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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.
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