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Vásquez. Short. Bonesnapper, Arequipa, 2010. 116 pp.

In the hurried and brief review on the back cover of the storybook Short Yuri Vásquez, reads:

"Yuri Vasquez is the kind of writer who does not conform with the phrase dutiful. For some reason, is bound to find full expression, one that is not summarized in the sentence or paragraph or the text itself, because a search is more illusory than factual, and its intricate road map, distills more disappointment that satisfaction. In fact, Vasquez narrative interest relates to a certain way of looking and refract the invisible and intangible, and resolve, without succumbing to the attempt, the inexorable, though this outcome is alien to the understanding or the bliss of success. Violence, sex and power, which basically have the same matter Short viscous, shiny special charge on each of the fourteen stories, forcing the realistic nature, unusual, fantastic or metafictional either go to a resounding background. Those expecting this book we can only celebrate her appearance. "

I reread my words and continued to sign. However, thanks to the time since I wrote those lines a few weeks ago, I can appreciate the information that I had to sacrifice to meet the requirement Bonesnapper seal editor, Jose Cordova, beat me, just write eight to ten lines. It is easy to imagine what happened when I tried to comply with that request before a really complex book, both in its structure, which recalls the metaphor of the Ouroboros, that is, the mythical snake eating its own tail incessantly, as the boldness with which Vasquez faces and twists assumes various kinds of fiction from a genre as demanding as the story.

first thing that comes to me why the title is: Is it perhaps for the obvious correspondence between the story and the short film, as the author scatters throughout of his book a trail of references and allusions which is related to the so-called seventh art? The following is the jazz almost like a leitmotif , even as an underground music from time to time (from the book's dedication to the back pages of the collection, and even in some titles and headings) crops in total evidence, setting a pace and leaving room for a suggestive "improvisation" before the corsets of the art of storytelling.

Now, serial story, the main aesthetic intentions, as well as thematic concerns and narrative Vasquez: Short

begins the story "Pithecanthropus erectus", which poses a very difficult situation to occur, but not impossible, that is not possible. It looks like a fairy tale, but it is, strictly speaking, an unusual story, ie the events take place in the fuzzy border between the possible and logically unacceptable. According to Vasquez himself, "The ichipawa tribe", as this story is titled, "concerned the history and customs of a strange tribe. The tribe, at night, on the highest hill in the world, celebrated with pomp and rejoicing, relentless sexual rituals, religious and bloody. However, at daybreak, the tribe, desperate contrite, ran down the hill, taking their cars parked and returned to the city, their homes and jobs. The core figure was the warrior, the brave Kalumba, that civilization was called Ernesto Rivas. He had family, and he and his wife Atawa / Sofia and all-city families hid her son, Tony Small, bloody rites practiced at night. "

This description of "Pithecanthropus erectus" appears near the end of the book (p. 108), because what's interesting about this story is intertextual dialogue established with the last piece of narrative in the collection, entitled "Haitian Fight Song" which, with the story "Amid the chaos and thought" the writer Marcel Oquiche creates a very suggestive trunking between the two stories, which take the reader to the rule of metatrama, seeking extra-textual dialogue, broader and more ambitious, effective dialogue on their intratextual purpose, which has as partners Oquiche Vasquez.

"Fable of the eternal man," the second story of the book, gives us a story, without doubt, fantastic, but with a brutally realistic final, which typically does not detract from the purpose of that kind of transgressive fiction. The best thing about this story is the discovery of immortality and wonder that such disclosure entails. The auction-balanced sober and sharp-crown impeccably fluid style of the story, built on a well-contrived plot.

Perhaps the third story, titled "From a sentimental way," is the most bizarre and elusive Short. Also, here are beginning to circumscribe the problems in either text box, though in reality, this task does not matter from the symbolic significance of the narrative. On the basis of a parallel story half ghost, the character begins a self-inquiry, about a girl views over an extensive traveling from a van. With this story, Vasquez gets the reader to an exquisite limit of his imagination.

And scarcely a sipping the story is this, trying to balance the argument beyond the story to understand the ultimate meaning that Vasquez is stripping project or its characters, and encounters with the story "Dead leaves ', a story so tender and tragic. Everything leads us to think about the metaphorical intent of this story, since the main character confesses to a woman of gray, but the fact is that the absurdity is imposed, and against the plausibility of the situation, however it is against whole logic of the reader experience, drops her veil, until there is a very well-staged tragedy, which looks very classically inevitable fate.

"A blues in the night" as it warned the author on the front pages of the book, is another door to be opened in a corridor with many entrances or exits. In this story, the author proposes a deliberately ambiguous dimension. Is it folly or fantasy? Did her characters is an extraordinary experience delirium or metaphysics? Facing such uncertainty, and go with the reflections of the protagonist, is the same as float in the aroma left by the disturbing presence of a woman as nonexistent as tangible in the traces in space scatters night of intimacy and desire.

"The sunny side of the street "is, obviously, the more linear narrative, clear and realistic entire volume. However, the level of suggestion, nuance and texture is rich and misleading. Here the obvious is a detour. Here it seems not necessarily is, and what is about to cease to be or is a sign of what was or imagined it would. As the dark side of the Moon, this story is an elaborate exploration of appearances in certain relationships, which investigates the accuracy with the other and loyalty to oneself to reach full development and free to be simply a happy.

"When the last lights are off" is, it could say with the following story, the center of the book. And it could be otherwise. This is a winning story, with all the virtues and vices that characterize the works that won major literary prizes. The lesson seems Vásquez reproached with this story is that nothing is isolated or free or arbitrary. Although the moralizing is unimportant in this thriller breathtaking architecture, almost puzzle, where death is a subject so plastic and playful as oil.

In "Surviving at midnight," Vasquez recalls the tentacles of the civil war, with their dose of violence, terror, injustice and uncertainty. With fast brushstrokes, reconstructs the life-death or dying-life of a society represented in an individual experiencing the extreme situation of knowing the victim and victimizer himself. In this story, like the previous one, nothing is isolated or free or arbitrary, in an unfolding amazing and frightening. The worst thing is that reality is a prison without walls, and the individual is alone ... and can only go as far as fear or guilt allows amid a moral absolute misery.

"Cast your fate to the wind 'is the unfortunate story of a superstitious. The criticism is misdirected faith most striking, though not as significant. Vasquez shows us a few boxes filled with irony protagonist degradation and the decline of her family, after a fateful encounter with a character that brings the most unpleasant misfortunes. On the basis of an absurdity after another, the protagonist is a dramatic relief from their sorrows in a shot made with an ease that belies the author's great knowledge of human emotions.

"Smoke Gets in Your Eyes" (in English, "Smoke Gets in Your Eyes") is another story that explores the edges of happiness in a relationship, also used as axis fidelity (or lack thereof ) to the other and loyalty (or lack thereof) with oneself. In this story the pursuit of happiness is one of the worst human being faces can be glimpsed. However, the music (as quoted, mention, allusion or reference), as in many other cases of Short , can solve the unspeakable discourse and even the ineffable or unspeakable narrative. In this case, is the famous song written in 1958 by Otto Harbach and Jerome Kern, in the voice of Dinah Washington, and gives the evocative name of the account.

In "Round Midnight" (in English 'Round Midnight "), following the rhythms of musical composition by Thelonious Monk, the author takes up the theme of death in a tone similar to "Fable Everlasting Man," "Survivor at midnight" and "Cast your fate to the wind", ie, the individual walks toward death, searches for arms and caresses of this, and city councils in a delirious ecstasy. What is interesting is how the author builds a preamble that turns into a whirlwind of circumstances, outlining the character with emotions associated with guilt, anxiety and disturbance, leaving a halo of imprecision to accommodate other interpretations or possibilities, so that the surprise has an extended reach and deep, and the supposed lesson-the artifice of heating deeper metaphor. In this case, the film of life in an instant death is the figure he encounters the protagonist, while regaining its essence and dies in a situation as fuzzy as the thread that followed.

"Dreams of a beautiful swan," the penultimate story of Short , is another story elusive, but not as much as "In a sentimental way," the third of the collection. Squalor here is connected with the decay of society and the distortion of power relations. In the penultimate line of the story reads: "She slowly opened her eyes and clenched her hands lovingly thoughtful, free soft Joel Pereira. Suddenly he heard a loud bang that may stem from two blocks above the hotel, perhaps in the shred Hussars, by the Government Palace. " The situation is rough and Vasquez's swabbed with a few bright colors but to surprise the reader: Ramona has just had sex with a nasty subject against Joel, and this, barely out of his fascination with what he witnessed, for so is freedom and joy that has always sought. Tears run down her cheeks and Lima Ramona becomes more dangerous.

"The door closed behind 'is a perplexing and elusive story that is very difficult to classify. To some extent it is a metaphor for Kafka the banality of contemporary life. It is also a nightmare or a paranoid delusion, victim, probably from the banality that pulls the world since the death of God declared. Although it is likely that if it's just a fantasy fiction or a gruesome horror story to distract us from the conviction that the world is collapsing, largely by the banality entrenched in the pillars of our culture.

speak in this final paragraph of "Haitian Fight Song", the story that supposedly closed the book Vásquez is, somehow, back to the first story in the collection ("Pithecanthropus erectus) in a sort of Borges curse. This one runs the risk of being trapped in the Short metatrama of , and became a character in one of the nightmares of the author, where violence, sex and power, disguised under the mask of death, are viscous substances which are difficult to remove.