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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