Beaches In the booklet -seventh issue of the Library who runs Ricardo Sumalavia Underwood, from Bordeaux, with the support of millions Mateo, Joel Anicama, Antonio Tuya, Julio del Valle and Star War, in Lima, the author, Carlos Calderón Fajardo, shows the full status of the narrator that explores its wide and smooth continuity mind-world and patented its experienced operator position that makes perfect use of poetic freedom aesthetic prerogative not to re-widespread fluently from their trained ability to observe, think and go beyond ordinary mortals. And it is clear in this leaflet, how Calderón Fajardo established literary brands, and offers with the intention of asserting its position as a writer and performance transversal, en el espacio geográfico de la costa peruana —la playa y el sol en su singularidad literaria—, y de autor suspicaz, ingenioso e inventivo, que respeta la realidad al grado de no hacer un estudio sociológico, no obstante su interés profesional de explicar científica y objetivamente lo que rodea al individuo —y cómo este transforma aquello— o reflexionar denotativamente sobre la estructura y funcionamiento de alguna sociedad humana. Narradas con un estilo seco y directo —y tramadas desde la metáfora del mar y el símbolo de la arena—, las dos historias de Playas —«Playa Ballena» y «Punta Negra», en ese orden— son una reflections on life to old age and death as a backdrop. In these scenarios, the time-course and perception about as intimate and personal experience-is the spirit that links the body of facts about color, texture and temperature.
In "Whale Beach" Calderón Fajardo challenges the reader with some insistence. And he also raised some caveats. No vacuum is an invitation to jump into a bottomless pit. On the contrary, it has to witness the resolution of an injunction, except to witness a clash between two co-letters, two writers forged light-and dark-the great José Donoso. Plausible, though uncertain, this story has a special charm to involve the hypocritical and voyeuristic reader from the first sentence, to propose the parallel lives of two young Chilean writers, intimate in Paris in the 1960, disciples of the author of The Obscene Bird of Night . As in, as always in greater or lesser degree, and as you know Calderón Fajardo, "the high ideals that unite people in a time and place-coordinates of complicity pristine-lost, suddenly, in the light of change involving the flow of time and convenience and interests of the market (although this was editorial), intensity and strength. The great ideals fade, begin to lose their light and tone, to be a good memory, in contrast to what one might get when you reach the fame or has a low profile when it succeeds or is created from the suffering, when you get the recognition or ninguneo persists as a second skin.
Whale Beach, the place that gives its name to the first story is the sort of place that invented "more abstract dream for the invention, the space of a narrative architecture that plays with the depths of truth and the windings of the imagination. There are "consistent" three literary stories, aptly geared to enhance the explanation of the mysterious, enigmatic and incomprehensible: the very existence of the place as an epiphany or, rather, answer a crucial question and painfully short. According to a legend that evokes the hero, the prototype of the great white whale in Herman Melville stranded there, flux history breathes life the ghost of the legendary whale from the waters of the South Pacific, to revive a more nineteenth-century histories fascinating.
Thus, through the use metaliterary, but not muddy, but to obtain a higher brightness of the already bright, that is, without falling into the habit of embedding the information learned just to meet or impress, Calderón Fajardo, on the Otherwise, orchestrates a complex and nuanced context for philosophical explanation with unusual simplicity of the greatest concerns of humanity. Obtained sharp lesson, if the star of "Whale Beach" through the contemplation of a phenomenon as rare as a green flash: the heat and glare of life itself, as sigh of beauty, on the afternoon of existence, refracted from a great body - do the whole of humanity? - on rampant corruption.
In "Whale Beach" the author leads us to the cliffs of faith, but the most difficult to achieve, that is, forged in the earthly plane, away from the dictates of superstition or fear to anger divine, given between individuals, to provide a strictly literary reading of what is friendship and how far this personal affection, pure and disinterested, shared with another person who is born and is strengthened by the deal.
From other side, "black spots" digs in the same style of "Playa Ballena" direct-dry and mostly-but the underlying pace of a story that is stretched and adjusted to an outcome which, while not is surprising so impressed by the workmanship and for its forcefulness. We are facing the loss and grief that this implies, as Calderón Fajardo. To death in a devastating and raw version, which does not fall into the vulgar or sliding in the sense Output obvious or vulgar.
As in "Whale Beach", the author uses metaliterary resources strategy, and from the first sentence, by quoting the Israeli Amos Oz, which is gaining a wider sense as it is repeated with variations to the point of the story. The cyclical appearance of "black spots" is just that: appearance, front view, draw, because the text states that it is a memory linearity tidal ebb and flow remembrance, recall and fro, and, as such, gives space reflective counterpoint lost youth and old age ever closer to the subject to the imminence of death.
Mourning is an outward sign of sentence in costumes, ornaments and other objects, by the death of a person. The duel-the Latin word dolus (pain) - is fundamentally pity or sorrow, and holds a second meaning as a whole shows that are made to express the sentiment that is someone's death. Regarding the first term, it is clear that the English Language Dictionary refers to the color of mourning in Western populations is black, detail appropriate to re-read the name of the famous seaside resort south of Lima-Punta Negra "and notice the ominous look and pain of this name. But this beach, Punta Negra, is just as it can be assumed, the tip of the iceberg. Calderón Fajardo descriptive uses just a few strokes to emphasize the mystery of what is not exposed to the view of the reader-viewer, which hides the sea as a natural material, ancient literary metaphor and symbol, "The wave, after reaching the shore , returns and underground joins forces with the next wave is coming. Mixed flows are unpredictable at high tide. " [Emphasis added.] This explanation, placed in the center of the text and a key moment in the development of history serves to decode the above narrated, to assume the following paragraphs from the perspective of the announced ground force. Thus, sea and text, rather than equal, are a continuum in the minds of Calderón Fajardo.
As can be inferred, the story "black spots" obliges us to establish certain semantic subtleties. Just as there is a slight difference between glimpse and glimpse the unseen, in the context of the distinction between grief and sorrow over "the waters cover the sea" (sentence starters) and "the sea under the sea" (punchline) , we discover, after following the process of taking the loss of a loved one, the alpha and omega of a snake undulates with some linearity, rather than biting the tail as the ouroboros-famous landmark of the ancient serpent, which expresses the unity of all things, which never disappear but change form in an eternal cycle of destruction and new creation ", despite the connotation cyclical waves and rip currents that pervades the text.
The sea, after all, images of death and memory contained in the hands of Calderón Fajardo, is a place that invents as he enjoys or is feared or it looks. And -austere beaches, coastal and therefore is an accurate title, double vision with talent and intelligence offered to remind us that literature can make better people to the readers to the adversities of life, but not necessarily those cultivate. Really sharp Calderón Fajardo reproached doubt about and others from his well-deserved and prominent bank, his throne as king of the beach.
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