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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.

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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.