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.
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