:13) 2
Smiling Face (3:54)
3 Juggling (3:54 )
4 My Lord (4:16)
5 Seven Seals (3:34)
6 Johnny Too Bad (3:38)
7 Doldrums (4:21)
8 Right Time (3:09)
9 True Love (4:35)
10 Living in the Flood (4:54)
11 Girl of My Dreams (4:06)
12 Some People (3:32)
13 Don't Blame the Children (4:51)
14 After All (Fuji Mix)(*) (9:16)
Titanic Radiocommandé
Toots and The Maytals - Light Your Light 2007
1- Johnny Cool Man
2- Premature
3- Pain In My Heart
4- Love So Strong
5- Don't Bother Me
6- Celia
7- Image Get A Lick
8- I Got A Woman
9- I See The Light
10- Tribute To Coxsone
11- Do You Remember
12- Light Your Light
1- Johnny Cool Man
2- Premature
3- Pain In My Heart
4- Love So Strong
5- Don't Bother Me
6- Celia
7- Image Get A Lick
8- I Got A Woman
9- I See The Light
10- Tribute To Coxsone
11- Do You Remember
12- Light Your Light
Eurythmics Tab's Piano
Dezarie - Gracious Mama Africa
1 Gone Down
2 Poverty
3 Not One Penny
4 Strengthen Your Mind
5 Law Fe De Outlaw
6 Justice
7 Gracious Mama Africa
8 Exhalt
9 Mother And Child
10 Travelers
11 Slew Dem An Done
12 Judgement Come
1 Gone Down
2 Poverty
3 Not One Penny
4 Strengthen Your Mind
5 Law Fe De Outlaw
6 Justice
7 Gracious Mama Africa
8 Exhalt
9 Mother And Child
10 Travelers
11 Slew Dem An Done
12 Judgement Come
Quickbooks 2009 Licence Number
Mikey Dread - African Anthem Revisited
01 - Pleased To Dub You
02 - Break Down The Dub
03 - Fatten Dub For Snakes
04 - Strangers In Dub
05 - Dub File
06 - The Source Of Dub
07 - Sweet Dub
08 - Awake With Dub
09 - Still My #1 Dub
10 - So Much Dub
11 - Need Your Dub
12 - Cruizin Dub
01 - Pleased To Dub You
02 - Break Down The Dub
03 - Fatten Dub For Snakes
04 - Strangers In Dub
05 - Dub File
06 - The Source Of Dub
07 - Sweet Dub
08 - Awake With Dub
09 - Still My #1 Dub
10 - So Much Dub
11 - Need Your Dub
12 - Cruizin Dub
Desti Mario Salieri - Casino
Mikey Dread - Beyond World War III
01 - Break Down the Walls
02 - Jah Jah Love (In the Morning)
03 - The Jumping Master
04 - Israel (12 Tribe) Stylee [Extended Play]
05 - Warrior Stylee [Extended Stero Style]
06 - Money Dread
07 - Rockers Delight [Extended Play]
08 - Mental Slavery [Extended Play]
09 - World War III
01 - Break Down the Walls
02 - Jah Jah Love (In the Morning)
03 - The Jumping Master
04 - Israel (12 Tribe) Stylee [Extended Play]
05 - Warrior Stylee [Extended Stero Style]
06 - Money Dread
07 - Rockers Delight [Extended Play]
08 - Mental Slavery [Extended Play]
09 - World War III
Eastbay Running Tights
Mikey Dread - Dread At The Controls
01 - everybody needs a proper edu..
02 - dread combination
03 - love the dread
04 - voice of jah
05 - step by step
06 - walk the rastafari way
07 - king of the king
08 - barber saloon
01 - everybody needs a proper edu..
02 - dread combination
03 - love the dread
04 - voice of jah
05 - step by step
06 - walk the rastafari way
07 - king of the king
08 - barber saloon
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