http://sharebee.com/eec57723
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.
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