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Umberto Echo - Dub the World (2010) using hotfile.com - Music

Umberto Echo - Dub the world

Dem gone 01

Dub (Gentleman)

02 Love Letter Dub (Katchafire)

03 Day by day Dub ( Rastasize ft. Sly & Robbie) 04

Dub No more Weapons (ft Steel Pulse. Damian Marley) 05

Métissage Dub (Dub Inc.)

06 Ris up Dub (Oneness ft. Buju Banton & Naptali)

07 A desire

Dub (Cultura Profetica)

Breaking codes

08 Dub [Up, Bustle & Out ft. Kalaf]

09 I do voodoo Dub (Dubblestandart ft. Lee 'Scratch' Perry]

10 Dub City lights (Stereo MCs)

11 Aufstehn Dub (Seeed ft. Cee-Lo Green) 12

Ye shan gou Dub (Jiang Liang)

Island Dub 13 (Smoke)

14 Waiting for the Light Dub (The Red Eyes) 15 Galli dani

Dub (Dub Spencer & Trance Hill)

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Newest of the new. News

Here I present a new range of menthol cigarette brand Pall Mall being the most notable change the color of the pack, which usually remain green is darker this time being almost black, the other novelty that certainly is important is for the new photo and text of the health warning that changes every year, it began to appear in the middle of this month however still sell cigarettes with the warning above it is obvious finally disappear when all the stock is still trade is fully sold. The reverse bears the text: The snuff leaves you powerless, for you and your spouse stops smoking.

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Francisco Medina. The cry of the placenta. Lima, Mesa Redonda, 2010. 168 pp.

fiction's ways are so mysterious and fascinating as the most deluded mystic or religious road map. Francisco Medina reproached us that by releasing his debut, no less a novel temporal counterpoint with a very suggestive title: The cry of the placenta . The author reminds us that literary experience is fundamentally an exaltation of the invention, a commitment to recreation that is not anchored within the limits of verisimilitude. Medina ventures beyond the boundaries between the possible and unlikely to offer an original story, fresh and fun, but also to break the reader with troubling issues and themes thorny.

Medina narrative strategy is simple on its surface and, in turn, complicated bill. The chapters alternate linear and independent counting a story that is certain, will cross, convinced that is directly proportional to the anxiety experienced by the reader that to happen soon. And that encounter that carry current events, places and people will come more than a revelation. To this end the author has worked with great dedication to the conflict in each story, and also different dosing schemes. Medina gets plausible how extended family secrets to a point where it does not jeopardize the balance of history, using plot weight palliatives that do not fall into the temptation of the story, although they overlap, for good, the makeup of his humor.

The story takes place quickly and smoothly, to show a society where family secrets are something like the soul of the party. But enter the novel game urban legends and open secrets to spice up the Lima, which exudes a special dye in the act of painting and develop the characters without falling or slipping in the vice of the sociological or either as self-referential journalism. The novel is born with a style that makes a concern about the pace. It's fast, but given the time to savor the reader at ease. In that sense, the book emphasizes the concern for the enjoyment and the enjoyment you should seek every novel.

Developed in twenty chapters, The cry of the placenta is a love affair with all that is sweet and terrible word implies. It is also a story of death, tragedy, transgression and fall, which focuses on display and discover the amount of passion that require the greatest dreams. And these, enhanced with real ingredients wonderful, contrasting with the dry-urban realistic projection make The cry of a novel placenta somewhat atypical map of Peruvian literature.

From one point of view, the novel is the story of the brothers Gabriel and Ernesto. In this factual level, corresponding to chapters peers, is a novel of sentimental education. Medina skillfully weaves the relationship between Gabriel and Ernesto, a key moment in their growth, they discover a box that when opened lets out a chilling scream. This desecration, as often happens in myths and literary tradition, will alter the family order, generating a series of adverse events.

Ernesto Gabriel and his happiness will be charged with this violation, but they ignore what they have done. But this is the link between an idealized family background, and a spring that will radically change their lives. With the opening of the case not only let out a cry not pleasant to symbolize an old familiar pain but an old broken promise to his grandmother (Camila). Both know they have broken the balance of this and that from that time have lost their innocence.

unknowingly been claimed violently by the adult world, an area that demolishes and eats with its rules and inflexible rules. Along with the cry that escaped from the box are the device of the forbidden poking through a hole appropriate on a wall and both sexual initiation, smaller engines are less important in this novel that opens spaces of satisfaction for the characters as a counterpart to the suffering that will be living.

Medina But beyond the story of adolescent incest and sexual dysfunction. The novel also explores own environments for family life. Raises a series, ie a family history seen through the generations, to tell the story of a house, a neighborhood, city and country. The author does not hesitate to locate a fact, recreating a past time without committing anachronisms. The passages of time we are in a Lima strict social conventions and family where relations of power between adults and children are perceived today as disproportionate.

Francisco Medina, the author, as we see in the captivating cover of the book, invites us to spying licensing its first 'commission' literature. With this novel, the narrator reminds us, incidentally, that the literary exercise is not simply putting words together but the decision a little perverted, dangerous and subversive horadas the walls that keep us from being happy and honest.

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Percy Galindo. A hitch. Lima, Ediciones SM, 2010. 136 pp. Elton

El panorama literario peruano tiene en Percy Galindo a una de las figuras más sólidas. Su escritura denota, además del prolijo cumplimiento de los rigores y exigencias del idioma, una muy particular manera de empastar y enlucir sus historias con una dosis nada despreciable de verosimilitud, no obstante su vuelo imaginativo, es decir, su estilo de forzar la realidad, en el ámbito del realismo, cuando decide trasladar a esta al plano de la ficción literaria.

A pedir de boca es una obra breve, pero dinámica e intensa en hechos, que transcurre literalmente en un abrir y cerrar de ojos. Tiene el fast enough to excite a young fan of video games or movies in 3-D. And this is not easy, as a reader more than twelve years is, without doubt, very demanding, somewhat neglected and delinquent fiction naive and moralistic to the surface, but the truth is not yet is ready for loading and density reflexive metafiction embroiled in extreme, characteristic of the narrative of recent years. It should be noted that a reader's literary taste between twelve and eighteen is forming. For this reason it should not sound strange hook a hitch is just to offer a type of fiction or charge arising the transformation of the logical course of events planned in reality without necessarily being fantasy fiction, as in video games where players have several lives, possible worlds to choose from and magical and technological devices out of trouble or avoid getting in them.

Galindo But not content just with history, with details of well-articulated action depending on the purpose of keeping the reader always ready with a minor conflict is resolved on the fly, the author embed also concerned that appropriate lessons have a dual purpose: to support the narrative and instruct the reader lecture without ignoring the plot or story to succumb to what pretext instruction. But this, which apparently could be motivating digressions, narrative follows a well-designed strategy for Galindo. For example, on pages 43 and 44, we find a very timely embedding. This is the point of view of the protagonist, Andres Vega (Andy) a boy about to turn twelve years: "I think I'm learning the art of argument effectively." It's something we studied in Communication, a few weeks ago. The teacher explained that one of the usual problems that human beings have to communicate is that only express our ideas, but we do not know give its reasons beneath them. As we have no "empathy" (which is something like step into the shoes of another, ie to take the place of another), we imagine that others know what you think and say only what we "want to hear," rather than another "would like to hear."

remember that magical thinking in children is allowing them to believe they can transform reality through the speaking of their desires. And what usually turn the wrath of puberty and adolescence is the clash between the possible (the logic of reality, or allowed) and impossible (as desired, as desired or dreamed that it is impossible in a context of rules and laws.) This frustrated him saying the boy to the simple expression of a need is not enough to ensure due compliance. And assimilate this lesson is vital for the individual to mature. Maturing is, to some extent, dominate the child locked.

also remember that the mythical-magical is cyclical, repetitive, and the logical-rational view of history is linear, unique.

With these principles, Galindo starts walking narrative machinery A hunky-dory, a title that emphasizes two things: the magical thinking and thoughtful approach of the book in expressions. The same author explains this in a clear self-referential game, on page 43 of the book: "The expression" by word of mouth "is a metaphor used when things go as one wishes to leave things."

Thus, Galindo explained semantically a quasi-magical phenomenon. And this is really the main concern of Andy when they see that and again that is not taken into account and never do what he asks, referring to a holiday trip the supposedly boring family Huaytará (Department of Huancavelica province), where nothing happens, instead of Mancora, perfect spot to go on vacation to his cousin David. Galindo ninguneo illustrates this condition to a point limit when the character actually calls himself Nobody. No one even becomes nothing, that is, in Hayter. Andy has nothing in contrast to his cousin David who has everything just ask. Nobody is Odysseus, the hero of the Odyssey . And with that Galindo announces an extraordinary adventure in the plane of the imagination, the return to the family, the root and origin, where the cunning and intelligence are key to understanding the power of soon becomes the protagonist.

For the purposes of history, Galindo classical scheme uses the input-node-end. However, the pursuit of the facts is not so schematic and obvious. This is because Galindo uses a framing narrative disguised as internal time. In just a blink, Galindo conducts most of a realistic story that is gradually breaking the logic and conventions as possible. This deliberately uncertain handling of events is the greatest virtue of the book. And when the reader is more than clear that the supernatural power of a bright green stone found by Andy-typical object fantasy fiction magic and faerie- is able to convert their wishes into reality, you enter a plane before in history, week zero, creating the same conflict between the possible and impossible. Then there is the urgent question: what "happened" was a projection of the character mature and it was a magical manipulation of the old guide Huaytará?

But a hitch beyond schedule, what a well premunity attentive reader might expect, and that makes it even more captivating and surprising. At another level of history, this book is a tribute to the word and the transforming power of this. In the dark ages of time, there was no difference between the charm and aesthetic expression. The art was magic and vice versa. The literature was oral and was based on her enunciation. It was the pleasure of hearing about the heat of the fire, which drives away the cold and monstrous beasts, to illuminate the existence of the tribe. Galindo rescues the evocative power of the word in the character of the old guide. This enhances the story of a mystery that goes unnoticed but, after many pages, acquires a fundamental weight for the full knowledge of the narration. "Then the old man says things that do not understand. Because he says in Quechua. / I get scared. I close my eyes. / By inertia, I put the green stone in the pocket of my coat. "(P. 26)

Quechua is the language that makes the message of the old mystery. And the magic comes from the code and what it represents, namely the Andean world, the root, origin. What comes next is an appearance of reality, which can have a logical explanation or supernatural, according to the taste of the reader. Galindo leaves open both possibilities for history does not interfere with a read-only and vulgar. The boy had understood the lesson after realizing the weight of their hidden desires in mandates, and those expressed by of words. Means that one must be responsible for what they do and, especially, he says, and measure the impact of acts and, in particular, of words. After all, and many misfortunes product of selfishness, Andy managed to mature, to reconcile their interests, desires and needs with your family and collegial environment.

With stunning simplicity, Percy Galindo has managed to transport us with wisdom and great knowledge of the human soul to the complex when the individual changes of skin, to become a better person. We also rescue the child has mastered that lives in the shadow of the adult who must project. And these two strong literary virtues, we can add the extraordinary capacity of this writer to investigate the subtle folds of human relationships as well as links to these entail. And best of this heartwarming story featured in a short book is that we can appreciate the greatness of an original Peruvian writer.

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Honors. Impossible worlds. The fantastic in Peruvian narrative. Lima, Body of Metaphor, 2010. 256 pp.

In Peru, for an absurd reason, we believe that realistic fiction is the only way to confront with seriousness, maturity and commitment to creative writing. One has the feeling that it is the only valid to refer to reality, to represent the world, its facts, issues and people. It also considers the realistic fiction, realism, is the panacea to unravel the Peruvian and inspire the construction of a national project. It is thought that realism is less fanciful, illusory and fictitious and therefore is less "contaminated" by the imagination, which becomes a tool to analyze, study and understand the complex reality. Has penetrated very deeply the false idea that only by reading Arguedas can be understood to Peru, Peru-term deep-misleading and exclusionary because it does not distinguish the scientific Arguedas Arguedas author of fiction. And to depart from Arguedas is betraying the writer's commitment to the society of the Andes, others disproportionate idea, wacky and childish. What is not understood and does not want to notice is that both fantasy fiction and realistic fiction are two ways, among others, to take the literary, that is, both lie, both invented, both fantasize, disfigure and distort equally with the same weight and self-confidence, all the elements of reality. The unwary reader, on the basis of some typecasting biased critics and researchers administering the national literary device, it confuses mimesis with diegesis, reality realistically impossible with unusual fantasy and banality, frivolity and futility.

In this disorder, in this context of terms used interchangeably, with total arbitrariness and laziness, as this international conference activities and research as impossible world. The fantastic in Peruvian narrative Honors Elton allow the community to understand that fantasy fiction is no less or more than realistic. That one is not on the other, forward or backward, or to the right or left of the property, either in or out of evil. Both are equally interesting, relevant, timely and relevant. That the two are as valid as valuable. This and that are able to cope with the physical and the metaphysical with the same intelligence and intuition, and both are the result of the same dose of wit, talent, effort and debt to the language, the only commitment outside ideological fashion, political and religious. And that reality, the world we live in, is just as near and far on these two types of fiction.

At this point, it is worth noting the contributions of the Honors Research. Beyond its intention to prove that the fairy tale of Peru is closely linked to processes of urban modernization-and even dialogue with its social and historical context, "Honors develops concepts transverse end providing a broad overview that focuses on the Generation of 50, particularly in the work of Luis Loayza, Luis Felipe Angell (Sofocleto), Edgardo Rivera Martínez and Alfredo Castellanos, to refer the stylistic-minificcional, the humorous, the marvelous and absurd, existentialist, respectively. But from another angle, they articulate the production of many writers, among whom mention should be made to Felipe Buendia, Julio Ramón Ribeyro, Luis León Herrera, José B. Adolph, José Durand and Manuel Mejia Valera.

Without But this approach is rooted in a before and is projected at a later. Regarding the former, Honors traces its time-space coordinates from the review of the concept of assimilation Generation of 50 during the 1950's written in the Peruvian press. To do so, makes a summary of what journalistic criticism of these writers spoke at the time. It also examines how the narrative production was critical of this generation in this decade. Honors ends the chapter with the fantastic as a problem within the literary tradition of Peru, where more than answers, what matters are the questions posed to the narrative corpus great place in Peru during the time: Is it possible to speak of a fantasy narrative Peruvian?, who make up this great corpus of texts? why this corpus has been overlooked by literary studies?, is there any particular, local features or marks in this narrative to recognize as Peru?, what kinds of fantastic stories occur in the early 1950?, "also referred to the processes of change and modernization of Lima?, to what extent?, what does this narrative in the early 1950?

then from the critical reception, it is possible to see how they built the great Peruvian narrative corpus. In this area, Honors stops on the relationship between fantastic fiction and the process of modernization as well as the systematization and analysis of primary sources, ie publications of the 1950's: the daily El Comercio , La Prensa and Chronicle, and magazines Peruvian Culture, Idea, Free Peruvian, South Sea and Mercurio Peruano.

Following this analysis, Honors proposed, as already mentioned, a fantastic tale classification according to their representatives, in order to provide stylistic differences between "minificcional, the humorous, the wonder and absurdity-existentialist, which shows the richness of our tradition of storytelling and serves as a platform to display the items presented this narrative in the process of modernization.

Finally, Honors synthesises his analysis to establish the thematic elements, structural and ideological fairy tale Peru. And from this perspective focuses sharp criticism of modernization involving these elements. In this respect, Honors sparing no effort to explain, and reiterate, that while the fantasy narrative of the Generation of 50 makes use of innovative narrative techniques and resources, these works contain a rejection of urban change and even rural.

Honors lay important groundwork has been able to continue with the task of investigating the great tradition of Peru. In this sense the book is an invitation to continue exposing fantastic works fantastic. Thanks to impossible world. The fantastic in Peruvian narrative is clear that the narrative corpus had not become a tradition because it was accepted without any consideration of objective criticism, nonfiction that is naturally valid, useful and, therefore, prestigious, reasons for enjoying the disproportionate attention of researchers, who not only strive to elevate it, even if many nonfiction texts are mere exercises in which the diegesis mimetics absent-but to minimize or no fantasy fiction. In accordance with Honors, from the moment when the fantasy narrative uses language is inserted into the social. (This single idea is more than enough to give back to the Peruvian fantasy fiction rightful place in our literary history.) Also Honors believes that talking about fiction fantasy in Peru is very problematic for several reasons. Problems throughout the book, wisely, wit and passion, this researcher gets overcome to note that the absence of studies is not sufficient reason to deny that something exists.

On the other hand, a careful drawing of this idea, Honors provides a key to explain the invisibility of the great Peruvian tradition: the ignorance of the theory of the fantastic. This ignorance, at the extreme, causes them to consider any text mimetic and fantastic, and locate it outside of the "literary" accepted, which is the realistic trend, which is a mistake.

impossible world. The fantastic in Peruvian narrative guess was a double challenge for Elton Honors: confirm a hypothesis but, above all, to demonstrate the supposedly unprovable, so many sacred cows have been committed reproached as fruits of madness , trifles fictional or literary extravagances without artistic importance or cultural significance. The researcher in an apparent fantastic exercise has given rise to the "nothing", the emptiness of a black hat, white rabbit Peruvian fantastic tradition. It looks like magic. Looks like a miracle. It stands as a prodigy inexplicable and impossible to believe, but it is and is. And because the author of this work went beyond the appearance and followed is because your inner voice. And now, before our eyes, our understanding of reality, of real and verifiable by objective reasons, has been expanded. Has changed for the better. With impossible world. The fantastic in Peruvian narrative we are closer to the truth and this is certainly worth celebrating.

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Carlos Calderón Fajardo. The Bride of Corinth (The Return of Sarah Ellen). Lima, Ediciones Altazor, 2010. 102 pp. Elton

The Bride of Corinth (The Return of Sarah Ellen) is a novel doubly strange. Mix in perfect balance, the issue Peruvian internal war and interest "universal" for vampires, but does so from a record that will undoubtedly disappoint those social scientists who seek to exercise mimetic of what happened in the fateful decades of 1980 and 1990. And the frustrating experience of suffering and languid emos who see vampirism an exquisite metaphor for the scatological. Calderón Fajardo has been found in the bloody background of both cases more than symbolic link, which lies in the first part of the title The Bride of Corinth (The Return of Sarah Ellen) . Indeed, in 1797, ie 213 years ago, Goethe wrote a poem entitled "The Bride of Corinth", a story set in that Greek city in the early years of Christianity. This is a text that contains a sharp critique of the then young Catholic. The protagonist is a vampire and this is therefore the key hinge that links the literary plane is The return of Sarah Ellen .

more to tell, tell or count, Calderón Fajardo reflects on criminal thinking, that is, the thought Gonzales. Inquire about the thirst for blood. Poke around the power that is achieved from the fact absorb the energy of another. Explore the steps for an existence beyond this physical world and of dialectical materialism. And for that speculation at ease about the code that governs this metaphysical pagan long tusks.

In fact, Peru is a particularly fertile ground for these kinds of stories. This country is actually very conducive to manifestations vampire. There is much talk of the Romanian prince Vlad Dracul, "sinister" character of the fifteenth century, but forgets that Atahualpa, the Inca of the sixteenth century, had more 'merit' bloody than that: with a straw to drink chicha gold skull of their enemies and wearing a beautiful coat made no less than bat wings as has been recorded in ancient chronicles. Detail or Bram Stoker and his famous copying, FW Murnau, it occurred to employ.

is not surprising that this proclivity to the vampire has been unleashed, to 1993-the final years of the most cruel and international war, a phenomenon as emblematic as the media back to Sarah Ellen, who was supposed to resurrect eighty years after his death. Here is the hard reality, the superstition of people, chicha fiction and Christian faith at its most absurd amalgamated and shortly thereafter gave birth to a first literary record of which I witnessed: The journey never ends Fajardo Calderon, who was recently reissued by Editions Altazor. And in these times of sunsets from books and film, vampires politically correct, metrosexual or anorexic, Calderón Fajardo insists the mother of the lamb with the thinking that tried to blow up damaging the Peruvian government. This is certainly an exquisite finding contrasts. Writing about vampires in Peru, half of the decade of 1990 was more than a daring, a resounding nonsense. Today, when one remembers the towers collapsed and the dog hanging from the poles or the genocides in the Andes, the story returns to its source, the violent events that stained red most painful recent history of Peru.

No asci, Calderón Fajardo confronts pamphlet metaphysical materialism. It crumbles. It does picapica carnival without streamer colors or flower water. For their aesthetic purposes, the writer uses his best offensive narrative: the split personality of the character (played to be and not be on the basis of cloning), the triple phantasmagoria (in the figure of an elusive eternal feminine) and symbolic ambiguity (which gives black light to highlight the spatial and temporal differences in the interests of visual inclusion).

The story counts up to a stop in the sentence that grips the reader in the story than the pretext, back and forth to get away from the perspective of the obvious and evident, and expands tour Literary time of the truths that will not fade. The search for Fajardo Calderon is relentless in his dialogues theater: the drama of identity turns into tragedy and comedy collective representation mutates into personal tragedy. Clearly Fajardo Calderon is not interested captivate teens with a little novel about vampires. The Bride of Corinth (The Return of Sarah Ellen) , second part of The journey never ends , is committed to overcome the hype to propose a novel age not ever, as should happen with real vampires.

Nothing is conclusive or inconclusive in the literary horizon. Everything is subject to interpretation, but with a logic that does not sacrifice the fundamental principles. By contrast, the realistic waist to cover a broader spectrum of the visible. And fall into a marvelous realism or an absurd fantasy, the novel affirms the need to reread everything was finished and unchangeable as the recovery of memory. From this, it is possible to tolerate the impossible, given the margin of dementia for not completely crazy. Calderón Fajardo emphasized that tone staging with Hamletian tinge. And the famous dilemma, the conflict is in the plane of the view, where fanaticism, the mechanical repetition of the message and the worship of the idea just stop at the wall of paroxysm. In this limit, Sarah Ellen, or any of its manifestations-making consistency that has little to do with the typical features of terror as a genre. Shows the worst face of the man not to scare but to engender a change, a stadium that exceeds the previous qualitatively. Thus, like the orchid, beauty arises from the horrid and broken, and hope is born. But this is that I interviewed. The novel does not yield so easily to the final rose ... not even succumb to the full elucidation of the facts. The challenge is on behalf of the reader, you should do your best to overcome the inertia of Corinth, as a symbol of the ideal place for proselytizing. And that Corinth Greek landmark for the conversion of St. Paul, transformed by the hand of Goethe and aged by the passage of time, is reinvented by Calderón Fajardo, by an extraordinary literary borrowing.

Corinth looks like concrete goal, and also as a mirage, but is also a path, a direction, a purpose. It's destiny in a sense quite Hellenic, and also Search the bride, the alleged hero of the novel offers the leading cloned once it has managed to avoid the vigilance of the maximum security prison. Everything seems to be a revenge of Sarah Ellen and her multiple personalities, body of another woman. But it is also possible to discern the amount of sacrifice for liberation, as a second skin of the vampire, and the subsequent criticism, as in the poem by Goethe. And Corinth, physical extension of Sarah Ellen, insists the nature of non-place to complicate the plans of the vampire Rosalie embodied in seeking to unlink the leader altered his thinking pernicious. It is an extensive dialogue with poetic reproach narrative intervals demonstrate the curse of the closure. In some ways underscores the proposition that the cruelest prison is the body's own when it was decided not to happiness and compulsively points each muscle to the glorification of an ideology.

And as Corinth is a ghostly backdrop, Tripoli is the starting point. This name is the symbolization of a star guest house is the setting for sexual encounters between the protagonists. And Tripoli is also the space where it pushes back the leader's ideology, where Gonzales Thought starts decanted and the reckoning is projected as a great plan of salvation of souls. However, under the 'clarity' of ideologies, the offerings are worth very little, as have human sacrifice only: to feed thousands of victims of terror, intolerance, exclusion and hatred, to convert the differences in long open wounds neck. But all is not lost for the recovery of free will, to heal wounds and scars are erased.

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Honors, Alex and Carlos Morillo Capellino, directors. Ink Express. Literary magazine. Lima, Year 4, No. 4, 2010. 276 pp.

Almost as tyrannical as the time-the historical and the personal-space usually also be a despot and prancing. A few weeks ago I published in Caretas , I practice weekly in the "snake" of literary reviewer of fiction and poetry, I was upset to comment in just 1500 characters with spaces, only three paragraphs of regular extension, the fourth edition of the literary journal Ink expressed , whose epicenter was around the fantasy and science fiction.

At that time, I wrote, entitled "All ink" and subjective statement 'literary publication delves into various routes of fantasy fiction, "the following account:

" Directed by Elton Honors, Alex and Carlos Morillo Capellino, expressed Ink offers in its recent fourth edition, apart from the interesting topics that tend to deepen the miraculous appearance publications, timely contributions that expand the national literary horizon. Undoubtedly, one of these is the dossier Joseph B. Adolph, prepared by Honors, which is preceded by four articles that examine different aspects the always captivating work of this German writer who was born and died in Peru.

"But the section called Epicenter, devoted to fantasy and science fiction, also offers acute readings of the Chilean production María Soledad Quiroga, Elena Garro Mexican, Peruvians and Felipe Buendia Clemente Palma Adolph-plus, "and many farmers Brazilian writers of fiction cyberpunk , as Fausto Fawcett and Guilherme Kujawski. These documents, which routes cool not too busy, are contributions from various quarries university.

"Apart from the section on literary-Nomad Verba," which brings more of a surprise, the front pages of ink expressed are dedicated to a variety of literary research channels and sources. Excels the exquisite work entitled "Tod Browning, a director freak" by Javier de Taboada, but it is possible to circumvent the interview Huayta and Edwin Eduardo Canazas did to Martin Lienhard, whose suggestive title 'Documents can not form hybrid tradition. "

Thanks to the kind invitation of Elton Honors, tonight I will have the opportunity to go beyond the nineteen words devoted to Nomad Verba June 3 Masks, and regret not being able to refer to all express Ink number four for no sin of illusory and elusive, because, as goes the popular saying, which covers much little squeeze. Even for practical purposes, will restrict my presentation to the prose of this section devoted to the dissemination of creative writing.

Con la estrella de lo fantástico como sur literario, los directores de Tinta expresa seleccionaron los siguientes relatos: «Brevísima crónica» de César Silva Santisteban, «Duérmete niño» de Stuart Flores Herrera, «Los pinos transparentes» de Pedro Espinoza, «Variaciones dentro del tranvía» y «Decepción» de Ricardo Sumalavia, «Un señor muy lindo con unas alas deformes» de Pablo Nicoli, «El aparato» de Carlos Calderón Fajardo, «Receta de Igor para fabricar personajes» de José Donayre, «Fotógrafo impertinente» de Carlos Meneses, «Ladridos» y «Hay myths "of Carlos Enrique Saldivar," Between decker Raul Quiroz, and "The Ringer" Gregorio Torres. That is, texts of eleven selected thirteen authors.

To begin, I will commit a gross breach of trust. "Brief review" of César Silva Santisteban is more words, fewer words, "The Virgin of the Rosary" story with which he won an honorable mention in the XV Biennial Story "Award 2008 International Cope." On labor issues, here's my indiscretion, I witnessed a great story like this was reduced to ashes by a laurel wreath fully extraliterary question: offer a free interpretation of what was, "actually fictional" Isabel Flores de Oliva, aka "Santa Rosa de Lima." Silva Santisteban has much to Lima, with a breath of tradition palmist and nineteenth-century salon gossip, life, miracles and death of that holy, from the strange relationship with his brother to his hysterical and antisocial behavior. A great story that should deserve more recognition, but that things are forgotten when a jury about the meaning and commitment of the literature. The story, which exceeds the story literally, has the virtue of making a full reconstruction of the time. Silva Santisteban makes very good use of and the finding data to build a credible and coherent story, around one of the most famous colonial Peru.

"Sleep child" Stuart Herrera Flores is more than a fantastic story, a strange tale. In its opening paragraphs the reader has the feeling that the author makes all errors to build a sustained narrative. But suddenly, with many failures related to the ABC of a narrative approach, is emerging a question then mutates very positively sure to amaze the reader. Dream written in code, the history of Flores Herrera is a narrative that is based on the description of paintings. The characters emerge and overlap. It is unclear who is who: each character is as it is his turn to be. The rest are shadows waiting for their turn. And while the sequence of paragraphs is defining and blurring some other, there is the conflict becomes drama. And the reader is the veiled clarify this very clever story, before being hit by the Great Amnesia.

In "The pines transparent" Peter Evans explores the limits of imagination from the slump that occurs between the recording and reading impossible. Touch reality that reveals the character while loses sight becomes the creative instinct of a reality and live fuller. The surprise ending of this short fiction emphasizes the playful nature of what the author suggests from the first line of text: the design of women. Beautiful metaphor for the mystery that links the experiences of writing and reading. Fascinating exercise to transcend from overcoming anything from the figure of the empty or blank page.

Much to his style, Ricardo Sumalavia gives us two pieces short of impeccable. "Variations in the tram" is expected as its title, a text in which the rewriting is a narrative that allows the departure of the story without the reader to stop, any more than necessary, in the story. Sumalavia lay hold of a dialectical structure in which the auction (the third) is to be a qualitatively new vision that goes beyond the fact narrated in the first and second parts. A brief lesson leads us to reflect on the impact of point of view for the reliability of the perception of existence. Also, short fiction "Deception" Sumalavia shows that the obvious is not necessarily obvious. Here too the point of view, not cultural, but geographically, it is essential to rethink the human being as valid subject was their area of \u200b\u200bcontrol of nature.

In "A Very cute with deformed wings," where the evocative tribute to one of the most celebrated stories of Gabriel García Márquez is practically an appointment, Paul Nicoli presents a twist on the theme the emergence of the angels in our reality. Like the rose of Coleridge, here is a trace pen or supernatural testimony allows marvel at how amazing character. However, the most fascinating track is to find the link between this story and the German film Wings of Desire Wim Wenders starring by two angels. While it is not poetic shot up to the story itself, the author manages to explore a particular style in fantasy fiction that focuses not disruptive and disturbing nature of the surprise ending.

Carlos Calderón Fajardo appears to have no limits to invent fables and imagine. "The device ', besides being a good example of the fertile imagination of Calderón Fajardo, is a record in which the author assumes several risks: Extended brief, final hilarious (almost humor television) and little poetic language. However, this author's literary ability to amass a variety of substrates and convert an absurd fact a sublime and lyrical situation deserves the highest praise. With this story so unusual in Peruvian narrative, Calderón Fajardo shows his great skills of narrator SUV, and the conflict between two characters is not often in the locations shown in the theory or the end of a story, however brief it was-must match the culmination of history (human) behind it.

"Igor recipe to make characters" Joseph Donayre is actually a fragment of an unpublished novel by this author. This novel was recently a finalist in a national competition. To this end, the fragment "Igor recipe to make characters" was eliminated, since under the competition rules, the novel would be unprecedented. When expressed Ink invited Jose Donayre to participate in the fourth edition of the journal, the author was not even remotely claim to participate in the competition (at the time the novel was a strange nebula few bytes). Although it sounds ridiculous and pathetic, the author must live with the rest of his life with the idea that counterfactual terrible if I had not deleted the fragment might have won the contest.

Rains but it pours. That's exactly what happens in "Photographer impertinent" by Carlos Meneses. In this disturbing story, Meneses delineated with great skill exceeded a world where the nightmare logic seems to govern human destinies. The story, briefly and galloping, offers us a world turned upside down, but particularly towards the end, it makes sense, with the revelation last line. What is interesting is the combination of types of fiction: it goes from a great record (where the impossible is displayed as possible without justification any) to one of science fiction (in which the technique allows successive transgressions of nature). So, everything returns to its apparent course. In a world not necessarily in order, but that does not ever know.

Carlos Enrique Saldivar offers two texts: "Bark" and "There are myths." The first, well above the second puts us in a very particular perspective: that of a dog who thinks like a human being, but what the reader is expected to speak. But for purposes of surprise, the interesting thing is what he thinks the dog. It is unclear if an improvised out of the dog or the result of a thoughtful reflection of man's best friend and "women", the fact is that the original plant is so disturbing and impressive. In "There are myths" is quite the opposite: the outcome is predictable, but not without extra-literary virtues. In any case, as a matter of contrast, enhances the brilliance and opacity of one another.

Dialogues without quotations is, in short, what happens in "between floors" of Raul Quiroz. But dialogue is structured around a mystery that can not be reached completely elucidated, giving more light on the supernatural character of this fantastic story. The author, at most, traces some coordinates to locate the reader in an apartment or other building in the dialogues that take place. And the characters, two gay couples (one gay and one lesbian) agree to Desencontro from voices-sometimes their own voices from a mirror. Strange tale that explores the complex composition of couples and their unfortunate reflection or confrontation between them.

Finally, Gregorio Torres, in "The Ringer" also delves, as did Paul Nicoli, the figure of the angel. But this, unlike other recently proposed a seemingly angelic character, if we consider the aesthetic canon that defines them. And it is precisely on this point that stops the story 'The Ringer', to outline a fraud, an impostor. However, the story turns into an end is not very surprising, revealing the character of which is held in a metaphorical phrase. Somehow, the intention of the story is to contrast the lack of faith in a supposedly Christian society. But this, overcome by a verbal figure is not simply the power of words, produces the miracle.

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Luis Carlos Musso. Geometry moral. Bonesnapper Publishers, Arequipa, 2010. 64 pp. Augusto

In just four lines, Cuban Sarduy and trench exposes one of the greatest conflicts of humanity: "There is silence / but / when the Other / talks» . These eight words are the texts of moral Geometry , poems Ecuadorian writer Luis Carlos Musso, recently released by the label Arequipa Bonesnapper Editors. And from this simple paradox about the silence, which serves as a pretext or to fit better with the spirit of the book, "theoretical framework", Mussa called the Muses and a string of references from diverse and varied.

Before entering the field, make a brief digression. In the Middle Ages, was called quadrivium the set of the four mathematical arts, ie, arithmetic, music, geometry and astrology. The quadrivium together the trivium-the meeting of the three liberal arts for eloquence, or grammar, rhetoric and dialectic, "was taught studies universities. This willingness to consider the geometry as an art few people still grow, meaning that far radically from the currently prevailing definition, "Study of the properties and actions of the figures in the plane or in space," according to Dictionary of English . So far the parentheses.

After reading the book, and in line with the digression, it is clear that the geometry is an art to Musso. And most likely with the adjective "moral" is intended to refer to all faculties of the mind, as opposed to physical. Therefore, the title would draw attention to a kind of art whose nature is to address the physical, transcend matter, to exalt the intangible. An art that is opposed to fashion, to the dictatorship of taste, the democracy of the pretentious and the consensus market research bastard. The art, on good account of the uncomfortable. The only one worth remembering and imitating as inspiration.

Structured in four parts, moral geometry has an onset of Eden-like echoes. "The tree of good and mall " The first part comprises eleven prose poems chronicling the arrival of light in a changing world in a solar system that summarizes a mere point. As in the book of Genesis, writing is a breath invincible, and the straight line is the basis for uniting one point to another, but above all, to weave a string of words that aims to be the shortest route to cement certainties and address the silence, nothingness, emptiness. In "Geometry" absent ", the fifth poem, displays the level of sensuality, which somehow had been contained in previous texts. And from here the poet seems to find wall to stop his narrative worth. Every obstacle is the way to go poking itself up and untie strip readings, dreams and geometric formulas. Desires raises the square - "My desire is linked to your desire" (p. 18) - to find results "escape routes, and survive their visions. Even appeals to an endless hourglass in this GRAMMAR OF NAILS. Reminiscent of the circle geometry and spiral shapes of eternal return, which later refulgirán as true delusions. In "Blood split" seventh poem, establishing a line that may mark a before and after "a white and cold ..." (p. 19). And a little later (p. 20) Geometry (sic) is only one sure way to get home. In "Roundness of blood", ninth poem, appears the Ouroboros (the snake eating its own tail) as a mutation of the circle. And the geometry continues to tread on the heels of the strange mixture that results from combining beauty with technology (p. 22), preamble to conclude the first party with "Last spleen", eleventh poem, where stands a line of Soda Stereo in the death drum rotates as the wheel of fortune.

"Secret Storm", the second part of the poetry book, silences the biblical overtones of the preceding section to delve more into the game and verbal extravagance, perhaps the internal jurisdiction of the poet. Musso knows the English language, for in this section leads to risk limits to achieve maximum expressiveness. In "The Blackbird", the first poem, excels the third paragraph by the intensity of the paradox that crimps: "There are more thirteen ways of looking at a blackbird. I know of at least twenty-seven. My neighbors speak of up to fifty-two '(p. 27). This section also shows more concern about the strength of the auction: "It goes on strike the blackbird. There is no trills, no other scar in the sky "(p. 28). In "Foreshortening" second poem, the poet exteriority evident in the entry: "My image and its reflection" (p. 29) - is raised again in extreme sensitivity to the spin of the auction, "to making a terrible noise gate to oxidize "(p. 30). This transition, in the third poem, entitled "Elision" pure visuality becomes: «Y mi hamaca es un péndulo que pare canciones edulcoradas en parábolas de mimbre» (pág. 31), donde el movimiento en vaivén no solo contribuye a cerrar la afirmación precedente referida a la identidad del narrador sino que aporta como quiebre a la figura circular. Imagen que se recompone con mucho ímpetu —y distancia— en el texto “Anamorfosis”, cuarto poema: «Es cuadrado, triángulo, círculo y óvalo sucesivamente. El triángulo es la más augusta y misteriosa de las figuras, pero la luna al garete, como corifeo de los otros astros, nos es íntima y ajena al mismo tiempo». Mussó delinea el conflicto interior de esta segunda parte en el campo de batalla del legendario chess. In "Checkmate", sixth and last poem of this section, a "fire-and-arrow spirals thousands of times before reaching their destination, with a wind tunnel carved in the air" (p. 34), linking this image with an equally intense, but filtered through an obvious but sharp reflection: "After their defeat, the queen is removed from the battlefield."

After seemingly intimate exploration of the second section, Musso cries out to the world, but held in the ten texts that make up the third part of the book, 'perpetual Canon. " The German word Weltanschauung , which translated into English is a world view or conception of the world, as Mussa notes, "is what gives a symbolic title of the first poem of this part. The poet seems to rediscover the different levels of human and poetic reality: "As under the skin of hands, the right, lives the desire to read in Braille next face" (p. 37) and a few lines later brings up that, after all, the world remains a place for moral geometry , where planes or substrates Eden: "The world is a mirror and a blank page." It is from this context that the word artist goes beyond ordinary men but not necessarily a special subject: "... writing is a mirror that reflects only what we are and where we see our guts (the others may see them, exposed as the butcher) "(p. 37). The following text of this part affect a greater or lesser extent, on this basis or promontory that gives artistic creation and other re-levels of human knowledge. This is the new trivium quadrivium and to interpret the peaks and the depths of human nature. For example, in "love Ars I ", there is talk that the words have been given by darning sparks like flint (p. 39) and" love Ars II "a voice establishes a fundamental difference: the distinction between night and morning (p. 40), in "Five couplets" weighs the poetic consciousness and slide the idea of \u200b\u200bcreative limits, "How many pins does not condemn the verse to be perfect?" (p. 41), in "The bird-making machine" is rediscovered moral ambiguity of certain indications or rules: "It dilates a whisper that orders follow the dotted line and not out of line" (p. 44), in "On this rock I will raise my church" stone outside the evangelical joke, the same text as the title to the first section ("The tree of good and mall "), is reached by mysterious figures of the literary tradition very suggestive one final point: "The line continues in free fall: I'm lost, like a rainbow at midnight" (p. 45), which is echoed in the three following poems: "Global Warming", "Sun Tzu" and "Night & night, CIA. LTDA ", in which thematic slang and poetic consciousness are two sides of same coin.

moral geometry closes with the section "Text in ruins", composed of eleven parts closest to the short story that the prose poem, ie, these ruins, these remnants of something big was perhaps also alludes to the narrative format of short, small and short. This ruin has a bad aftertaste to meanness and heritage, including some breath to parresia flies, but this pessimism is quickly dissipated after reading "Beyond the numbers is the world", in which more than (of trees) of good and evil, and look beyond even the appearance-is-being. The poem is displayed as a bad joke, like a brick out of place, as an intervention in bad taste on the blank page as a paragraph of six lines consisting only of zeros and ones without rhyme or reason. But it is a coded message in binary code is not suitable for humans (p. 51). And you read it or, rather, follows with his eyes, despite the warning of the title. And indeed, there is again the world, but not as a worldview or conception of reality for beginners but as a space for learners, or beings willing to err, suffer and die, while continuing confident that all of a sudden, you can turn around to learn more, love better and always smiling. With this entry, it follows a course of poetic reflections of very high-flying, to land on the two final poems of the book: "Poetics with Chinese boxes" and "Short film". In the penultimate (p. 60) becomes, somehow, the concept of moral geometry , but with a twist: everything could be a perverse and monstrous invention, even the reader and the nature of the writer. Thus, Mary Shelley, Dr. Frankenstein and his hideous creature turn out to be baby pectoris. And we witnessed all this, we are not simply the recycling of building rubble out of the culture. In "Short film" (p. 61), final text of the book, is a key story in a screenplay that takes the initial conflict in the emergence of light. The night, always succeeded by the day, for ever and ever, is more than a symbol and metaphor, is almost a certainty that everything will last forever. The day is a new opportunity to the failure even to make the same mistakes and "discover" the same landscape dismantled but it is also the ideal plane to rethink, in correspondence with the title of the book in a full moral geometry , to release the individual in order to follow the dotted line and not out of line.

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That the island was a metaphor, dammit, all you have to explain it!

As always, we blame ourselves, the viewers, we do not understand the lyrical and conceptual beauty. The creators of Lost have given us a rich array of philosophy and theology where we can grasp human nature and the meaning of life, and over, to make matters worse, we offer an exceptional final chapter full of mysticism and religion that reconciles us with our like closing a circle started six years ago so rewarding, worthwhile and, above all, enriching our spirit. But us, we, spectators ingrates! instead of treasuring those moments of indescribable beauty that truly respond to questions important, we are mired in trifles such as that which was actually the island or why it had healing powers, or why women could not have children in it and so millions of stupid questions to infinity. We have no forgiveness from God.
creative

The delicate situation of "Lost" reminds me of the movie "The Wizard of Oz" Dorothy and her faithful dog Toto, the scarecrow, the tin man and lion are in search of a great magician who solves them all problems and questions quickly and easily, but unfortunately, the great magician is a fraud that has nothing to offer that for many years has been living in a loan that could never afford. But the funny thing is that when the caught in the act, the magician escapes on a tangent saying, "but how I'll give you something you already have?! I'm not important, what matters is the journey we have made to visit me, because during this journey have achieved what most deseabais! "As with" Lost "takes something like: they have given enough time to sack that lost the final would be the cane from Spain, which would resolve all doubts, it would be a milestone in television history yyyyyyyy ... and when the last chapter and most spectators color freak (Negatively speaking), the creators of Lost jump into the fray and say so pretty: "The important thing is the journey of the protagonists, and that we have resolved itself. The rest is anecdotal "thus initiating the fool, a Byzantine debate over what was important in the series: the players or the mysteries of an island, already very mysterious. And I ask the creators of the invention: but do you think we are idiot or what? Take away all the mysteries series and all the puzzles and what's left? A soap opera like Robinson Crusoe with a dozen cardboard characters with less depth than the pool of young children. What really leveraged the front of the TV audience were all these unanswered questions, the weekly dose of (limited) information. The characters are clearly important, but certainly not the most important of the series. So ... what is most important for "Lost"? Is the island? Error! The key issue is the mystery of the island. And that mystery has been solved at all. And because of the many contradictions best or talk.

But we are good for a moment and perform an exercise in credulity. Okay, we accept ship as aquatic animal and most important of the series are the characters and creators in each chapter discusses human nature through a mystical-religious prism. Okay, my credulity not go that far. "What" Lost "examines human nature? Now, do not bother me. The characters are archetypes (very cleverly created, I do not deny) that unfolds in a particular situation. But if you try to deepen or, worse, the characters evolve, the archetype collapses (the archetypes do not tolerate changes) and in the end the character is shown as it really is: a stereotype as the crown of a pine. Regarding the background of the characters ... the truth is they are quite reactionary style Charles Bronson the Death Wish: the minimum being tortured or beaten beating people (as Benjamin had him as an Ecce Homo) or killing in cold blood or worse, justifying these murders in cold blood. For example, the character of Sayid was not wasted: the guy is a torturer of women and children in search of redemption. Okay, okay. Only one problem: Redemption means to repent of your sins and, above all, not fall back into them, and Sayid, very sorry he was put to torture at every opportunity and enjoyed it up sometimes (like when he tortured Ben .) I still remember the talk of Sayid and Charlie when the first finished torturing Ben: "When innocent people tortured me feel bad, but torture Ben I have not had that feeling," ... we are sending eehh the message that torture the bad guys right? Thorny issue is not it?

Another thorny issue that has no answer why his nose was to protect the island. Jacob said it was for that evil does not escape from it (meaning the black Jumilla bad as it was his brother.) Okay, but the problem is that BEFORE the brother became the black smoke was already a protector of the island (his adoptive mother psychopath.) Then, unfortunately, the response of Jacob not enough for me. Another theme that enough is squama submit to Jacob as the good guy, all friendly, kind and dialogue. Heck, we've forgotten that it was Jacob through whom Richard brainwashed him Benjamin for a good day gassed to all members of the Dharma Initiative, women and children included, by bastards. Jacob MOLA! And another thing that bothers me is that ...

Anyway, could start and not stop and I do not fancy too. One of the reasons for my recollection is that I realized the futility of most things and LOST not going to be less. What is the mystery of the island? One idea in the mind of a writer in the end did not dare to put on paper because it would not satisfy the spectators after six years to fuel the fire and generating expectations impossible to please. And that does not cut the eggs best escapes on a tangent (like our Wizard of Oz) and leads to a final metaphysical-philosophical-religious and throws miles. And you do not like is that there is a real fan of "Lost" and fuck.

For me the island is a metaphor for the parts of chungas the Bible, specifically the Old Testament, Genesis, Chapter 22, verses 1 to 19 (according to Wikipedia ) in which God ordered Abraham to kill his firstborn. Island is a god and his prophet Jacob (who understood the island on your way.) Jacob brought the "other" from all over the world, again lost fans with one mission: to defend the island to the hilt, no matter the crime, bloodshed or the lives biased: the island should prevail.

Jacob In my humble opinion was a bastard son of a bitch and the island a lot of shit that should disappear from the face of the earth. This end I would have loved: the island bursting and all the players free from the spell of the archipelago of the balls, denying once and for all higher powers that controlled and the Crusades that had shed their blood. Unfortunately this has not happened. Have made an end for people to release the tear and the atrocities of the past better not to talk. For me, "Lost" is a metaphor of religious fanaticism, of how some unhappy be manipulated in hopes of paradise or responses that give meaning to their lives. In effect: "to give them."

And now vidreo. To get started, you put the debate of Four which triggered the controversy: were dead or not? The red has no fucking idea (video uploaded by Vul69 ).

And here I leave the explanation of a real expert, courtesy of Ka0tik0.

PD: I really would not say a peep from the end of LOST but my colleague Jorge asked me and here's an opinion expressed with irony and humor. I do not believe in absolute truths and my criticism never are.

Sister Marriage Invitation Wording In Tamil

Effio. Two trees. Underwood Collection, Lima, 2010. 24 pp. Yuri

Without further narrative artifices, Augustus Effio has woven with threads from the ancient world views, "Two Trees" (Underwood Collection, Lima, 2010), six-part story with a wedge-section that adds substance dose metaphorical relevance to a network of extraordinary symbolic architecture.

From the title, Effie, rather than suggest a topic, proposes the philosophical doctrine of dualism, worldview rooted in Andean culture (in which Hanan and Hurin are a duo that distinguishes top below) and other ancient civilizations such as China (where the yin and yang constitute nothing less than the principle of universal order.) In this perspective, "Two Trees" is the story of a heterosexual couple, ie a unit made up of opposites that complement each other, coming together, first, by a feeling (love) and then by social contract (marriage).

In the literary tradition, we found that marriage tends to be the crowning of love, which coincides with the end of the story being told. This is because the institution of marriage, from this view, is the ritual called to order at both material and spiritual. Even the fairy formula is added as a finishing touch after the wedding - "and were happy eating partridge" - not a childish internal rhyming verse that sounds good ... is above all a deep desire to be subject to a higher purpose.

But from the Judeo-Christian myth of Adam and Eve know that things are not easy for people who have for each other and vice versa. The couples, as evidenced by any Latin American soap opera, they go through trials and stages, and must overcome the temptation, doubt, betrayal, repentance, the curse, expulsion and loss. The myth that Plato's account by the playwright Aristophanes in dialogue The banquet is no less interesting than the couple Adam in paradise. According to the comedian Aristophanes, in Plato's dialogue, round and haughty beings were separated, divided, parted in two, resulting in many half in search of his other hand, the corresponding soul mate, to be supplemented, full and happy. Both of legend aim to raise the unit, the common bond of two people as the culmination of a search and start a new life together, but the facts do not prove as happy nor as palatable partridges.

With these concepts and legends as a backdrop, Effio begins the story of "Two Trees" to an affair that quickly, in narrative terms, culminating in a marriage. In the last paragraph of the first part reads: "... I called my mother to say that I married. She did not acknowledge my presence and continued talking to me "(p. 8), and a few lines later, the author states:" None of our relatives attended the marriage austere but passionate student's budget allowed us to improvise. It was a pity that my father would not see us without the waltz and the disposition of the guests when they heard the first peals of If you knew amore "(p. 8).

According to literary tradition, marriage is usually a cause for celebration and joy or, sometimes, obfuscation and disgust, but never of indifference and disinterest. This transgression of the code is a first call attention to the conflict that "Two Trees", as does every story, sooner or later, is revealed to the reader. At this signal, it adds another: the second call of care set out in the first paragraphs of the next part: "... these ills were minor, certainly compared to the precipice of silence to which one should look out if I wanted to get in touch Isabel "(p. 9).

Indeed, Isabel, the young wife who just came into existence before the narrator-character-by-the husband discursive vitality peppered with references to flowers, fruits and plants, trees, orchards and gardens, and beyond this, from the same soil, the province began his mysterious departure from everything she loved: her husband, her profession their dreams. Estrangement that becomes self-absorbed and disappear morbid mania.

Far from the couple's return to the province would result in the pursuit of happiness, everything breaks down and deteriorates. The mystery of the disappearance of Elizabeth becomes clear halfway through the story, from one made by other plausible given the context: a village gossip. Where Isabel was? Nothing less than a ruin, where he remained most of the day, and returning wet, soaked by rain.

It should be noted that water, expressed as rain, stream or spring, is a particularly referred to in "Two trees." The first significant reference is embedded in an explanation of Elizabeth: "I'm just tired of living in a place where it rains as it should, to wet your bones" (p. 11). With this phrase, Isabel not only states that want to leave the city and return to their homeland, but clearly stated ad nauseam live in a place where it does not rain as she wants and needs. The second reference is a fine mother to the narrator-character, "what you have deserved to go as far to get water in your own stream" (p. 13). A criticism that hurts the husband for being the last to know that Elizabeth spent most of the day and sometimes night, touring the ruins.

The third reference is a breath very special, because there is a prominent point of the story, the degree to explain the title and confirm the suspicion that the two trees are symbolizing the married couple . The narrator-character, invited by Isabel, will the ruins, and arrives at a place called 'concourse of the two trees "(p. 16), two shrubs bent of snags and cavernous. Lines later, the narrator-character that Isabel told the hearing the myth which can explain the origin of the first man and first woman of his ancestors. "He said that both were born of the spring that flowed precisely from the space between the two trees. Speaking of spring, he paused and stretched his hands with his eyes closed, so that I could hear the sound of water springing miraculously from the earth "(p. 17).

Rain, stream and spring-sky land-surface and involves, as a continuum that flows into a painful revelation, an unintended result and explaining the scope hapless erratic behavior of Isabel.

Paradise, as Effie, as present as invisible, but not immaterial or nonexistent, you can find out more about what we can imagine. In the case of Isabel and her husband (the narrator-character), was initially just for her a revelation in the form of ruins that housed two ancient trees. These reflection of both, perhaps mythical evocations of the two special trees of Eden, the Tree of Knowledge of good and evil, and the tree of life ", are fed from the centuries by the symbolism of spring water.

is not surprising that the narrator-character does not have a name in this story. (Adam, you have to specify in a malicious logo, reading the name from right to left, nothing, or worse than anyone else before the sirens tempting.) Havens in foreign governing laws, ordinances and mandates, prohibitions abound as the fragile balance of such harmony is very easy to break or alter. Without doubt, the biggest attack against any paradise is to deny not only see or perceive in their vulgar and dilapidated appearance. To such violation, the penalty is the lack of an identity, and the only way to be forgiven is rejecting the stagnant waters of oblivion.

The last reference, which coincides with the end of the story, is again a rain, a supposed look at the water that comes from heaven, to renew from the mythic conception, the cycle of eternal return, the old promise of love. But this is a misperception of the narrator-character, which moves in the plane of linear history and unique, because this water comes from, "in reality", in the depths of time, to the extent that there is a spring to recall memories, to affirm the convictions thought to be lost or forgotten, and to resume next love in a spiral (not cycle) of death and rebirth.

In a few pages, Augusto Effio has had elegantly and simply a love story legendary and contemporary, on good account, an ancient and recent history of humanity, in which two beings transcend their identity and existence to emerge, thanks to the power of literary creation-power capable of synthesizing all the truths in a single truth, hoping to regain paradise, which is nothing else than the Garden of Eden.