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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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