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. "
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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