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Carlos Calderón Fajardo, skillful narrator symbolically as surprising and unexpected, and sometimes even the sinister cryptically, has designed his latest book as a place of duality, ie as the title suggests Beaches : the meeting place between the firm (the Earth) and mobile (the sea). But, as often happens in the work of Calderón Fajardo, the obvious makes an appearance, even a costume they notched the idea behind the story, the argument as a substrate, in this case, escapes from the beach and images summer comfort calendar (white sand, blue sea, as regards the melody seventies). In this large wallet is Beaches , the author gets a metafictional and metaliterary essentially emphasis and, incidentally, of ecumenical reflection metaphysics.
In the first part, called the nearby sea, the reader is purely narrative arenas: fifteen classic stories of bill almost most, however licenses it takes to break the basic principles of literary narrative, and play with the boundaries that divide the types of fiction. In the second part, shorter and more texts (eighteen), called La Playa de la Familia Mussolini, the author offers the sway of the sea itself: the metaphor of existence in more intense and effective movement from the literary experience.
The first part is a key reading very effective poetic and revealing. This is at the beginning and end of story "Punta Negra", the second story of this section. At startup, the narrator asks the covert disclosure truism: waters cover the sea , and insists the auction with a twist: The sea underwater . And like a mirror that shows us a reality similar, but different (for the left becomes right and vice versa, as an indication that other superficial changes arise in the deeper layers) the second part of Beaches also presents one of the first stories, entitled Roberto Bolaño and black panties , a key reading but equally illuminating not a record but rather academic poetry, "Roberto Bolaño liked to insert in their latest collection of short stories, non-narrative texts in nature, with the obvious intention of confusing gender boundaries and fertilize it." Thus, Calderón Fajardo, since such views, it forces us to reread (or at least rethink) the first part, and resume reading with more malice and suspicion, because at any moment, in this sea of \u200b\u200bundercurrents is the second part of Beaches , it may be more of a surprise, since in this section there is a fluidity and flexibility obvious purpose of confusing gender boundaries [story] and fertilize .
Indeed, Calderón Fajardo in the second part of the book shows a sharp essayist and metaliterary metatextual. And it does so with depth and perspective made with intelligent poetic ease. It is an inspiring effort without gimmicks or bombast. There is only pure taste. And the best part is that the information learned is not cumbersome, because the prevailing wisdom literature, capital input for both the novice and the initiated reader access without exclusion to their level of understanding in order to glimpse sea underwater , and distinguish and enjoy the clear purpose of confusing gender boundaries .
With this observation, it is clear that Calderón Fajardo is a perfectly balanced writer because his work is accurately between what they produce and those narrators elementary complex and convoluted. It is not necessary to know Marcel Proust French, Italians Alberto Moravia, Cesare Pavese and Dino Buzzati, the Chilean Roberto Bolaño, the British Edward Lear, James Graham Ballard and Julian Barnes, the Frenchman Michel de Montaigne, Americans Lee Smith John Updike, Truman Streckfus (he is about to become Truman Capote) and Harold Brodkey, the native of India Rabindranath Tagore, the German Günter Grass and Thomas Mann, and the Uruguayan Mario Levrero, to be carried away by the waves and bumps of these great artists, or at least wait a hangover. In other words, it is possible to access the full enjoyment of Beaches without investing in a good sunscreen, as Calderón Fajardo has been reserved for the unsuspecting reader a contingency plan for a successful literary enjoyment as as anyone else.
True to form, Calderón Fajardo fall into the ridiculous tempted to hide in their narrative knowledge. By contrast, this book is particularly likely to receive most diverse readers with all the risks that this decision implies. This heterogeneity in the proposed book as in the reception of the work proposed is based in some way in the author's interest to develop a modular great poetic art whose manifestation is in the second half, but that is very well put the roots on the continent of section one. Thus, the wallet is already Beaches recreates from his own immanence in the eyes of the reader, and opts to this collection of texts has been contrived with the most refined techniques of good count.
almost two years ago, in May 2008, I presented a booklet entitled also Beaches , beautifully published by the Library of the Pontifical University Underwood Catolica del Peru. That edition is composed of two stories - "Playa Ballena" and "black spots" - that are more than keys to zoom in and understand the full writer's luxury Calderón Fajardo. From what I wrote then and read today, even today, I fully endorse. Only sorry I missed some aspects that now I have the opportunity to refer. But before entering the field of contrition, it should save you some ideas. Thanks to the technique of copy-paste , these ideas before specific point (as alluded to two stories), harbor, after a minimal intervention or rewriting approaches that may shed light reading the recent book Calderón Fajardo.
in principle "Whale Beach" and "black spots" are the stories with the author opens the book we present today. And they, in fact, or falsehood in an honest literary text of these two acts, it's all the book's potential. And I reaffirm that Calderón Fajardo shows the absolute condition that explores narrator at ease and unhindered mind-world continuity. But more importantly, sets its literary brands, and offers with the intention of asserting their position and performance of cross-writer, in the geographical area of \u200b\u200bthe coast, the beach and the sun in his literary uniqueness, "and intense author , resourceful and versatile.
both performance narrative and in manifestation of essays, Calderón Fajardo points with some obsessive insistence to a reflection on life to old age and death as a backdrop. In these scenarios, the time-course and perception about as intimate and personal experience-is the spirit that links the body of facts about color, texture and temperature.
In most of his texts and metatexts, Calderón Fajardo challenges the reader with some contention. And he also raised some caveats. But no vacuum is an invitation but a participation that leads him to witness the resolution of injunctions, to witness the exception of misunderstandings, and to confront the probable anthropological literature with the idea of \u200b\u200btruth.
Thirty-three beaches Calderón Fajardo, other than to realize a more or less defined or existing on that thin line that separates the sea from land, loaded, and the characteristics of author, a certain dreamlike quality, a certain aura of great or unusual place suitable for the invention of narrative architecture that plays with the depths of truth and the windings of the imagination. Areas of coincidence, no doubt, to more than one argument and, especially, again, for confuse gender boundaries [story] and fertilize .
In conclusion, the large diptych is Beaches it, rather than a double look offered with talent and intelligence, a strong recreation of the ancient metaphor about of origin and return loss, a cluster of ancient truths that recall with grim insistence rejects the dead sea , a bold bet, as Thomas Mann, that a beach is the ideal place to confront civilization with barbarism, the fictional with the real, the beautiful with the horrid and the eternal with the ephemeral. Calderón Fajardo is well aware of these differences, and what they hide from their beach nudity, as the waters (un) cover the sea, and invites us, with his remarkable book, surprise and wonder at what that vary their stories, while read and print the traces of our feet on the wet sand.
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