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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.

First Intercourse Bleeding

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.