There are good writers and good writers marketing. There are writers who only care about writing and writers are they only care what is written about them. There are writers who live to write freely, and there are writers living shackled to the formulas of "success", according to market research of the big publishers. After reading intimate Anthology: 40 years of stories , Casatomada recent publication, it is clear, very clear, what kind of writer is Carlos Calderón Fajardo, as his personal choice "Twenty-stories published between 1969 and 2009 - fluent in either human and literary quality.
This portfolio of Fajardo Calderon's more, much more than just a group-story-in chronological order. It is, above all, a sample in which the reader will sober and mature handling this author manages to symbolize the peak moments of existence, ie to realize and unlock the unspeakable, to make available to an accomplice who of these extraordinary stories twenty-seven a truth that does not stop hurting, dazzle or pleasing.
the sea waters . There is a world in motion, in each story intimate Anthology: 40 years of stories , means more than the sum of four decades of creative writing. A world seemingly calm, but in constant evolution and questioning, on good account by the constant flow of undercurrents. It is the sea, is Paris-bella or sow, "is the story that each character carries and manifests as a shadow. It's chiaroscuro or absence of color favored by the left hand of God. They are also the angels who are confused with mortals. Fallen angels who compete in grace and favor with the mortals who believe divine, until it reaches the disease, deterioration, poverty, neglect and death. It is the dream and undulating jellyfish man watching the sea. Are stories metaphorical dialogue epistolary two friends while they stop being friends. It's huge, iridescent stranded ghost of Moby Dick on a beach in Tumbes for an endless sunset. It's the journey with or without return. Is the house that changes its place in the desert in the heat of an invasion to become a mirage. It is a photograph. It is a picture. An iguana quietly mutating. A cougar killed and subsequently killed by blinking in each pictorial version. A story that is repeated and in which the hero of the thousand and one faces an identical number of nights is the same pure change in correspondence with a constellation of contraction. The sea water covered by .
Forgiveness and guilt, or vice versa. God is gone, disappearing into the door of the church of Saint-Nicolas-du-Chardonnet in the Latin Quarter, and forget about a man and all men. The man expelled from Paradise. This and other characters are Dante without God, without defense, without the possibility of Heaven or Hell, just have the misery of this world, a painful limbo, which is not even purgatory. Characters with guilt, but vital, tenacious, intense and persistent in their happiness. Happiness, of course, no sweeteners, no hope in capsules of self, because it is the story told and retold late repentance, space profane in conflict with the sacred sphere of worldly clicking the literary world or the artistic interpretation, of aestheticism skeptical at odds with the sacred social criticism. It is the silence as penance and almost inhuman howl as an epiphany. Of confession from father to son. To live the same forever on Monday, fantasy or schizophrenic, until the end of time. The redemption of the hero disguised as an executioner, the hangman embodied in a relay to philosopher Bertrand Russell and the Tractatus of Wittgenstein. Catchascanista's cross, the priest subversive, hunters cougar, the successful writer of vampire women who dreams of a piano. And no, in the absence of divinity, can walk on the waters cover the sea.
The shallow sea waters . So well have titled this portfolio of Calderón Fajardo. No, it is a nonsensical, absurd or capricious. This is the last sentence of the book and it belongs, in fact literary, Amos Oz, as Calderón Fajardo explained at the beginning of the story omega intimate Anthology: 40 Years of stories, entitled "black spots" that is, without doubt, the tip of an iceberg. With this statement could be summarized as elusive aesthetics of the author. With these five words could open several doors that provides the narrative here by Calderón Fajardo. But what does it mean that time the author of sea water on ? If you want a satisfactory answer, here is what he wrote exactly Amos Oz: "No Way Out: as the waters cover the sea ." And in this context of closure, Calderón Fajardo rewrites " the waters cover the sea ', to conclude, with a twist to Henry James, at the end of the story: " underwater sea ."
This is the thread to follow. But there is a thread exit or escape but to go further into the mechanisms of fiction that make up this collection of twenty stories. This entry, on the other hand, involves digging into the contrived expressly for geography characters always on the edge as possible, the real, as inexorable. Thus the uncertainty as a timely remedy used to resume the chronology of the alleged incidents. It is also the counting of the story from deepening in intensity, exacerbation of the symbolic and emblematic, but deliberately neglecting internal consistency, the faithful record to give the characters a more fully human, almost bordering on contradiction, paradox, tautology, a reality to be fragmented, disintegrated and blend in different registers and versions. It is therefore not reflect an unthinking realism, what he seeks is to serve faithfully the vastness of reality-or, rather, the vast reality-which also includes the subjective, the fading memory, regret, desire to correct the details truncated or colorless, to redefine the truth and verisimilitude without falling into the traps philosophical truth. This is what happens to a greater or lesser degree in the accounts of intimate Anthology: 40 Years of stories, but especially in the stories "Letters to a distant girlfriend", "Suicide of love ',' History Magaly "and" The Argentine grandfather. " In these texts, what happened is a matter in constant flux and metamorphosis, as the memory that organizes the order of events follows a non-Cartesian logic, a sequence governed to a greater truth, not giving the outline of the classic tale, schematic and predictable. In these stories what counts is not necessarily what is happening or what course Cerradicas. The facts are subject to a new version and each version has potential, as is obvious, with various readings.
What is water? What is the sea? These questions are more relevant to the human, geographical and literary Calderón Fajardo. Do not forget that this writer was born in Puno, and although a town of this region for some time made him its favorite son, the truth is that Calderón Fajardo is a man of the sea, which has grown in the arid desert Peruvian waterfront, watching the tide, watching the waves, revealing the mystery of the foam of days. Surely, from his childhood in Peru's north coast, the first answers to the big questions that one is made to certain natural landscapes are reflected in intimate Anthology: 40 Years of stories. At that time, perhaps infused knowledge, Calderón Fajardo, wearing shorts, realized the substantial difference between water and Tues , and the complex relationships in the symbolic realm, of these two concepts seem synonymous. But the literature done by good writers is no simple, mechanical translation, or record of what actually happens on paper. For a story to become literary material must be brought into play a symbolic process that articulates characters, times, places and actions with other elements of singular, subjective matter that have the power to turn the banal into transcendent and the everyday in high and universal. Nor should we lose sight of the theoretical handling of the composition of a story. With a unique style, Calderón Fajardo selected, fully exercising their free will, this necklace of genuine gemstones, as some are conspicuous by their beauty, and other dazzling for its rarity, complexity, intensity, color and hardness. But in all stands the skill with which this writer appeals to an obvious conflict and figuratively (the water), to hide or exalt the truth almost always within the limits of understanding or common emotion (the sea).
And yet that there are writers with good marketing , who only care what is written about them, and enslaved by the living major publishers, good readers, those who do not comply with porridge literary nor are they subjugated by misleading advertising contests that award anything but the quality, choice will always find conviction, stubbornness or random titles like intimate Anthology: 40 years of stories to plunge into the sea and settle on a bright splash and nothing deep puddle of water.
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