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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.