Kate Playground Vegas

... But if you learn to write better, make any little lack of color, with the words you have them all. CB
Dream Carmen

your bed is an ocean, that the book is the ship and the fountain pen, its rudder. She, of course, is the captain and his characters, amazing and motley crew. Carmen Has epic hunger and thirst. Nothing contains all the overflows. "I'm more of opera bolero," says Carmen Boulton, loyal fan Katherine Mansfield and Jane Austen, yet unable to concentrate like them for domesticity, that is by itself, the ink is loaded. "I love cooking, but I'm not noodle soups but sumptuous banquet ... I love the hype." There on the bed can remain Carmen whole days and, if left, years, clad in a nightgown and sheets stained with ink hopelessly loaded, but "my back and I can write all lying, I do sitting on a couch ... at the table not write a part on the couch, I installed in the kitchen ... I do everything by hand and computer. I learned to use the laptop like a book, on my knees ... but I'll let go of the pad. I need this close ... "" Carmen "is, in Granada, a country house with garden and garden is also a poetic, all that becomes Carmen Boullosa when recreates his imagination on his knees, isolated by a thick curtain long brown hair, exaggerated as all her blatant denial against Schopenhauer.
The experience of writing is, if, as dangerous and fascinating game, because although his favorite props are her bed and the sofa in her kitchen, the magic carpet of his powerful imagination moves to terrible worlds where women are not whole comes to unless recourse to an effective male costume ... and I mean not only the dress but anything that involves the exercise of manhood ... the art of war, for example, as are cows, are ports or sleep. Thus, the identity is the most recurrent conflict in the surprising, unusual novel of the Mexican writer. Not the actual identity archaeological excavation of the origins, explained Carlos Rincon, but as inventive, as spontaneous and voluntary creation of a new personality, a new future, shaped after the rewrite feature of the "subgenus" of Carmen pirate novels returns, revive and becomes yours. Such is the rage this imaginative Mexican author, born on September 4, 1954 in Mexico City, more precisely in the Santa Maria la Ribera, which should not surprise that his arrival in New York on September 10, 2001 along with her two children has coincided with a hair disaster allegedly perpetrated by Muslims, descendants of the wonderful characters and charming Lepanto's other hand (Fondo de Cultura Economica, Mexico, 2005), faced with the irrational cruelty of Christians very little Christians, who adopted an orphan Roma, Maria, just runaway from a convent where the only stripped of his father's legacy has also been humiliated and exploited like so many other unfortunate young women who find no better refuge from the savage lust of the subjects of the much hated century Spain of Cervantes. Within this clan Moorish, where women have unusual level of equality with men to the degree of military instruction of the patriarchs, Mary learns to master the sword like that other art that flows through their veins dancer " (...) The Moorish warrior is not saved with them (the Christian invaders) any cruelty. On each of the soldiers who put their hands in revenge. Mothers talk about their dead children. Daughters, his parents lost. The sisters, brothers who have lost the outrages Christians, abuse, imprisonment without cause, or the violent abuses of the English justice (...) "(p. 24). His love for a Christian gentleman, however, Mary baiolaora shore to the identity of the man usufruct brush to fight side by side with him against the Moors, its saviors of old, and violate the promise made in conjunction with her four sisters spiritual, of which the redhead Zaida, also disguised as a man after being humiliated to the ignominy by Christians, in unison that their sisters, Mary to seek revenge. In their unbridled adventure and courage will not even be fairly valued by man who betrays his friends and teachers of life, Mary will match nothing more and nothing less than an eccentric soldier Miguel de Cervantes Saavedra, who was recovering from malaria and a recently severed hand, will be given to the young knight's transvestite their fellow soldiers who have been confined to praise his boldness so rare in a woman (despite being a constant transvestite maids in the work of Cervantes himself), to incorporate officially undecided: "The man was not too strong, but had a great face. This was so big and so many colors and textures so close seemed to view a landscape. In the middle of the face, near the center, two little errors, we sputtered Two eyes round and black, surrounded by waves of skin, here red, purple beyond the most distant of the eyes were white, disappeared as if swallowed up by the protruding nose (...) The only poets walk between poets and everyone in between yes you hate, what to go together, What why hate? Why are poets "(pp. 383 and 384) The Carmen Cervantes is not yet known to us, the author of Don Quixote de la Mancha, but their attitudes unveil certainly a quixotic hero. Carmen's heroines seem also seed sprouts Cervantes, although his characterizations and hypocrisies be lethal for them and those around them, the female transition hyperbole from modesty and inertia to independence and the ability to make decisions, as the paradigmatic Fleury Claire / Clara Flor, heroine of Sleep, perfect fusion of the legendary pirate Anne Bonny and Virginia Woolf's Orlando, or Lear, of Heaven on earth, heroin king named tragic that from a very remote future attempts to decipher a text of the twentieth century, which in turn is a translation of one written in the XVI giving rise to one of the more complex novels of contemporary literature. In several of his novels, plays Carmen temporal alternation, but more than science fiction, you're looking to provide them with a playful allowing also break the order of nature and with it, the cultural assignment of male and female roles; pervert the cliché and recreate femininity. Even girls from dysfunctional homes prey such as Best Before and disappears, exercise the power of his imagination, more destructive than wonderful, and righteous anger over the arbitrary authority, particularly the father: "(...) We can deduce that Boulton , literature is a kind of whole, a way to exorcise this ghost dirt that has its origin in the institutions, school, family, church, "says Jean Franco. The actors are like girls massacred Carmen wrists Carmen's own experience as the strange urge to write fiction to self-destruct to cure a possible nostalgia and start the next book without leaving anything behind.
Carmen Boulton, inexplicably (or not so) ignored by literary critics bigots of his country, change has been the subject of an international symposium in Berlin in 1997, conjugated in the infinitive, on the occasion of his winning of the prize Anna Seghers, whose magnificent papers were compiled into a book of the same title by Barbara Dröscher and Carlos Rincon (Tram Editorial Sur, Berlin, 1999), but perhaps the most misunderstood of his novels of Carmen is thirty years (Alfaguara, 1999, Point Reading, 2003). Written with clear intent and other ambitious Cervantes emulate when, through the Quixote, began mimicking the romances and eventually write his epitaph to gender. Carmen did his magic realism as compared to thirty years is a parody of the current Italian by birth and adopted by the Latin Americans Delmira surrounds the life of its heroine, another unusual girl, of incidents that bring Gabriel Garcia Marquez and Isabel Allende a story. Delmira, a resident of a Agustini like Macondo (the allusion to the Uruguayan poet is intentional tribute also to the most beloved poet of Carmen), lives of wonder just as Alonso Quijano live the adventures of the mythical knights but conversely, because, being Delmira the only sane person realizes the absurdity that surrounds lush. Regardless of whether the author achieves his goal to honor and kill everything in one package, magical realism, achieves also a splendid novel rich in nuance: "The following Sunday, the old light dawned with the wounds of Christ ( ...) By then, the old light levitated complete with wooden chair and insisted on clapping hands to it and I sing together, as usual, while my grandmother scolded because of blood spattering the kitchen (...) "
Carmen Boulton said: "It's better to lie as raw material, real stone with no personal memories: those are flesh and reality, to use the novelist's out of context, the fragmentation, the breaks, the paint peeling, the returns stones, only stones, "perhaps from there to write his latest novel, The perfect novel (Alfaguara, 2006), where his character is exactly the opposite to it, starting because it is male; ending because it is a lazy writer who accesses delighted when a scientist proposes to participate in an experiment from which cyber write with pure imagination "the perfect novel." Again, Carmen uses extremes of the historical novel becomes futuristic novel and each requiring a language, a slang unique to that particular world, the baroque-chilango of Lepanto's other hand enters the cholo-chilango of the perfect novel no difficulty ... and make sure to vary your work to self-destruct in the end, but that destruction has never been more justified than in the perfect novel, where what is intended to show is that there can be novel, far from perfect, if not through language. Read Vértiz self-criticism, the lazy writer who tried to write without using language: "(...) knew the major defect of my way to tell: never charged real way home, where people were, the building never showed its geometry, in the manner of, say, Ridotto, scenes occurred as portraits of camera. The scene that the city had not provided an appreciation of a whole, looked like through a telescope, focusing on a circle, blurring the environment. Rather than blurring, not giving way ... "(p. 145). For most beloved Carmen is the language and has demonstrated not only through prose, poetry also. The poetic genre, far from curbing his boundless imagination, has been fertile ground for yourself and your "ink loaded." This field has dazzled with the wild and, more recently, stingray Salto (and two) (Fondo de Cultura Economica, Mexico Lyrics, 2004), shamelessly displaying this amazing control of the Castilian, of Castile, which allows invent as many according to her very own magical world-war. Currently, "intends", this by itself, break into the story.

Can Give My Dog Excedrin

Write as Napoleon

Balzac said he wanted to achieve in literature what Napoleon in politics. Not surprising therefore that a contemporary author such an ideal feed, although it seems excessive in light of a time when very few writers require excellence over the commercial effect, "but above all, says Beatriz Rivas, I have that ideological basis, all studies did Napoleon to conquer a village (to study the Quran before coming to the Egyptians), and that wonderful balance between reason and imagination and, most importantly, Napoleon planned his battles but he was prepared for the unexpected and improvisations, usually were great. That would be great literature. The author who wants to write like a Napoleon has to accept the changes that will be asking the same novel. "
Born in Mexico City on May 9, 1965, three days before the death anniversary the great deer, Beatriz Rivas was an amazing girl mint green eyes with black iris and olive skin that filled notebooks and notebooks of poetry, "with a scrawled, poems, games and horrible about gardens," he says. Always got 10 in literature. In high school fell in love with Napoleon through the readings that love and consolidated school at age fourteen when he first visited the tomb of the Invalides, in Paris, and began preparing, unwittingly, to write what would be its second novel Bitter Wind (Alfaguara, 2006), through the character of Miss Betsy Halcombe (1802-1871 or 73), a teenager from the same age as Beatriz then daughter of the guards of Napoleon during his exile on the British island of St. Helena, it establishes a conversation with her lover. As an adult regularly attend workshops Valadés Edmundo Guillermo Samperio, Humberto Guzman and Miguel Cossio Woodward. Ensures, however, have not achieved anything "publishable" until 1994, nearly thirty years. Hence jumped rashly to the drafting of an ambitious first novel, The hour without God (Alfaguara, 2003 / bookmark, 2006). No more likely than the dictates of his heart and the need to talk through Lou Andreas Salome, Alma Mahler and Hannah Arendt, she devises a first novel where does light and surprising, says the back well, "let us look into the eyes of three women immortal. And they look back at us. "Broadly said Beatriz their need to revive these three women:" For many years I wanted to say something and not know how, so I started looking for a character that would allow me to speak in freedom " . Originally focused its expectation in Mexican women, Antonieta Rivas Mercado, Tina Modotti, Nahui Olin, Frida Kahlo ... but it happens, the characters were going out to him, without looking for them. Lou was the "featured" a psychiatrist friend, Alma saw an exhibition of portraits of Gustav Klimt, in Vienna and around the corner waiting for her in a bookstore the book Kokoschka and Alma Mahler. Hannah discovered the book of his correspondence with Martin Heidegger during a routine visit to the library of the Universidad Iberoamericana, where he took an MA in Modern Literature. The biggest challenge involves bringing in a novel was to give them a voice and a very specific intelligence and find a junction. It was here that knocked at his door Dr. Ponty, a Mexican male throughout his life coincides with the three ... sleeps with all three. This was possible thanks to Lou and Alma agreed in Vienna at the same time (late nineteenth, early twentieth century), with Alma Lou was young when ripe. Also, a mature Alma matches on the same stage with Hannah, although unknown, the latter university. So, Daniel Ponty is the first adult sexual experience with Lou, is consolidated with Alma and the crisis have grown man into the arms of an inexperienced Hannah. Whether it is male and as such store in his house to a young woman, Monama, who he says has the three "S" necessary for a wife (obedient, silent and suffering), it becomes, at once, as odious but interesting point of view that brings about these three women released and cool. "I wanted to write a novel, not a biography," says Bea. I chose a male character because they were too many women. She wanted someone who could fall for the three and some readers thought it was my grandfather (Daniel dictates his memoirs to his granddaughter). However, it is totally made up, not even understand where I took the name. I became a doctor because he was the only profession that would allow him to meet all three. And there were Mexican because I needed one ... even a Mexican with one foot in Europe and one in their homeland. "Daniel Ponty assumes the personality of the abortion doctor who assists Lou; meets Alma playing the piano and visiting teacher at the University of Marburg, where Hannah consoles of his stormy relationship with a married professor, namely Heidegger. Great part of the story is structured through letters written by women themselves, a completely invented by the author, some transcribed verbatim and others, mixing fiction and reality. Most striking: in one of his letters to Daniel lit, Lou says he read Sor Juana.
All three were prolific muses: Lou Andreas inspired by Nietzsche's Thus Spake Zarathustra (although finished hating), Hannah, Being and Time Heidegger (who in turn was hardworking student of Nietzsche's work) and Alma much of the work Gustav Mahler, her first husband, and the painter Gustav Klimt. The last gave up his activities as a composer for the egocentric Mahler wanted to be the only genius in your home. "A man in love is always in hell, especially if you are in love with you," says the painter Oscar Kokoschka a dummy Alma has created in his image and likeness to feel that it is still (p. 187). Beatriz Rivas Accomplished three individual and unique personalities?, Because they are not the same the rebel Lou, the volatile and passionate Alma Hannah. It could be argued the possibility that Lou, Alma and Hannah had a male lover Daniel insufferable as Ponty, whose vision of these three remarkable women, which undoubtedly frighten and complexed, they end up falling in unintended humor. Lou says on page 79: "(...) Escribir es un arte, por lo tanto, una manera de preservar el mundo infantil en el que todo se entrelaza con todo. El ser humano que no es artista, es un pobre hombre.”
En Viento amargo, Beatriz aporta una nueva versión de Napoleón cuya originalidad radica en una doble visión femenina sobre este personaje, célebre entre otras cosas por su misoginia: la de miss Betsy y la de la propia narradora, que se involucra con la acción desarrollada en Santa Helena entre 1815 y 1821, entre otras cosas, para justificar las licencias poéticas que, como todo novelista, se toma con los acontecimientos históricos, quizá porque siendo esposa de un historiador, Francisco Martín Moreno, es sumamente respetuosa de la verdad historical and scientific, "His Highness lights a bit my doubts when I said in my ear:" The genuine truths are difficult to obtain in history. Too often historical truth, as claimed and everyone is eager to claim, is just a word. Can not exist even in the time that events occur in the heat of passions in conflict. So what is historical truth? Facula on which it is agreed, as Voltaire said very correctly. "(P. 75). Significantly tempered by the defeat and betrayal of those who called themselves his friends, Napoleon takes on the sensitivity needed to open and convert it to Miss Betsy a repository of memories and life lessons that later turn over in his memoirs, for example: "You can not give in to mediocrity. If something is not right, we must repeat. Rosseau rewrote his Nouvelle Heloise seven times ... "(p. 59). Beatriz is considered an atheist, "because there is no scientific evidence of the existence of God (or any god), but believes in the power of fiction and the stories it invents and reconfigures the literature", but when you reflect on Napoleon on this subject, says he has not ever doubted the existence of God because "even though my reason is incapable of understanding, my intuition convinces me of its existence." (P. 90)
Although we always knew that would be a writer, Beatriz was delayed somewhat by uncertainty and superficially addressed journalism but as she says, journalism also brought him closer to his goal. Journalist has never been considered in the strict sense, despite his impressive resume: he worked in Imevisión and Radio Network, respectively as editorial coordinator of special events alongside Jose Gutierrez Vivo. He was executive editor of the journal Millennium, participated in several projects with Adela Micha, and an adviser in communication Jorge G. Castañeda. Never put aside the literary establishment, with co-author of three books of short stories: The women of the Tower (1996, translated into English in 1997), Poison that fascinates (1997) and happened in a neighborhood (2000). "As soon I came to write for Millennium, I feel I won the fiction," she says I'm very bad journalist. "Secure but do not have favorite authors favorite books, however, during our chat, there are four names that are repeated strongly: Carlos Fuentes, Mario Vargas Llosa and Julio Cortázar Elena Poniatowska. Currently, Beatriz works with an idea arises from seeking his own name into the Google Internet search and discovered that there were plenty of Beatrice Rivas, including a body builder, a porn actress and a woman killed by 26 bullets, so you type a novel on several characters who share the same name but different destinations live.

What Is A Good Hard Yaoi

Not all readers are fortunate to finish with your favorite author married and being, well, a close friend and associate of the same. Among the lucky few can tell Barbara Jacobs, who in his most charming book, Life with my friend (Alfaguara, 1994), chronicles his daily life alongside one of the greatest American writers of the twentieth century, Guatemalan Augusto Monterroso ( 1921-2003). Although it seems safe to say, this work of just 105 pages containing all the love and admiration for Barbara to a man whose identity is only suggested, concerns to simply as "my friend" -, also the great lesson of an author who, in the midst of a boom of monumental novels underscores the frenzy of the immediate, fleeting eternity, the vastness of the brief, highlighting the foolishness of those who assume that a work, the more voluminous, more respect. "A book, Barbara says the friend, is a conversation, a good book, a polite conversation." Although not exactly a female version of Monterroso as it has come to say, can be considered the most advantageous student, and life with my friends is a testament to the adoption of the beloved author, who also read with devotion, accompanied in constant dialogue on a white cloth, accompanied by a bottle of wine, fits in perfectly hug sheltered by the tops of the trees: "... look to cultivate a growing resentment rather than your talent, it is foolish, to say Monterroso her friend. It is a bitter writer what he thinks is that the success of others was taken away to him, do not think he could also touch: if instead of growing resentment, cultivate her talent is there for everyone. Or almost. Deserved, undeserved (...) The Republic of Letters is a jungle (...) that talks about how the writer learns to defend or withdraw, to attack, to survive, or removed (...) all torn towards the ultimate goal; wins more enduring, that can wait. "(pp 43 and 50).
But among the lessons arising from this beautiful book is obvious the better assimilated by the author: to cultivate his own melancholy, like a flower own privacy. To Monterroso melancholy, rather than an inherent condition of the artist, is something you get by doing ... something to be earned and deserve ... and contrary to what might be expected, melancholy, far from being tragic or pathetic as the ideal romantic, acquires the ability to see the world, generating pain and disappointment, with tenderness and compassion of those who put safety before the collapse: "The closer you get to the bottom of the topic," he tells his attentive Monterroso huge student-violet eyes, most at risk of running into sadness ... "(p. 36). The work of Barbara Jacobs characterizes a deep melancholy born of misfortune but not of joy. No one said anyone but one that remains moist eyes happy. The essential in the work of Barbara, then, is a reflection of their learning Monterroso, intimate discourse that results in externalization aesthetics of real intimacy, especially in self-detachment, permanent communicating vessel between literature and life. Barbara, in fact, is personally unable to look the world through different eyes than those of the literature. Novels like dead leaves (1987), that the creditor did Villaurrutia Xavier Award, splendidly recreates that sense of the fleeting embrace that melancholy happy that disdains the healing sense of irony. Barbara viewed writing as a single conversation with someone who may not be "your friend". Rather listen than talk, as stated in its report "Response in silence", included in his 1982 book, Twelve stories against (CONACULTA / Aldus, Col. Centennial, 2005): "I am a person given to listen rather , to clap when speaking expect me clap, hold its comments and opinions (...) I write because I have something to say that is only expressed in writing. Stressed in writing (pp. 48 and 51). So, Barbara, not as direct as his friend, invites you to explore the delights of the maze, hence the difficulty to penetrate in such novels as Farewell humanity (Alfaguara, 1992), where the apparent complexity of the speech (and I say "apparent" because the tinkling of clear prose, but is obscured by intention) fascinated by the challenge of achieving an empathy between text and reader. Read Barbara Jacobs entails risks to cultivate a deep friendship in which one is shown first as it is, and then iron out differences and clarify discrepancies.
The artistic vocation can mean a curse in a society like ours. The artist is becoming more aware of their uniqueness from an early age when he realizes that the world is composed, in their overwhelming majority, crazy crazy line ... because you have to be to adapt without fuss to a world that forced to give up being who you really are, and Barbara's work is imbued with this feeling of not belonging to the world that accompanies it since I was a little girl writer whose first book was destroyed by the School Sisters of Canada shocked me to write compositions in class time. Born into a family of Lebanese immigrants, on 9 October 1947 in Mexico City, with a name that still mortified and even seriously considered changing, Barbara is a deliciously eccentric being, a beautiful and shy girl who preferred among all her suitors the South American small stature that gave her a frog, and who would marry in 1970, a girl like her story Carol "Carol says," Twelve stories including ... also, bring a pencil between the teeth for not thinking in kisses. In a world where private solemnity and pretense, the likes of Nijinsky, Eric Satie, Horacio Quiroga, Juan Rulfo, Van Gogh, Cesare Pavese and William Faulkner beyond its desire to be who they are. Each took his art to knowing that the price was high not only isolation and misery, but in some cases up to discredit and life itself. Barbara could not find a better title for the book that gathers all: Tormented (Alfaguara, 2002), and the triumph of art at the expense of the artist is the focus of the thirty texts ranging essay, and chat , this hybrid that we have happily used Barbara through his Sunday column for the newspaper La Jornada. Not limited to coldly analyze the work of their authors. It goes much further by digging their own emotions as a reader and writer before reading them, as familiarly as in life with my friend. Who read what Barbara says, for example, Rulfo, will not read another essay about an author Rulfo but exotic and unknown fed Scandinavian influences. Each text comes into play the exquisite sensitivity of the author that, beyond the aesthetic pleasure, has been profound, irreparably shaken. "People who cultivates the intelligence is careful to admit being touched or being touched by simple things." (P.78). In a couple of pages accumulates Barbara emotions and tears of a life as rich as that of Hart Crane, whom the finding of true love rescues of pedophilia but not the world (who will save the world?), And achieved thanks to its talent to focus on the essentials and discard the bombast, the generator which, in view of its own Monterroso, is the worst enemy of the writer: the solemnity. In the words of his friend Barbara: "(...) people really is not very subtle and secretly respects the solemn, if not respect or at least fear them and fear to reverence there is only one step ". Barbara crying without restraint by their authors, not only that, he declares his desire to hug and comfort them, as with Coleridge: "A desabrazado can go for a hug constantly: in fact, constantly seek a hug, and in that embrace the confirmation of own existence, perhaps their own value. "(p. 33). Robert Walser also embraces and Walter Benjamin ... Walser, who languished almost starving, as the archetype of the imaginary writer technocrat, "the perennially unemployed Benjamin, now considered an apostle of the lucidity and intelligence. These are the recurrent paradoxes facing the artist, although there as Thomas Mann, Shakespeare and Monterroso himself in life were recognized. The majority seems to say Barbara, we feel more identified with Walser, with Benjamin ... even Cézanne, sublime painter in his time was rejected even in the Hall of Rejected. "You there-seems-in therefore represents the roles that others expect that represents but is invisible if only sticks to be himself. "
Florence Nightingale (Alfaguara, 2006) is the novel that helped to alleviate their pain over the loss of his friend who still refers to as "my life ... he is my life." This novel seems to gather again into two friends of Life with my friend but in a sieve of clinical madness not cease to be poetic. Again, two desabrazados fit perfectly in their arms. Nadia comes to the asylum to become the student, the old philosopher friend of Nightingale. Both have many things in common, two in particular: a Nano to miss it and wanted to write a book. Nadia, in fact, already has a novel draft submitted to very strict supervision of Nightingale, who insisted on transforming the nanny Nadia (the protagonist of the manuscript) in his, renaming Florence. Through the figure of the nanny, essential within Mexican families (Barbara itself which had a miss yet), is exemplified by the creation of a literary character and also pays homage to Flaubert, creator of the most beloved servants of the nineteenth century literature, particularly in the story that Barbara considers her favorite: "A simple soul:" ... before Flaubert Nightingale says on page 46 - the servants in literature and music were only males, at least as protagonists or, at most, secondary characters. I'm pretty sure that in the world literature, including East, congratulated the first character is female servant (...). " This novel brings together the elements that characterize the work of Barbara Jacobs: creative writing, friendship, intimacy, melancholy and madness. Why develop this literary conversation between two crazy?, Perhaps because an asylum is the only place that can accommodate two people so utterly alienated from the world and as close to ideal of true intimacy, "There is no writer who does not live on an island! Another reason why conducive to his fantasy monsters frighten "(p. 53). It is likely that only the use of the insanity let the characters talk about their vital need to make literature without seeming out of focus and again the implicit message seems to be that they are more mad out there. The novel is peppered with hints concerning the literary world, including the critical bias against female authorship books, said Barbara, continues to affect him. There is also the need for Nadia Karam to change its name, which the author could not do: "I will not stain the name of Nadia. How will call? "NK? "Eneco? Thus, at least they avoid facing the second evil of his condition: not to be born, but had not been born male. The third, do not know when deal if I do. "Author? Why enter the world of authors, ie hombresmujeres, mujereshombres? So that's restricted to be no exit author among authors "(p. 57).
Barbara So far, their writing has not lost that intimate and secret, and perhaps in this lies the charm of his prose is creative window of his privacy, his soul happy: "The literature, she says with a small voice that is almost a chirp, it's my first nature. "currently writing a book about their friendship and learning with the writers of his generation.

Swelling Ankles When Om Iv Antibotics

Dulce Rosas company in the field of battle

may be the last page. She knows that's where you can interrupt the story to stay. The hope of concluding, however, thankful for every sunrise makes a garden surrounded by paradoxically flourished where summer highlight tones: blue, light green and pink. In light of the extraordinary literary quality of what would be his masterpiece, Suite Francaise, published over half a century after the death of Irène Némirovsky, hard to believe that the author has had any hurry to complete. Be warned, even a delight in the aspects of the beauty of both nature and which is generated through art (paintings, sculptures, musical compositions, literary works) ... not even the beauty of the invading army passes unnoticed: "... suddenly, a dark stain crept across the sky full of stars and the laughter ceased, everyone remained attentive. It was not concern itself, but a strange sadness that had little human, because it entailed no courage or hope. This is how the animals awaiting death. "(French Suite, Ed Salamandra, Barcelona, \u200b\u200b2005 translation of José Antonio Serrano Marco, P. 47).
born on February 11, 1903, in Kiev, Irène Némirovsky keeps Antionette extraordinary resemblance to the heroine of his most endearing teenager nouvelle, Dancing (Muchnik Editores, Barcelona, \u200b\u200b1987, translated by Magdalena Guilló) involved, as is commonly says in diapers made of silk, only child of the marriage will be made by one of the wealthiest bankers in Russia, Leon Némirovsky and a frivolous woman whose only merit is to be attractive, Fanny (it is possible that, as the mother of Antoinette , has been a humble typist). Ever loved by his mother, who bore it was his social duty, Irène was also a victim of vanity sick Fanny who went so far as to force the teen to dress as a girl so no one noticing the passage of time on it. At fourteen, disguised as ten, Irène finds refuge with the indifference of the father, devoted to increasing the family fortune, and the monstrous egotism of his mother in the books: "... perhaps did not see, blind, stupid, that she was a thousand times smarter, more valuable, deeper than all of them, all who wanted to educate and train ... New rich rude and uneducated ... "cries Antoinette, Irène alter ego (p. 57), who is forced to cultivate his handwriting to label invitations. Fourteen completed and boiling head romances, Antoinette begged Rosine, his cruel parent, enabling him to be present at the lavish dance organized in his new mansion in Paris, but Rosine, which machine even wangle a lover that will alleviate the tedium of her marriage, is that the presence of a teenage daughter will only aged. So requiring the girl to remain hidden in the ironing room. Antoinette, inflamed romantic spirit, is the ideal way to ruin the night to his mother throws the invitations beautifully she labeled by the river Seine. "How well can you mourn so? Antoinette wonder-spy's humiliation while his mother, amid the desolate room - What about love? What about death? Die one day ... do you have forgotten? "(P. 133). This novel deserves to be commended and the author Colette and Paul compared Reboux, discoverer, of course, just Colette. Dancing is filmed in 1917 by director Julian Dudivier, with the participation of Jewish actor Harry Baur will die in Paris following a beating by the Nazis.
Based in Paris after the Bolshevik overcome violence in 1918, the Russian bourgeois would Némirovsky new rich Europeans. Irène always contemplate with disgust the urge to accumulate wealth from his father. And while, as every girl is given her escapades with novietes, spends most of the time with a notebook on your lap. Decide to get a degree at the Sorbonne, where literate graduate with honors. By then he has published several stories in the magazine Fantasio, winning sixty francs for published text. At the same time venturing into the novel, published the first two, Le malentendu and L'enfant prodige, both written at eighteen, in the journal Le Matin. The latter would impact the readers for his tragic and cruelty that were to become emblematic of the boom of Irène, chronicles the misadventures of a Jewish boy that despite being born into poverty, is provided with an extraordinary young talent for poetry. An aristocrat in the way it collects to give to her lover who filled with pampering, like a pet until the child ceases to be novel and is forced to return with his family, who with his contempt drives him to suicide. Irène's vision about human nature is more disappointed than merely suspicious. Céline suggests a sublime. Displays his lack of faith in the good feelings of the rich and poor, particularly in times of war where men and women are stripped of their human dignity and social classes in an effort to dilute the bestialized survival, ie, the war exacerbated the meanness of the rich and the greed of the poor, as in flies Fall (Muchnik Editores, Barcelona, \u200b\u200b1987, translated by Mario Muchnik) , which was not published until 1957, which recreates a crude beauty not exempt the Russian revolution from which he fled with his parents: "(...) The silver was stored in the bottom of the trunks in the basement, she had beautiful porcelain buried in the old, abandoned in the garden ... Some farmers had helped: they imagined that all these riches, later, would be for them ... The men, now, did not care about the good of others but to seize ... "(p. 34).
Not until the publication of David Golder (Grijalbo, 1987), in 1929, the young author acquire notoriety, being ardently praised by none other than Cocteau, Paul Morand, Robert and Joseph Bradillach Kressel, fascinated by the poetic cruelty his work. Then newly married Michel Epstein, an engineer in physics with whom she had two daughters, Denise (1929) and Elisabeth (1937). Life seems to smile at once unhappy teenager, until a circumstance unimaginable definitely overshadow his life and his family in 1940 falls en vigor la ley que promulga la inferioridad de los judíos. Los Epstein se han convertido al catolicismo un año antes, no obstante haber proclamado Irène su orgullo de ser judía cuando en una entrevista de 1935, en L’ univers israélite, se le cuestiona su énfasis en el amor por el dinero del protagonista judío de David Golder, a todas luces inspirado en su padre. Ni siquiera el prestigio impide que se le vulneren sus derechos humanos: su esposo será despedido de la compañía para la que trabaja, mientras que las editoriales, arianizadas en su totalidad, le cerrarán el paso a la escritora. Esto, naturalmente, no pondrá freno a su incontenible escritura. Tal es su talento que no falta el editor que haga mutis. Ironically be an anti-Semitic newspaper, Gringoire, which will publish two short novels, signed by different pseudonyms: Charles Pierre and Blancat Nercy. Stigmatized by the yellow star that points to the outcasts, write Chekhov's life (his most beloved writer on who would say: "The story, to be achieved, requires the qualities that Chekhov had at birth.") And flies Fall, although it will be Suite Francaise his most ambitious project, where plasma admirably as any other writer of horror postcard from France during the German occupation in 1940. It will be one of the most beautiful and hot summers in recent memory that Paris, its inhabitants are forced to leave their homes to escape the bombing. Following the precepts of a little Proust, those that he obey one of his characters, writer Gabriel Corte mundane (which would rather die than stay in a shelter full of rubble and stinking humans), Irène write a novel like "a street full strangers passing by no more than two or three people whom he knew thoroughly. Look to Proust and a few others have managed to take advantage of the secondary. Nothing healthier than a novel that lesson of humanity given to the heroes (...) "(p. 44). Suite Francaise is a novel without characters, brimming with unforgettable secondary characters most notably a couple of middle age, Michaud, whose boss, a petty antiquarian, prefers to put it safely to her lover's dog is that the couple who has faithfully served for many years. The Michaud, who share the pain of the absence of a military child's uncertain fate, returned crestfallen, suitcases and all, the huge mansion of which may soon have at their whim, and decide to enjoy it before being destroyed by bombs ... is Péricand large family, which in its wild flight forget the senile patriarch in a wheelchair somewhere. The eldest son, a priest, has agreed to take over a group of young offenders, bowed by the military discipline of a reformatory, who has to drive to safety. The boys, rather than harmless, is docile, almost autistic, so your guide fails to perceive the evil that lies dormant in those expressionless eyes (though somehow sensed it, good and all the divorces in the background of your heart), until he is brutally murdered by those who have saved themselves. In the second part, Lucile, a young housewife whose husband has been unfaithful taken prisoner by the Germans, is left alone with a mother who hates her. Like all the French not to lose their homes in the bombing, will be required to accommodate a military enemy, like most German soldiers is young, friendly, educated and extremely good looking. Lucile and Bruno will soon fall in love, but something even stronger than patriotism or loyalty prevented them closer. The irony of war: make more akin humans as beasts face. "(...) This universe, and whose first seizures were felt, would or misshapen giant (or both). It was terrible leaning toward him, looking at it ... and do not understand anything (...) "(p. 201). But the greatest irony is the awesome serenity that characterizes this work virtually written under the blade of the guillotine. According to his notes, Irene wanted to portray the mass, "the odious mass" where to say his only highlights the nobility of Michaud. These notes, incidentally, were made weeks before his arrest. His correspondence of the period, which abound in domestic details (is concerned about the lack of a gardener), does not exhibit the slightest sign of fear or defiance: he seems resigned to his fate, although it has been ascertained to be safe for their daughters be in charge of a guardian of her confidence. "Dear friend, think of me," he wrote to Albin Michel, its literary editor. I've written a lot. I guess that will be posthumous works, but it helps pass the time ...
The July 13, 1942, French gendarmes knock on your door. Irène includes that is the end, he will never write a line. However, he has had time to hide the unfinished Suite Francaise in the trunk of one of his daughters, Denise. Left lead to be deported to Auschwitz where he will be killed on August 17, at 41 years. Michel will be arrested in October of that year and performed well in Auschwitz, on 6 November.
But the story does not end there: girls Epstein will be pursued relentlessly, like beasts at bay. Spend much of his childhood running away from the hand of his guardian, who finally hide a convent in Bordeaux. Fanny resort to his grandmother, seated comfortably in Nice, who will refuse to open the door (die at 102.) Of a convent to another cellar in the basement, changing a precarious refuge on the other worse, small to survive Nazi persecution, the rat bites and disease, and the manuscript of his mother, written in lowercase to save paper and ink, would free along with them. Become prominent literary director and writer, Elisabeth, the youngest, who had assumed the French surname Gille, is given the task of restoring, magnifying glass in hand, the work of his mother and reposted to computer, giving way so that German unemployment looks like the end of the play. Gravely ill cede rights his sister, Denise, and children of this. Denise would eventually publish French Suite. In his diary, written Irène leave for posterity: "They want us to believe we live in a community day on which the individual must perish for society to live, and do not want to see that it is society that dies to live tyrants ... "