Heart Palpitations For 15 Seconds

Flower Made of rabid

To Roberto Lopez Moreno

The horizon drowning a landscape of undulating wings
girded in snake rings. Eagle
leafless!
A poet's dream a dream of heroes crying

... and suddenly, silence. The lady voice (impressive, large eyes, tumultuous, wide and shiny brown braid as a headband) ceases to rumble in the sky. Away the microphone is useless falling, turning pieces. Then, in action peliculesca, agents pounced on the woman who is helpless in middle of the stage and whose only weapon is his fists full of poetry. The timely intervention of fans and friends stole it from the claws of hatred. Magdalena Mondragón, the first woman who ran a newspaper in Mexico, and narrated the incident occurred one morning in 1958, during a working meeting: "(...) the lawyer Rubén Gómez Esqueda ordered to withdraw the microphone and, if Reyes Aurora persisted, he would begin with jail. The threat, highly relevant, made itself Aurora, Concha Michel and other artists were put to distribute copies of the poem ("The Man from Mexico"), talking in a different tone to what extent improvement has come to freedom of expression .
Aurora Reyes Not for nothing was "uncomfortable niece" of Alfonso Reyes, when in other circumstances (and I am convinced that this was in the background) he had expressed pride in having it in the family. "Joy to the language," named his uncle the poet and painter who in passionate letter dated September 9, 1955, the birthday number fifty-three of Aurora, relive that girl "whose head stroked a moment when my father took me to meet you." Don Alfonso answer the onslaught of love with the following note: " Aurora Reyes, my blood, floral heart. "She and I are sufficient to corroborate the initial verses, the poet was unstoppable, the only, along with Lopez Velarde, who tore the heart without fanfare to dye the flag-shroud of national heroes . Its main singer, poet Chiapas Roberto López Moreno (who did a wonderful Aurora oil portrait in 1977), says she wrote one of the three great poems about the death of Mexican literature, "The Mask naked," along with "the face of a corpse," Manuel Acuña, and "Death without End" by José Gorostiza. The poem in question is a huge mural of the history of Mexico, Aurora's poetry is very visual, full-fledged in-stylized figurations which begins with the birth-Coatlicue dance in the desert: "(...) the uterus infinite repeat life / sleep on architects and harmony "(...)" You are now a flag without wind, / a passion that left the way: / germs and knives and desires ... / Food of all that lives and eats! "This colorful bloody poem contains the ancestral cult, genetic transmission of our indigenous ancestors, death sweetened incompatible with the salt of tears, death, joyful, loving, leaping, as sacrificial stone principle is eternal life: "I want China paper shroud, the corpse of the shattered sun, / goodbye to the petals of fire / And a stone idol in his arms."
Aurora Reyes Flores was born in 1908 in Hidalgo del Parral. General Bernardo Reyes granddaughter and daughter of a military engineer with the rank of captain, Leonel Reyes, the name of his father, and the spirited hair of the poet, would rise to that dubbed the Kitten. In 1913, after the death of General Reyes during the brawl at the National Palace to give rise to the so-called Ten Tragic, culminating with the murder of Francisco I. Madero, is unleashed persecution against close relatives of the late hero, which side Aurora's family to move to Mexico City where Captain Reyes was to remain cloistered and disguised. Alfonso's uncle, should be noted, chose exile in France rather than accept the post of private secretary who offered him the illegitimate president Victoriano Huerta. Doña Luisa Flores had to capitalize on his unique talent, bake bread to survive. The small Aurora, who entered primary school at age four, was in charge of selling in La Lagunilla, where the rot, even higher than their own, the would impact irretrievably, inflammation of the spirit of justice that the military would from adolescence in the Mexican Communist Party. Alternaria his high school studies at a time when very few women reached a respectable degree, with night classes at San Carlos Academy where he graduated in fine arts in 1924. It would be the first woman muralist, without having served earlier as an apprentice painter recognized: "At the time leftism and machismo were two values important that regulated the mood of the visual arts of the SEP-declared Aurora Reyes to Patricia Cardona. With Lazaro Cardenas founded the first nursery and abortorios gave free service to women as they spread free love for everyone. They only wanted to be like men, with all the vices and none of his qualities. They had the image of the Soviet woman, the peasant, with shovel, walk like soldiers (...) It was a bad caricature of the man. Finally, femininity is imposed.
divorced from 23 years with two children in tow, Aurora will fight fiercely for the right to vote for women and childcare opening for children of teachers (she taught painting classes in San Carlos); defend, among a bunch of aggrieved mothers, armed with torches and holsters, the building that housed the Center for Revolutionary School was intended to extend an avenue demolished. Hosted the poet Nicolas Guillen, hosted at his home in Coyoacan, at the height of the Cuban Revolution, during a time when such action was clearly subversive dyes: the presidency of Ruiz Cortinez. No wonder, then, that his name has figured in the list of characters denounced as enemies of Mexico Sinarquista Union, published by the newspaper Excelsior, 25 July 1954, along with those of Alfonso Caso, Jesus Silva Herzog, Dr. Alfonso Quiroz Cuarón, Diego Rivera, David Alfaro Siqueiros, former President Lázaro Caderno and John O 'Gorman. In 1968 he supported his students from San Carlos, with whom he collaborated on several blankets pint of consciousness aimed at Mexicans, action that would endanger his life again to the extent of shoreline to retreat some time in the asylum of La Castañeda.
accomplished painter of dramatic eloquent lines; of melancholy rather serious, violent, heartbreaking, also features that could define his poetry, Aurora Reyes was a voracious reader of foreign researchers of prehispanic Mexico such as Soustelle and Vaillant, Sejourne and Katz, as well as the English poets of the Generation of 27, which is a unique range of influences for his writing. No published his first slim volume of poetry, Men of Mexico (SEP), but until 1947, followed by Astro on the road (Talleres Gráficos of the SEP, 1950). With the new poem stays in the wilderness (Teaching Editorial, 1952), won first place in the Floral Games of the 50 th anniversary of the founding of Mexicali, BC The poem dedicated "To my infinite first homeland in the north of Mexico ... ", where the desert becomes the dimension of" horizontal and helpless Angel "is, I guess, the most beautiful in the tenor is written in Mexico. The desert, so exposed to the common place for the unknown monster that has, is described by the powerful Aurora tangibility of those who have experienced the consciousness of the skeleton that inhabits us, collectible only under the sun and inclement mouth full of sand . Blue fatigue. Fever spiteful. Rivers of fresh rose "Rocks noon Suspended / infinity as the mature fruit. / In your eyes still reign has grown / and the taste of the anguish and ashes / and thirst ... and thirsty ... and illusion." López Moreno us that the greatest strength of the poetry of Aurora lies, paradoxically, which is usually the weak point of the bad poets, ie it overlaps that enrich their geometry language.
Aurora Reyes died on April 26, 1986, a victim of cirrhosis, without receiving the recognition he deserved (still have it), ignored at the time, as we do see José Pérez Espino, Poetry anthologies of poetry movement and Buses Mexico, despite being ranked as the twentieth-century Mexican poet. His two sons, Hector and George, met his will to bury his ashes in the roots of a magnolia planted by herself at home in Coyoacan, Xochicaltitla Street. As a matter of Lopez Moreno, each anniversary Birth and death of the poet, and the 26 July (passionate as was the Cuban Revolution), a beautiful magnolia blossoms on the tree.

Sample 35th Birthday Invitation Wording

words

... lying is sometimes necessary to find the path of truth ...
VF

Although notable journalist, founder and director of Summa weekly disappeared, Mexico in Paris correspondent for various media since 1975 and novelist more singular voice, Vilma Fuentes (Mexico City, 1948) is more recognized in Europe, particularly France which lies more than twenty years in their country of origin. Almost all his books are translated into a lingua franca, even the novel L 'bus from Mexico (Actes Sud, 1998), originally written in English but has not yet been published in our language. His most acclaimed novel, black-Flores translated into French as almost all books by Ugné Karvelis, mythical wife of Cortázar in which it is said, was inspired to "The Magician", published in 1988 - and about to become film is the reference cooler for Mexican readers. It is also the author of two outstanding novels, of which, to paraphrase Borges indiscriminately, the latter would become the first anti-free. Yesterday I mean is never (1998, great success in France where he graduated La Castañeda), one of the few female views on the student movement of 68 in Mexico, and Gloria (1992), originally published by Joaquin Mortiz and recently collected in one volume in the library reading Mexican CONACULTA, with a presentation by Carlos Montemayor that among the virtues of writing Vilma, lists the dedication, wit and rhythm, "So also the character who tells the stories," continues Montemayor-maintained one constant: a kind restraining of things to understand them better, a form of neglect of life to get closer to them, a tough choice to make the impossible possible what you want. "
Note that Montemayor says" the character. "Both novels are told, unequivocally, by the same woman whose capacity to love running parallel or confused with their capacity for suffering, never revealing her name is Gloria trajinera calls where the second narrator is reunited with his past. What distinguishes them is the age, as the star of yesterday is never a girl arise when the slaughter of students in Tlatelolco, while Gloria is a mature woman and self-sufficient, professional journalist. Published just four years apart, we note, however, both heroines are contemporary and are also of the author. This, as well as some overlapping experiences, suggest that it is autobiographical. Yesterday's protagonist, an arts student, early pregnant and married to Daniel, the boyfriend who impregnates, is trying, since it starts until it ends the novel, writing a book, which, although finished burning as a sign of love Daniel who "persisted in seeking the evidence of my past loves" never give up in his attempt to write. Vilma Fuentes intended, in fact, write that great book since he was fifteen, when he published his first Cuentillo in a magazine, "by which also paid me!", Which aroused the fear of his father, Roberto Hernandez Hinojosa, I did not want her daughter to devote to a job that is considered risky. End, of course, feeling proud of her.
At the age of the star of yesterday ... (19 years), Vilma published his first book, the essay Young (Siglo XXI, 29 edition, 1971) in which very clearly be seen the germ of the novel, ending years Later, at the height of his literary powers. "This is this generation (yours, the youth of late 60), admires and speaks little, collected and concentrated, judges and carelessly suffers its disappointments and pain, while clamping and remake their scales of values \u200b\u200balways careful not to become contaminated by the sick. " (P. 13) And later he adds: "Heroism is a mixture of value in shame." (P. 15). This sentence
appreciate the splendor of the essence Vilma novel: the hero (heroine in this case) that seeks to heal the shame of the world by itself, a constant pursuit of pain, madness and death, an instinct could be called off as "self-destructive," but I qualify for reconstructive and reaching its apotheosis in the King Lopitos Castle in Hell (Alfaguara, 2006), Vilma mature novel which recreates the legend of Robin Hood that kind of Acapulco Alfredo Lopez was Cisneros. The narrators of the first two novels assembled and disassembled components (memories) in an effort to rebuild themselves in the interim negotiating with the demon of madness. Ayer's is itself a poignant metaphor for youth in the deepest wound of his ideals: pregnant, sexy, sleepless, fearful and reckless time, "But if they, the politicians, had the pompous voice of the Revolution we were haughty thoughts for the dream of revolution. " (P. 39). But the revolution in lower case (to paraphrase the narrator), the peaceful revolution, intimate, loving, is also abolished by the fury of bullets. She is giving birth to a girl while death retumba en las paredes del hospital, a unos cuantos metros de las calles vueltas paredones. Un parto más que significativo por sincronizarse con la muerte. Algo se desajusta entonces en el alma de la joven, "el luto consumido como una brasa" (p. 109). La niña que ha parido apenas vuelve a ser mencionada -ella no lo dice, pero de alguna manera el lector percibe ese extraño sentimiento de culpa por haber otorgado vida cuando debería estar muerta- y se entrega a voluntad al abismo de sus emociones. Se recluye en un manicomio, dispuesta a convertirse en espectadora de la locura. "La inteligencia, soledad en llamas, confundido con la locura en cuyo umbral vacila (...) Me sentí excluida, no por ellos, sino por mi falta de locura, mi incapacidad (...) I rave about the poor pages I wrote, where he had things anyone could experience and understand. "(p. 123).
But while the star of yesterday is locked in a mental hospital to be reunited, that of Gloria walks his recklessness in the alleys of the underworld, the sewers of Mexico City in search of love. A love that, as in the case of the young woman yesterday, seems to perpetuate a nightmare peopled by encounters and meaningless, the inability of the letters. Alberto, debased alcoholic to shame (which could be related to Hector, the young lover of the first novel), is ripe for heroin, as indeed it is Daniel for Yesterday's girl, first love and first curse. Interestingly, while Daniel struggles to start the madness link that ties with his wife, Alberto is the ominous shadow of her lover since she was practically a child: "He was only thirteen, but already with the cigarette in his mouth, stubborn , ready to do its will (Alberto) against everything and everyone. " (P. 251).
Apart from the obvious autobiographical in both novels, two of them are worth highlighting: the status of writer and exile. Both protagonists prevail such concepts, the second, much more present in Gloria but latent as desire and metaphor in Ayer, where the girl looks self-exile. On page 119 suggests the possibility of withdrawal clearly: "(...) I would leave it a day, away from this country who are friends of my own volition, seeking forgetfulness of myself, only to emerge, clearer, I love them and I remember who I was. " Gloria's narrator is already, so to speak, a professional exile: "(...) As the miser in his agony he clings to his riches and would like to be buried with them knowing that without the hypocrisy of beating of the thieves, death would deprive him of all his property, the exiled fill their Valises of useless objects that nothing will carry over into exile (...)" (p.p 219 y 228). Ambas narradoras, por otra parte, practican la escritura, la primera por exploración, la segunda como profesión. "Eres una mujer hecha de palabras", le dice Daniel a su joven esposa recluida en el manicomio.
Castillos en el infierno es, como Flores negras, un thriller político donde se exhiben las almas podridas de los poderosos. Inspirada en el llamado Rey Lopitos, Vilma asume el reto de pasar por encima de la leyenda, casi un culto, del llamado “líder popular” que combatió las disposiciones de un gobernador corrupto para procurar viviendas dignas a los colonos, y que goza incluso de un monumento. Vilma exhibe el rostro del héroe que los cronistas actuales insisten en omitir: that of gangster, no less heroic. Lopitos their King, whose real name is never mentioned "needless" is an expert puppeteer consciousness pleasure playing with presidents, magnates gringos and a beautiful and powerful woman known as The Saint or The World's Most Beautiful Women. From the first lines Lopitos known to have been murdered by the person who wanted him in the world, his own refuge gunman nicknamed Franky that his conscience hurt in prison that he represents the kindergarten, where he serves as caretaker. It is through memory that manifests executioner King Lopitos to tell us the chiaroscuro of his peculiar biography, as would be the fact that being capable of pulling the trigger indiscriminately keeps you absolute fidelity to the only woman he has loved, Marina, despite having been disfigured during an attack.
Vilma Fuentes is one of the most intriguing writers of Mexican literature, not only for its sophisticated irony but also for its style gorostiziano "that the prose is interwoven with bizarre images juxtaposed. The central story takes over the text, the plot does not advance towards a denouement but spins, self-absorbed, about the characters that mutate and travel but end up the starting point, something like a poetic symbiosis of life itself. He currently lives in Paris with her husband, the novelist Jacques Bellefroid -Of Vilma who translated his own novel The thief of time ", their children and grandchildren.

Yeast Infection From Getting Fingered

This truth I love

The March 4, 1849, in Seville newspaper The Herald, published the first chapter of the serial novel "The Seagull, written by one such Fernán Caballero, on which he warned José Joaquín Mora, the editor, was not "one of those writers repentistas, whose mission is to translate the draft paper and the printing indigestible outbreaks of a disordered imagination," referring no doubt to the author realistically desire, so realistic, that be the first to receive the label of "manners" thus opening a flagship literary schools of the nineteenth century. This work aroused such excitement among readers of Spain, one of the most authoritative critics of the time, Eugenio de Ochoa, after faithfully following the course of The Seagull, decreeing end to Knight as "the Walter Scott English." Cleverly, Mora kept secret the real identity of its star writer, collected in the interim all kinds of flattering comments. From the outset it was suggested that "Fernán Caballero" was a pseudonym, but no one imagined was that he was hiding behind a woman: "If he had said it was a lady explain Cecilia Bohl von Faber, nobody reads it! ...
Cecilia, whom we shall call "Fernando", in deference to the name he chose to sign their works, taking the pseudonym of a small town just Fernán Caballero, who gained notoriety after he became the scene of a crime of passion that no one remembers. This detail reveals the great sense of humor of the author, despite the dour countenance wore in his portraits. In a letter to Mora, his first editor, Fernando explained how it is encouraged to publish up to the age of fifty years, having read those manuscripts in the most tender youth: "Too much modesty or have too much pride fact that no one has given to read until my parents died, whose enthusiastic endorsement was, as you may think, all my encouragement, my yearning, all my good and my reward, again, missing them, and abetted by my brothers and husband, I decided to try to give them publicity. "As will be seen, Fernán has with George Sand, her contemporary, something more in common than having assumed a pseudonym for a man: a liberal education. Like Sand, Fernan and her big blue eyes would tremble with passion to a young man named Antonio Arrom de Ayala, twenty-three, who would be appointed Consul of Spain in Manila and in Australia, is known to be forties widow (previously doing your thing with a certain Fred Cuthbert, the "Sir George Percy" Clemency), a relationship that would Fernán the altar for the third time. Unlike its French counterpart, however, never resorted to disguise Fernán dandy, indeed, he looks very feminine in their arrangement, wrapped in blankets and wearing combs. Neither committed conduct "outrageous" (no lover, just husbands), and the most marked difference in the Sand: never assumed ideological positions that could be described as "feminist" ... well, not too obviously. While his novels ridiculed a bit, which not too much, the desire emancipation of women in mid-nineteenth century, particularly in The Seagull (so called by the nickname her rebellious heroine, Marisalada, we awarded in honor of his long thin legs) and another one on Clemency This position may well be due to attempts to pass for male Fernán. His biography, however, exhibited as a woman ahead of her time.
born on December 27, 1796, in the Swiss town of Morges, Cecilia Francisca Josefa, daughter of Juan Nicolas Bohl, intellectual pedigree of German origin, Hispanic high-flying and monarchist ideology (appears as a character in the novel's new Robinson, Joaquin Enrique Campo, the name "Johannes" ... later be "Stein", the touching of the offended husband graviota) and the English Frasquita Larrea, fond of Mary Wollstonecraft, inherit their parents' passion for books. His childhood elapse between Germany and Italy, although come to Cadiz in 1813, at age 17, age of Fernán write "a novelilla" called Magdalene, recently married her first husband, Captain Antonio Planels, better known as Fernando Thief Guevara gives a dog's life to the protagonist of Mercy, autobiographical, indeed. This marriage, fortunately for the young, will last very little due to the premature death of a spouse. At 18, Fernando is already a beautiful widow with no children. It takes just two years living in Spain, home of the deceased, barely chewing the language, in fact, the original version of The Seagull, which dates from that period, is written in French and will be translated into Castilian by José Joaquín Mora . This difficulty familiar with the language of Cervantes and his singular determination to dominate at any cost, could be attributed its fixation on the folklore of Andalusia and the idealization of rural life. Fernan, independent woman devoted to travel the world, settling in Hamburg where seasonal drafted German accounts Albareda's family and Sola, until 1822 known to her second husband, the Seville Don Francisco Ruiz del Arco, Marquis de Arco Hermoso. And as marquise, begin the final version of The Seagull that would not have been published in installments until twenty years later, a little later in book form (1856), inspired by her third husband who Sercia: "(...) to our modern literature, will write to Mora, who certainly has something to boast beautiful works, it lacks a genre that in other countries hold dear and have been so perfectly. This is the novel of manners. "
English The Walter Scott, which by a title was removed when it emerged that she was a woman ... and Switzerland, as well (but we'll reallocate, of course), says his intention is to write a custom box, play lifestyle of Seville, including idioms and popular sayings. Did not even dare to define The Seagull as "novel", however be in any form. His characters, he says, have not exaggerated ideals, that is, not bad bad, not good good, are simply human beings, "in vain in these pages look perfect characters, noted in the 1853 edition of that first novel, because the subject of the novel of manners should be to illustrate the view by the truth about what is painting, not to mislead through exaggeration. "Fernán Achieves its mission? Is it limited to "paint" the truth? The gull is indeed a novel of manners, more accurately, realistic, but it is primarily a novel that critics have noted more believed Balzac influence of the Brothers Grimm (who Fernán recognizes as his inspiring) , where the issue is clearly a passionate conflict involving three characters: The Seagull, Stein and seductive matador Pepe Vera. There is a moral lesson in this conflict, it leaves the noble Gull Stein fickle run after the bullfighter who die during a run. Left alone, they will die before forgive Stein, fall into the clutches of Ramón Pérez that somehow you will pay for the damage inflicted on her first husband.
It was accused of overly moralistic Fernán, like other novelists of his contemporaries would not make the same mistake. At least Fernán characters are more real, more credible, far from the romantic stereotypes. Evil may not be big, but huge characters like the gentle human dimensions Stein and his beloved rebel Gaviota. Of course, the pious Fernán loses no opportunity to rebuke the English intellectuals biased from the trenches of his creation: "And there are still people who presume to be endowed with a superior merit, they close their souls to the fresh impressions of candor, which is the innocence and serenity of the soul! Did not know that the innocence is lost, while in enthusiasm goes off? "(P. 75)
maturity in his novel, published in 1862, Tears, whose heroine, rightly called Tears, is the opposite of Gaviota indomitable, critics warn believed autobiographical details, related primarily to the great goodness of the protagonist. In an interview in 1862 that serves as a prologue to the aforementioned, I would say Fernán, assuming their masculine identity: "I'm convinced that all the finest satires, gender and so universal that many mills have excelled above, have done nothing, nor have done any good feeling germinate, and if only the wretched man's contempt for man. Quite the reverse references of good and noble feelings aroused in us like they put in circulation, inoculated ...", to which Antonio Cavanilles, his partner, said: "Nobody has understood as well as you the merit of the actions that go unnoticed, the reason for certain practices, the philosophy of some such vulgar ... "Back in Spain, a widow for the third time trabaría Fernán a close friendship with Elizabeth II, who granted him spend the last years of his life in an Andalusian palace immortalized by Fernán itself in one of his stories. Fernán Caballero
died in his beloved Seville on 7 April 1877, although in his own words to the literature, escaped death "of hypochondria or me going mad." Carmen Bravo Villasante, prologue of the 2001 edition of The Seagull (Classical Library Castalia, Madrid), said that criticism of our contemporaries as Juan Valero, and calling to Fernan Caballero's tiresome, stands Benedetto Croce who expressed his admiration the way our She combines the beauty of his prose with his moral superiority.

Desert Eagle Customization

When my admired Cristina Rivera Garza put me on the critical path of Croatian, housed in the Department of English and Latin American Literature from the University of New South Wales, Sydney, Australia, Diana Palaversich, my first impression long before reading it, was to meet from the first to be truly postmodern had known in my life. Everyone has their own concept of what it means to be "postmodern" personally, I think the biggest indication that this constitutes an eminently postmodern work is the difficulty to classify, ie, when there knowing the nationality of the author can not ensure that it is, for instance, Mexican or French, with their influences point to China or Bengali literature. Being postmodern, then, from my point of view, is not having a nationality or a defined ideology, but to be a mind and body in permanent construction, ready to assimilate foreign proposals, foreign, which becomes surprisingly easy given the technological advances that connect us to the world. Diana Palaversich is thus a true child of its time, born February 27, 1960 in Croatia, based in Australia and permeated to the marrow with Latin American literature, which has its main field of study, but recently has ultraespecializado in Mexican literature written from the northern border. In this sense, Diana is the only truly authoritative voice has risen above both critic and reviewer who, resentful of the excessive attention received by the authors "northern", are released to rant against what they believe is "narcoliteratura" without have bothered to read before the objects of his criticism. However, not until his next book (even touches the subject in which we deal below) that Diana delve into this topic. We must deal, for now, to discuss his first book published in Mexico: Macondo to McOndo, Paths of Latin American postmodernism (Plaza y Valdés, 2005) where, in a little less than perfect English Diana invites us to read the recent Latin American literature with new eyes.
"This is the best book critic who has appeared in many years in the English language, a book that may happen as a text" academic "more (unattended) or as a closely guarded secret literature, a classic of American construction" says writer Heriberto Yepez Tijuana, as an epilogue, adding also what we said before: that the author is a genuine post-modern subject, that is, not as someone might think converges in whom all the processes of globalization, but precisely the radical critique of globalization. From Macondo to McOndo it would be possible to structure a coherent and graspable notion of postmodernism, at least with regard to literary study. It's like the lamp of Diogenes in the sense that suggests a long search that derives from early in the delivery of long-sought goal and we brought glued to the back. Vague terminology both in its indiscriminate use as their meaning more often ambiguous, are sharply assailed by Diana. It is no coincidence, moreover, who has focused his analysis of postmodernism in literature postboom, more specifically those closely linked to politics, gender, sexuality and boundaries and metaphorical. All these aspects converge in what Yepez, author of Lucid epilogue, called the great issue of our time, emblematic (add Diana) call postmodernism: "The construction of the body." Points out the contradiction of what had previously been described as authentic Yépez postmodernism, ie the erroneous interpretation of postmodernism: "(...) what is considered politically correct in Chile and elsewhere in Latin America is precisely the neo-liberal ideology postmodernism as cultural expression, what is considered outmoded and therefore politically incorrect, is the magical realism and the left position. "Shrewd on end, not without irony (a very Latin American trait of the personality of Europe), Diana reveals that the authors simply assume the postmodern cliche and reveals a distinctly postmodern others who have not sought to join a stream. His vision for the machismo and trade literature for women greatly surprised by the freshness of its position post-feminist, not peaked yet by any critical or American criticism, "(Diana) of self-consciousness of the text on his body (his generologías) but has gone beyond feminism, to the extent that it is registered themselves in the illusions of modernity (its modernografías), "Yepez said. That said, no wonder that Diana left as evidence of late adolescent snubs Alberto Fuguet, who revealed his alleged anti entitled McOndo magical realism, which brings together several writers, "postmodern" of his generation, being suspiciously excluded female feathers, which does not say much for the worries of these almost forties postmodernizadores enfants terribles: "For a lot of publicity to be given in the media and Fuguet Macondo and I stress, not the quality of literature but for his political stance, one thing is clear: in their ranks will not come out a new writer dazzle the fashion world that made him a García Márquez. "(p. 56) .
And just as a fun autopsy performed this post-modern neo-liberal writers, who more than make a genuine fresh start over their predecessors are assumed emulators late Douglas Coupland and Brett Easton Ellis, Diana thrills of tenderness almost with the fuss today bukowskianos patented by William Fadanelli mature writer in his earlier books of short stories "subversive" and Rogelio Villarreal: "The reason why criticize this machismo grown passé and retrograde texts is not sexism per se, but because the machismo and misogyny are to go through cool and challenging attitudes that go against the "political correctness." However, the authors forget one thing: both in Mexico and elsewhere in Latin America, machismo is more politically correct and completely dominant mainstream and there is nothing radical, much less counter, in the perpetuation of this posture. "(p. 74). As a post-feminist, no offense Diana aware of the fact that women are little more than an animal designed for the pleasure of men in the narratives of Fadanelli and Villarreal shocked him that some people find this attitude almost emblematic of Latin American literature as a whole to pass groundbreaking. Where is a genuine break is in three authors, a Chilean and two Mexican and Mexican author: Diamela Eltit, Cristina Rivera Garza, Patricia and Mario Bellatin Kullick Laurent. No one will mourn for me, the first novel by Rivera Garza, performed an amazing performance that invites re-reading this wonderful novel under a gender lens, "Tracing the life of Matilda, born 1885, died in 1958, and their mental states always changing and shaping Rivera thinks this period of instability and violence since the experience of those excluded from the grand narrative of Mexican history. Women share this position with the insane, homosexuals, indigenous peoples, also marginalized by their (a) normal, patriotic project associated with the masculine and rational. "Through the example of Chilean writer Pedro Lemebel, belies the apparent openness denies Diana homosexual theme in the recent Latin American novel. Lemebel literature is a painful reminder that gay perfect neoliberal, popularized among others by the Peruvian Jaime Bayly, has nothing to do with the mad, another figure who remains exiled Latin American literature and so split the one as the right the left. Politically, Lemebel assumes a position and company Fuguet deplore: no Although the left has denied homosexuals historically considered unfit for the armed struggle Lemebel feel fully committed to this and all with the right.
regard to the "literature of the northern border," Diana sweeps with various myths that those who are allowed to read this exquisite book, they will not insist anymore. One of them is the alleged kinship with Chicano literature, when the reality is that both are water and oil, primarily because the authors northern Mexican border do not make the supposed hybridity of cultures, the central theme of his narrative , as they do the narrators Chicanos. Tijuana, home par excellence of this current until recently despised and wildly traded today to the major publishers, it is not, as you said Néstor García Canclini, "school of modernism, and this is demonstrated through the same texts of native authors. "The board," says Diana, (border, border) is now a space that is increasingly monitored and militarized contradicts and does not confirm the idea uncritically repeated on the fading of national borders in a globalized world
(...)" Tall and slender, Diana has a look of boy who associate an input with rare European fashion, but to hear tell Cristina Rivera Garza, who looks certainly look Similarly, it has taken that cut short, short for "solidarity" with Diana, I find that this has just returned to the world due to the traumatic throes of a cancer that nothing has weakened the broad, childlike smile. Nobody will see this beautiful and dynamic woman, a mother of a child on the speaker with devotion, imagine that has been so ill, but this postmodern literary criticism has won battles beyond language.