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The greatest discovery of the teenager Dana Gelinas, daughter of American father and Mexican mother, was that I could write about almost anything, that everything is transcendent to the extent that the poet achieved transgress appearances see beyond. Even then he loved to write with pencils dangerously sharp, alternating graphite and rubber to get something close to perfection, or his unorthodox conception of it, possessed since childhood habit, instilled by her grandmother, to seize the role to the fullest. Originally from a town where everything is Altos Hornos, title of his latest book (Praxis, 2006), Dana grew up in the shadow of a sky smeared with soot, ash made, forty degrees on the pavement, while landscape seems to have turned his back to poetry (at least for those who lack imagination), fecundaría to one of Mexico's most original poets: "As a teenager, says the poet, opening further its large green eyes, ash-colored curls shaking, thought he needed to live in a certain city, under very special circumstances, and live special. "
Dana, for whom poetry is a profession like any other requires rigor and discipline says not to use the inspiration that seems more spontaneous, "poems that come from somewhere unknown", while the concentration, though unconscious, too, is something long sought a conquest, a furnace of words: "I prefer not writing separate from other human occupations and professions, where there are moments of great concentration, even whole days of a concentration immense, also from the sheer effort. "This explains why the poetry of Dana Gelinas, is so specific, so close, so far from the aesthetic ideal, and yet so frighteningly close to beauty. His eyes were so sensitive to mourn the incomprehensible heinous acts of this world, it also explains his desire for transformation.
Born in Monclova, Coahuila, on March 25, 1962, Dana Gelinas was a landmark in the very prestigious award Aguascalientes, which won in 2006 with the book Boxers (Joaquín Mortiz / INBA, 2006), which develops more accurately vein discovered in his first book, Under a sky of lime (Fondo Editorial Tierra Adentro, 1991) and where, the poet's own words, "I began a search of all that time I thought nothing poetic." Impressionist poet, strongly influenced by Ernst Stadler, Georg Heym, also by Anna Akhmatova, Boxers is the apotheosis of art to contemplate and reflect on everyday life, in spite of daily life, with substantial early hint of irony in the book winner Tijuana National Poetry 2004, Polyester (Municipal Institute of Arts and Culture, 2004), which allows small poetic portrait of Bill Gates, whom no one would stop to see how a child alone: \u200b\u200b"The boy Bill Gates has eyes translucent / and sharp teeth (...) Invent parallel universes / network for the planet / and a network for network / in case. "(" The Boy Bill Gates ", p. 13). An act that seems so commonplace as going shopping, is transformed into Boxers in a climb to the paradise of lingerie that sooner or later lead to the purgatory of Credit and Collection, inspired by Dante and Francois Villon, "do not know how (Villon) did not die of laughter when drafting your Will. I think, and I know I read the Inferno of Dante (Paradise do not remember much), somehow, not that tone of voice should not those same people, but we have the same hobby to insist on putting people in separate sites, sometimes as joking ... "He says
also been inspired in a scene from Chaplin, which is trapped along with his beloved hungry in a large empty warehouse where they slide together like ice skaters. Wandering around a department store in the heart of San Valentín, while you think of "the ventricles of the heart, the poet gives the challenge to sublimate the typical middle-class frivolity, extol the beauty ideal of the dummies and probing the philosophical involves the trinkets or the need to own them and show them off, even more complex. Advertising fills our lives, Dana seems to be saying is there, without even looking, invasive, everyday. A exercise which in itself requires the use of humor, contrary to canon purist who can not conceive of the poem emerges autoneg laughter, tears of laughter: "(...) and I give a damn metaphor / any rhyme unintentional / measured verse , / in fact, the art and science / horn I care, nor distracted me the satellite / phone / the weather ... "(" David Beckham ", p. 32). Dana
Boxers ran the risk of being misunderstood by emphasizing the prejudices that women's status generated, although, as noted above, the emphasis on the supposed nature of the woman consumer leads to irony and, therefore, in evidence of the stereotype, widely used in narrative action, particularly that written by women, but rarely, rarely, in poetry. His speech loving, highly sophisticated, minimalist is not, as in polyester, other than the vehicle for the manifestation of a strong social conscience, even feminist. Articles-bait in the poet encourage a reflection about the social and gender bias, overlapping the consumption habits (his own voice, as mentioned, represents the very object of prejudice, which leads to a strong critical and ideological and therefore political): "I think no man know / what it means / wear sneakers glass. / There are two torture / dos curses / two glass pedestals / are a kind of security / go to hell. "(" Italian Shoes ", p. 45). That's right: the poet ostensibly out around the Appliances department because "it gives me a headache." Nor does it include the Department of Whites, "The real culprits that have left out the issue of bed sentimental eroticism is so connected to the ardent desire of consumption." Dana brings a genuine poetry in advance almost overwhelmed by the established notion of "poetry" poetry negating stereotypes and archetypes as seen in the first interview that was done to Following the acquisition of Aguascalientes, where the reader confesses: "everything", even and especially the significant silences: "I think poetry is primarily a reading of the things that have not yet been said, that still silent. "
Altos Hornos The muted contrasts with the bustle of Boxers:" I do not know if it was one of those afternoons of dust when I discovered my vocation as a poet, recalls Dana, under a twilight sulfur, maroon, when almost I almost convinced myself that I should write about what was beautiful, sea or very green, and angry ... "In Altos Hornos introduces us to the different areas you are so familiar, their own home and the factory where steel is forged, and establishes a kind of symbiosis between this and the forging of a conscious creative, artistic, "My eyes became lost in the gym complex / wave expansive / hitting retina and brain / to be silent witnesses to the creation of steel. / All this is real, burst, / how the hell you call / write about things that do not exist? "(p. 14). Along with the social-creative consciousness awakening political consciousness, the poet is fascinated by the possibility that those furnaces emergence of a solid fusion of all colors (blue oxide, violent purple), a specific act of creation, not reflected or premeditated like the poetry. But it also assumes that there are committed injustices that men and women die in fulfilling a duty low-paid factory orphans and misery alleviated, "When I saw the women of Kuwait / hold your nose black veil over your mouth for between wells incinerantes / a workers in their home, / I remembered the handkerchief on my nose, / scented fabric softener / oxygen and / until a wisp of nothing, or gravity alone, / sulfur molecules disappeared / that they had entered the house. "(p. 18). Among the sulfur molecules that slip in his books, Dana provides a world that is making its own recreated, filtering slowly through your veins, until it became absolute, language. Again, his pulse pounding the shore to bring the ugliness and cruelty to the aesthetics of poetry, to rise above the words, holding the reins with the same firmness with which subjects to combine beauty and irony.
Dana Gelinas has also been characterized as a translator of great poets like the American Pulitzer, WD Snodgrass (The needle of the heart, bilingual edition, Editorial Aldus, Mexico, 1999), a poet very discursive, unlike her, but as Dana, very visual. He currently lives in Mexico City with her husband, also Héctor Carreto Aguascalientes Award, and two daughters. Write a story book for children, "I get up early and think of a children's story."

Mom Catches Me In Her Bra And Panties

Poetry Totally God's guest

"When all you have to say about yourself is shocking, you go away forever." This phrase sums up beautifully the life of Malika Mokeddem, living testimony of how, through writing may gain freedom. Freedom of thought which disperses the clouds that hinder the freedom of action, yet truly dramatic circumstances as those that can live a woman caught between Islamic fundamentalism and Western racism. Originating
Kenadsa, en pleno desierto oriental de Argelia donde nació en 1949, Malika narra en su autobiografía El desconsuelo de los insumisos (El Cobre Ediciones, 2006, Traducción del francés, Pilar Jimeno Barrera), su transición de niñita escuálida que duerme apelotonada con numerosos hermanos, padres, tíos y abuela paterna, a prestigiada nefróloga y escritora, amenazada de muerte, etapas divididas en un “Aquí” y un “Allá” que marchan paralelamente: “(…) Los integristas amenazan con pasar a cuchillo a los que pecan con la pluma. Formo parte de los que, clavados a una página o a una pantalla, responden con diatribas al deterioro de la vida, a las locuras knives, the eagerness of the Kalashnikov.. " Malika's rebellion is rooted in the stories of his grandmother, who encouraged her desire to attend school in a temporary space where it was not uncommon for a girl to study, and even less with the passion with which hosted Malika books. Since childhood achieved a series of conquests, therefore, that yes, their access to education but also a belligerent temperament, the most unusual of a room of her own: the "guest room", which is Malika empowers the poor, to found in it a kind of personal realm where books and books prevailed, absolute anomaly that neither his father nor his mother dared to censure with sufficient power. In its unalloyed reading habits calls it a form of resistance, at least in its early stages, because later you will find a way of resistance even more obvious: "Entrenched in the guest room, I repeat to myself:" Never servant, no. I'm the guest "(...) In the midst of an oral world, live cornered in my books. Books are my only guests. Even I have installed three shelves in the guest room. It's my little revolution proof that I am becoming a stranger to mine. "(P. 91). In fact, although his mother said he was separated from her daughter by a wall of books, parent, or guardian of a well, not much effort to prevent the child do his will, however unfortunate that with so great intelligence, with such a temper, Malika not man. Later include the father, a good man for sure, that the effort of her daughter is not in vain, that the praises not only her but all women of their race, including the beloved grandmother of Malika.
Educated in a tolerant form of Islam (which does not mean, as discussed below, that atrocities are not committed to preserve the idea of \u200b\u200binferiority in women), Malika, the youngest of ten children, will be despised, and from within family and his own mother as a woman and the color of their skin, which is to his grandmother, "the second sex of the worst race", it is called, not without irony. Being a woman, dark-skinned Muslim and continues to carry problems when you win the right to study medicine at university in Oran, and then to practice their specialty in Montpellier, which is dedicated to those like her, but also lack legal residency in the country. Married to a Frenchman through which it has obtained citizenship, regardless of the great love that binds to it (the writing of his autobiography by relieving their pain after marital separation), Malika get low visibility as a surgeon because of their work almost clandestine and yet excel in the field of French literature, and even received a tribute in his home country after publishing his first book, The Men Who Tread (1990, Chambéry Awards Littré first novel and the Algerian Foundation Nourrendine Alba ), next to the poet Tahar Djaout, it would be one of the first Algerian intellectuals living in France, murdered by Islamists in 1993, at 39 years old: "Neither Djaout nor I translated into Arabic in Algeria. The first translation of The Men Who Tread on the language will come ten years later in a neighboring country, Morocco. Tahar Djaout was killed. The founding members we gave the award also went into exile "(p. 84). Malika survive more than one attack, indeed, refuse to leave their medical practice and, above all, to stop writing exactly what you think about the injustices in his country. Earlier, at fifteen, has challenged an outrageous mob when walking without a veil for a place, virtually inviting the stoning episode precisely rescues men walking, but is narrating in the third person singular, attributing the traumatic experience Leila's character: "(...) I know now that violence has played a vital role in achieving my future freedom. "(p. 109).
One of the more recent novels Malika, the only so far published in Mexico, The Century of Locusts (Era, 2003, Prix Mediterranée Maghreb Afrique Writers Association of French Language), also translated by Pilar Jimenez Barrera that, as revealed in his autobiography, is inspired by the grandmother told her stories, the same small impact by telling how his mother died, the mother of the grandmother, her daughter clinging to the teat. But not one but many are the themes that emerge in The Century of locusts, even though the protagonists are well defined: Mahmud and his daughter Yasmina (inspired the grandmother of Malika). If I am forced to appoint a central theme that would be, precisely, writing as an exercise of full freedom. Mahmud, which bears the name adopted by the adventurer Isabelle Eberhardt writing when it was passing through the desert Bedouin to go (and who Mahmud says he admires above all poets, like Malika itself that repeatedly mentioned in his autobiography) is condemned to wandering after it has been expelled from their land by Rumis (Christians). In the vastness of the desert is multiplied hyperbole of freedom, return treasure, unique heritage to stand by the wandering poet. In this sense, Malika highlights the true essence of Islam, Mahmud characterized a genuine follower of the Koran. Surprisingly, first, his concept of women. Before Yasmina born, dreams of having a daughter through which "avenge" the subject suffered by his mother, "(...) His daughter laugh. His eyes would not know shame, his nights would not suffer nightmares. His daughter would receive an education, would be free and happy. Avenge his mother (...)" (p. 58). Women, he says, they have saved. Malika Mahmoud treats her with tenderness and indulgence with which the great European authors have treated their female protagonists. A man who, like all exceptional man, holds virtues attributed to the feminine nature such as sweetness, sensitivity and devotion. More than Muslim, Mahmud is universal. Unreservedly loves his wife and share the housework with her.
But that same need to be better the rest of men, it happens, it takes to become an outlaw. Will find the remains of his grandmother on the ground that he was taken away, obsessed with giving decent burial, and in the interim a Rumi is dead. Of course blame Mahmud who is forced to flee. Along the way hundreds of adventures await you and dangers, including a dreadful plague of locusts, but in general nature seems to welcome with open arms, and even the most terrible scenes that give rise to Malika describe the desert as no one, becoming to recreate it in his autobiography. The effectiveness of such descriptions is that suddenly the page is transformed into oil and letters, in strokes. Rather than describing the desert, Malika writes the desert. Not only the magnificent display of flora and fauna, the sensations of touch a lobster or to feel the bones of the beloved grandmother. Along the way, Mahmud know love in the arms of a black slave to the naming Nejma ("Star" in Arabic), but that literally is called "daughter-of-the-dog" for having been raised by a dog. Nejma Mahmud flees towards bringing the dream of freedom for your pet, Rabha, also virtual sister milk. Falling in love with a slave Black is another privilege that Mahmud pay dearly to be the victim of a hate crime. Yasmina, the fruit of that love, inherited from the beauty and dark complexion of the mother, will be forced to follow his father in his nomadic life, although the trauma of witnessing the rape and murder of that takes away the words: writing becomes the only link between it and the poet who accompanies his father.
Malika, who as Yasmina is a black Muslim, is also, as Mahmud, triply exiled. "(...) Writing became my territory, my exile, "says Mahmud (p. 126). The writer, still living in his hometown, is an exile by genetics. And Yasmina, raised by a poet in the vastness of the desert, unaware of the absurd bonds in that society contains its women. "Raised by a man, a poet, has escaped from the female mold of tradition and ignores the traditions imposed on women everywhere." (P. 194). Yasmina learned the trade from his father and for the Traveller community in which it operates, literally said, a woman who writes is like a mangy dog, is useless. But the stories his father and she loves writing for four hands who read them, like the snake flute. Malika says through Mahmud: "I want to walk. Walk like writing. Write the steps in the words, words of the steps, in the highlands, skirting the desert. And in the stillness of writing in open places, I will not go into anything but hug him all at once. I want my life free of charge, which is like an open door and crossed the contrasts "(p. 109-110). Beautiful story where love and poetry are no more or less the same thing, and exile friend socio-cultural status of the desert. With
prohibited Mokeddem Malika won the Prix Femina. He has also published and murderers of dreams (1994), a mock autobiography where a young, Kenza, suffer injustice and violence perpetrated by Muslim fundamentalist guerrillas "(...) Pay to pay've been buying my freedom. As a slave. My freedom and solitude. Both go together. For me they have grown together in the great exile is knowing ... "(The sorrow of the rebels, p. 117).

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Snow in Havana

... I am strong because I am alone. WG


Virginia Wolf showed us the importance of her own room for the full development of women's creativity. Wendy teaches us that war, unable to conquer, it is possible to invent one. Born on December 11, 1970 in Havana, Cuba, winter power outages and lack of Christmas, Wendy says, categorically, that no one dies Cuba, "The only family I have is Cuba, so if I lose I'm all I have, in such a way that this is one of those rare authors who have refused to leave the island to exercise freedom of expression, moreover, alone has been given permission to violate the implicit rules of the only communist regime that survived the century, in such a way that his novel, all go, I won the Novel Prize Bruguera (2006), openly displaying a society where the grandchildren Revolution is at the mercy of the ideological invasion from the kindergarten, young artists have to earn the right to fly the brush or feather pulling the trigger against an imaginary enemy. Yet they realize that their true patriotic commitment has nothing to do with killing, much less abide by, "We live hidden in the bunks, which are the collective monument to worship in any new place where we crowded. In a bunk bed instead of two, sometimes slept four. "(P. 138). Snow
protagonist and alter ego of Wendy, recounts her journey from the perspective of a little girl of eight years at a refugee underground newspaper (the newspapers tend to be intimate, but the content of Snow would be considered "subversive" by him paid attention to one of these "policemen" that every adult has behind habanero your steps); book that somehow becomes a virtual own room where snow lies and give permission to be herself, in all its magnificent rarity. Writing allows you to escape reality without losing sight of snow makes for what is to enter a painful daily life not without beauty, "Writing the school newspaper in front of everyone: not thinking. I am always hidden in the book, because neither students nor teachers can read what I put here. It may be that I kicked out of school (...) My Diary is a luxury, my medicine, what keeps me going. Without it reaches twenty. I am he, he is me. We both felt mistrust. "(Pp 139 and 144). Wendy
claims to have had problems with censorship, not yet, probably because the tone of his novel, which is that of a naive girl, lets talk about "some things" from the alibi of innocence ... as when establishing similarities between his father and the "despotism" (recurring term in the anti-imperialist discourse) and its references to "Fidel", omnipresent as God: "This just sends one to say my mother can not even lie." (p. 101) . Snow has been taken from his mother, "on behalf of the Revolution", to pass the care of his father, a man who commits violence brutal physical and emotional about girls, as well as drinking up stunned and having sex in front of her. This domestic dictator can not conceive that they keep a diary Snow may have control over absolutely everything that girls do, but never about his writing and his thoughts just as Fidel. It is during this parent living with tyrannical and brutal that the narrator intuit the clandestine nature and therefore release of this innocent passion instilled by his mother forbade him bored at home: "From childhood I have wondered why our president is the only the world saw this olive green clothes. At thirteen, my mother told me that the chairs were changed every four years approx. Mom was shocked when I confessed that I felt like a king died (...) No solution is possible for my mother: "If you want to escape the politics you have to escape from Cuba." (Pp. 157 and 187). Snow
Life will give more of a jolt before returning to the arms of his mother will even sneak out of the dictatorship after his father, a kind of orphanage and an attempted seduction lesbian. Wendy Guerra, whose mother died in 2004, notes that this, like Snow's mother always had a literary paragraph for every occasion. The only fictional attribution is the journey of the mother of Snow to Angola and that of Wendy was never there, "this story is a friend stole it," laughs the writer, Rattlesnake beauty and joy. Snow's mother, such as Wendy's own, is a proud daughter of the revolution which, however, is reluctant to barbaric practices such as lynching virtually called "worms", which give up the Cuban citizenship and opt for a legal self-imposed exile, the mother of Wendy Snow-intellectual is a very critical of the Castro regime, however, and as Wendy's own, not abandon it for the world his island: "(...) Outside, I feel in danger, in my feel comfortable prey. "(p. 10). The enclosure at home, on its own island, Wendy gives him a strong identification with Sor Juana Inés de la Cruz, whose verses he read by his mother: "I like the idea of \u200b\u200bbeing tied up and letting go little by little, go to faculty voluntarily, and back out through freedom to be sure that the faculty is still there, waiting. It's kind of exhibition game and I'm living cloistered, although not speak of religion but of ideology. "
Wendy says Cuban writers who have chosen to stay on the island has a fine instinct autocensor trained and, oddly enough , claims to have developed as well: "It's hard to say because it goes against me, but I recognize the self-censorship. The book has been forgotten enough of the censorship, but is rare. "Nonetheless, Wendy says that Cuban women are more liberated than the rest of Latin America, although the novel does not reflect at all:" Machismo in Cuba, "he says on page 224-is masked by the high literacy, but that's threatening you all the time, between play and reality." Freed and all, are not exempt from falling under the influence of a dictatorial and manipulative man as Osvaldo, Snow's first love at seventeen, a prominent painter who ends up in exile in Paris and forgetting about the girlfriend left in Cuba. Before that, Osvaldo has sought to exercise its authority over Snow, as did his father before objecting to his addiction to the Journal, but the Journal, the need to express in writing, always more powerful than any love. What it does reflect all leave is solidarity, the other atypical in our continent, among women: Nieves is rescued from her father for a lover of this, which in turn was a friend of his mother, Snow established a close friendship with Cleo , the mistress of her boyfriend. The Cuban author tells us, develop a strong complex of Penelope: "I think of my mother and my friends who were waiting forever at the airport, which as I say is the Triangle Bermuda, where everybody goes and never returns. "In Cuba, as elsewhere in the world, there's a guy like Alan, one of the most endearing of all leave, who defends a woman of her time. "I always hide the diary of men ..." (p. 256).
Wendy, who is recognized strongly influenced by Nelida Pinon, honoring author in his novel, along with Dulce Maria Loynaz ("Nelida represents freedom and Dulce María voluntary closure"), said to have been nurtured almost entirely banned in the author Island, among others, Reinaldo Arenas, Eliseo Alberto and Guillermo Cabrera Infante, whose books circulate from hand to hand, covered or disguised something else. After growing up in a world without privacy, accustomed to constant surveillance and murmurs; expert in camouflage and intimate transgressions as was his own journal, considers herself lucky to live in today's Cuba, where the voices of young artists begin to rise above the old spirit of its dictator, "and would have to be crazy to miss this ... although that does not mean that deeply respected writers in exile."
War Wendy is married to jazz Hernán López Lossa. Posing nude intends to publish in Havana. Diary of Anais Nin apocryphal, "just be writing poetry and journals. I do not know what to do when I decided to write a traditional novel, "he says with a laugh. Diploma in Film, Radio and Television in the Faculty of Media of the Instituto Superior de Arte (ISA) has published poems in the dark Platea (awarded March 13, 1987, awarded by the University of Havana) and Head shaved (Pinos Nuevos Prize, 1996). Currently working on a Journal of the nineties that Bloomers titled: "It will be the contrast that was in my years of art school when we ate in an aluminum tray, food was very bad, n I put the same underwear and did love all the empty pool. How we were raised to be a unity, a single human being ... "

Can I Use Paint In Microwave

For Francesca Gargallo

Born in 1973 in the city of Mexico, which recreates a wonderful aesthetic sense of the sordid in his novel The host, third XXIII Award finalist Novel Herralde (Anagram, Hispanic Narratives, 2006), Guadalupe Nettel is also author of two books of short stories, games of artifice and Les jours fossil wrote this in a lingua franca, which dominates having lived several years in Paris where he took a doctorate . In 1992, at age 19, won the Prix de la Langue Francaise Meilleur to Nouvelle in French-speaking countries of Radio France Internationale. The guest was simultaneously published in their native language and in their adopted language (Actes Stud). Guadalupe had not addressed his hometown, he says, because the distance required to seize the items and reinvent them, "Mexico City is particularly monstrous, magma city where everything is constantly transformed."
I decide I qualify as an anti Guests love story, or as a love story to be ripping to shreds of common sense, as a rare animal is clear from the skin. The truth is that a text is much more complex than some reviewers have wanted us, as complex as may be to an author who is recognized by Cortazar or influenced by the Japanese Haruki Murakami. The fascinating thing from my point of view, even more than his amazing interpretation of the secrets of the city, is the inner conflict of Anna, the protagonist, who in a frantic escape from itself, finds refuge in the last places on earth want to be. Neither the self Ana knows that name to give to their fear, which simply calls as The Thing. This is not a conflict of split personality, but something even more disturbing: the lack of courage to be who you really are and take the real me as a latent threat, leading to the protagonist through a process of depersonalization: "(...) I knew that memories are similar to those insects we seek to plant almost spiky networks: when we finally belong dried. The pin in the middle of the two wings the killing ends, and although the colors remain intact, the butterfly inevitably becomes an epitaph. "
Ana is so mediocre, at least outwardly, that really comes to grieve: it belongs to a devastated family that began its decline with the untimely death of Diego, the beloved son of the family (Ana itself is an active member of the quasi-religious cult, so that their sparks of hatred against it when you tell a disturbing worship are sick) and finally ends with the escape of the father. Anne is left alone with his mother - "(...) embodied all the women he had seen in movies, television shows, nineteenth-century novels that made us read in school. I looked puzzled as can be seen to be ancestral, a fossil or a wreck (...) "(p. 46) -, two virtual strangers who try unsuccessfully to a close. Ana is what is commonly known as a being without a job or benefits, not even strives to make sense to your life, rather, the sense of looking at it, transfixed in a leaflet announcing an institution for the blind. Somehow understood that his place is that, is that Ana, without being blind, wanders through life without light. Guadalupe recognizes that this terror of Ana to blindness is the most autobiographical novel, since she herself suffers from an illness in her green eyes, a bright naked eye: "I've always been threatened by the ghost, because of this eye ( left) almost do not see. As only one of my eyes works well I have many chances of ever losing sight and is something that always scared me. That this duality that I see even in my face. As a child, even to run the evil eye covered me good and had to live part of the day in darkness and another in the light. I remember the absolute wonder that was for me to take off the patch and suddenly see the details of the leaves, clouds, because they were things I could not see for half the day. "The Thing, as Ana calls her true self, has taken the ability to look outside itself, imbued with memories and images that retain a photographic memory, as re-provisioning against the possibility of blindness. You can not enter high school, however, as a patient and placed as a reader of the inmates. Among his attentive listeners excel Cacho, an intruder but not blind, lame, and also poor. He will become the mentor and guide of the blind is Ana emotional "not really see the world as it is but as we are", does Ana looks at world as a series of lines and spots because she is a being diluted?
Guadalupe said her obsession with freaks, outsiders, the phenomena, but the dazzling circus parade that gives us the guest, no doubt to be most anomalous of all is the only apparently normal, ie, Ana, no, not crazy or holds a dual personality, simply denies itself and carried away by the maelstrom without iota of passion for life, what greater anomaly than the absence of passion, when even the lame and the blind Madero Cacho experience an overwhelming passionate about something? "The cache does not need to deploy their persuasive skills to convince swim in the sewers of the city, where she will meet a new world too soon take as his own: there is Thing itself and its exact complement is blindness in the shadows of the underground: Ana longer stumble between darkness and filth. Are these creatures of the underworld who create chaos among those who think they own the surface, those who shamelessly dipped in shit, literally, to express their feelings in an election day. The reason that the guest has the unexpected political wink, coincides with the moment he begins to write Guadalupe in 1994: "The majority of Mexicans wanted a change, to wherever but no longer had the hegemony of the PRI and had an accumulated rage successive electoral fraud, then the rage expressed it this way: the sewer explodes with all the filth by way of protest message to the marginalized, but not for nothing in particular. Proselytizing literature do not like, does not convince me, I feel it is much more powerful force of metaphors and myths that the pamphlet. "
Once Hannah has lost disgust the shit and get familiar with its texture and smell, the revelation of his love for Cacho's hit in the face by an incidental touch of his fingers that raises "a beautiful shock." In a sense, then, Ana does not see his own humanity, buried in a family album obsolete, until leaves emerge Thing, that being that lives and it causes nightmares worthy of Mondrian, "I always belonged to the group of people who live outside of sex. I foresee it, sniff it, I guess, but not practical. Respect to a Japanese bow to all who frequent the orgasm with the same regularity with which I drank coffee. There is an attitude towards life, anyone in my position knows that can not decide, just do not know how. "(P. 187). Guadalupe Nettel
recreates an underground city of Mexico, whose condition dream, far from sublime decay, the stylized and therefore he exalts. Ana is as many beings that we encounter daily in the subway, a robot whose only trait of humanity is the fear of The Thing. As stated by Guadalupe, Mexico City is creepy, a catalog of monsters, some of which, so familiar, we become invisible, as in the case of Anna's own And in the midst of so much ugliness injure the eyes makes you want to blindness ... imposing the anomaly of love? "The city we chose is a hollow facade that covers the ruins of our earthquakes." Guadalupe Nettel
recognized very interested in the fantasy genre, which for some reason has gone out of fashion among the authors of his generation, however, if something is not concerned at all, is just being fashionable, "I've never felt well suited to society have always felt more outsider in this story that I tell you and other family stories, then normal is that it reflects the inadequacy in my writing. Women have more contact with our dream world, we draw on more than intuition and all this more volatile. "Currently lives in Barcelona where he is preparing a book of short stories about freaks, and a new novel set between America and Europe. "

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Terror That beautiful sublime shock

Whoever has been so well behaved, to fire home with his knees severely rattled, all curls and ribbons, with a book of poetry ("Shakespeare?) between the hands and blue eyes to the gray edge due to a trace of tears, do not imagine that so neat box to announce who would become "Queen of the Gothic novel, and, for some scholars of recent times, the forerunner of the Gothic novel. Born
Ann Oates, the July 9, 1764, in London, a family of wealthy merchants akin to writers and scientists, like Dr. Daniel Solander who accompanied Captain Cook on his world tour, or his uncle William Cheselden, surgeon to King George II, would become Ann Radcliffe following her marriage to William Radcliffe, whom he met as a student of law studies to devote himself to William interrupt his true passion: journalism. Founder of the prestigious weekly Inglés Chronicle, Radcliffe was a rare man of his time since they fell in love with Ann intelligence, physically graceful on top and always carrying a heavy book that was not exactly the Bible, though like any girl, daughter Puritans, his formal education was restricted to music lessons and general culture. William encouraged her also to be initiated in writing, indeed lovingly pushed his literary career. The fact that the marriage never succeed in having children, far from distance seemed to strengthen that union based on mutual admiration and support of their melancholic temperament and home. They both found it terribly difficult to act in society, especially to her, shy, say, to neurosis, while the couple traveled frequently. Ann wore a detailed diary of such travel, which would draw the lush landscapes of his novels. At the age of 26 years, Mrs. Radcliffe would surprise critics and literary salons goers with his first novel, The Castles of Aithlin and Dundayne (ellagen Editions, Col. Arts, Barcelona, \u200b\u200b2005, Translation Alan Ferreiro), who, like any other work of the gothic genre stuck to the aesthetic precepts of Edmund Burke (1729-1797), for whom, as noted in A Philosophical Enquiry into the Origin of Our Ideas on the Sublime and Beautiful ( 1756), the idea excites the pain or danger is the source of the sublime. Well
inspired by Macbeth, his favorite work of Shakespeare, the young Mrs. Radcliffe recreates a medieval Scotland where good and evil remain bitter struggle in the young people Aithlin lord, Count Osberth, and the wicked Baron Morgan, M. of Dunbayne, who, as a usurper Macbeth himself, he differs in that it lacks a manipulative wife before However, it is a bitter and misogynistic bachelor. The evil Baron Morgan, described as "exaggerated" detracts just learned that his son left alive of the man who has murdered, ensconced in Aithlin but watched from the battlements of Dunbayne, when logic should have told him that reached adulthood , that seek to avenge the death of his father. The exaggeration of faults and defects that are never up to expectations stemming from the indiscriminate use of adjectives, it is not in any way attributable to the immaturity of its author, because the truth is that other more experienced writers like himself Horace Walpole (1717-1797), founder of the Gothic English with his novel The Castle of Otranto (1764), incurred in the same excess. Young Osberth
grows obsessed with the idea of \u200b\u200bgiving their due to Morgan, but will not implement its plans until after bumping with Alleyn, a young peasant who catches the hunger for justice from his master. As in any gothic novel, the highest expression of romance, love is manifest to make things difficult, as Alleyn, not for brave, bold and good soldier ceases to be a farmer, falls at the feet of Mary, sister of Osberth. Morgan, in turn, without even knowing Mary (have heard of its beauty), becomes infatuated with the idea of \u200b\u200bmarrying her, and everything to annoy Osberth, held in a dungeon Dunbayne after his first aborted attempt to capture the enemy. Across the wall, the young Count sobs and female receive a sweet song that comforts him in his imprisonment (always announces salvation through torn edges). Thanks to one of these mechanisms secrets that abound in the Gothic castles, they manage to cross the barrier to meet the real Baroness Morgan, wife of the late brother of the usurper, and her daughter, Laura, who has grown up isolated from the world but trained the musical arts by his mother. Again surprising magnanimity or failure to prevent the ruffian, who chooses to imprison his sister and his niece, providing them with musical instruments that do not get bored, rather than eliminate them. Of course, Osberth fall in love at first sight of the redhead Laura. The outcome of the conflict, which seems likely, it will not be as many as the evil Morgan die in the odor of sanctity half way and then someone will try to kill and kidnap Osberth his sister, who the hell could have been if only the good survive? ... or .... Is not so good? Can such malice in a novel writer? It is this evil which warn the first beat of the detective story as the characters will spend a little bit recurrent in the narrative of time: their intuition. Violence that Mary is kidnapped, especially if we consider that has not stopped fainting after another along the plot, no less disturbing. In fact, virtually all Mrs. Radcliffe's heroines are vulnerable young people subject to the whim of degenerate and evil beings, as happens to Emily of The Mysteries of Udolpho (1794) and Ellena in The Italian or the Confessional of the Black Penitents (1797). The reflection on the origin of the passions that overwhelm mankind, also runs throughout his work, in a somewhat cautionary tone that buries the rigor with which makes them cousins \u200b\u200bAnn ethics and aesthetics: "All excess is ill, even those sentence, that admirable in its origin, becomes a selfish and unjust passion leads to release of our duties (...) The excessive indulgence in restless pain of mind and almost incapable of further participation in the innocent pleasures that God's kindness has been established to be the sunshine of our lives (...) everything is service when looking for comfort without a possibility of goodness. "(The Mysteries of Adolfo, The Diogenes Club, Valdemar, Madrid, 2001, translated by Carlos Jose Costas Solano, 44, 45 pp .)
The Mysteries of Udolpho, considered his masterpiece, is not a conventional Gothic novel, but here it is implied supernatural ingredient. As all the tales of Ann avoids the typical scenario that takes place in English-Gascon province of the sixteenth century, and gives us a heroine, Emily, confronted with misfortune and loneliness after a sudden orphans, who must implement its five senses to uncover a secret connected with his family, with the evil Montoni followed the trail: "Remember that it is much more valuable the strength of the grace value of sensitivity. And do not confuse strength with apathy apathy recognizes virtues (...) How despicable is that humanity is happy with the mercy which could provide some relief. "(P. 148). Definitely, the immobility going to Emily. In Mrs. Radcliffe's work, critics have said, fascinated with his radical aesthetic proposal wins no room for conventional, or tickets idle or useless controversies.
almost always the tragedy of Ann Radcliffe's heroines is preceded by the death of parents. In his world there is no major tear to the orphanage. Do not be surprised therefore that the almost simultaneous death of their own parents almost muted in short, though that would worsen with the degenerative disease of her husband, who's chained to his bed. It is rumored that the daily witness the wasting of her beloved husband and the impossibility of writing the edge into madness. One of his most recent biographers, Rictor Norton, who referred to her as a gentlewoman, that would be a female "gentleman" is not exactly "lady" - venture the possibility that the writer could have held their own volition Derbyshire in a madhouse. And just when readers began to forget that wonderful that Mrs. Radcliffe had shaken and sigh, published Blondeville Gaston (1820), a novel that drafted shortly after the death of his beloved to alleviate the pain of loss and loneliness, significantly affected by the suffering and, therefore, darker. Die three years later published which would his last novel, February 7, 1823, due to asthma that afflicted many years, complicated by the flu. This author would become the inspiration of the poet Christina Rossetti (who tried to write a biography of him) and the forerunner of science fiction, Mary Shelley. He was also deeply admired by Lord Byron and Percy Shelley.