|
autorauthor
librosbooks
antologías
anthologys
desdefrom
entrevistas
interviews
revistas
premiosawards
guiónscript
online
próximamente
upcoming
nuevonew
opiniones
reviews
en realización
writing
proyectos
projets
otrosothers
enlaceslinks
mi hostería
contacto
portadaindex
tablón
| |
Writing
|
LAND OF
SAVAGES |
|
|
Roman, 2007 |
(Finish)
|
|
|
|

"¡Auxilio!¡Qué
el ventarrón se arrebata a mi!"
De
"Extravagancias de 1834", litografía de
César Hipólito Bacle,
Peinetones en el paseo. |
Buenos Aires. Summer of 1835.
Along with the heat, flies, and the pestilence from the garbage pits, a ship
with members of an eccentric religious order arrives. A group of high
society women from the capital are bored and decide to throw a party for the
elite. These are years of political conflicts, poverty, tyranny, and
assassinations throughout the Republic. Reality, a truth stained with blood
and curses, will end the young protagonist’s fantasies.
|
|
|
|
WHILE
SHE SLEEPS
And others irreverents stories (2007) |
(Finish)
|
|
.jpg)
Edward Gorey. La pareja
abominable
|
Includes
a dozen fantastic stories
characterized by a certain irreverent tone, themes and plots in little
accord with the politically correct attitude now in vogue: Ordinary and
marginal characters in uncommon or truly irreverent situations. Apparently
normal worlds which in their deepest selves conceal subtle maladjustments or
extreme perversions. All this under the neutral, impassive gaze of an author
who specializes in creating strange and uneasy atmospheres.
|
|
|
|
MAN IN THE TOWER
Stories, 2007 |
|
|
%20(Small).jpg) |
In
these stories the
author presents different ways of perceiving reality, memories or dreams by
way of numerous varied focuses, ranging from suffering, melancholy,
ingenuousness, or fear. Failure, illness, pain and death are constants in
these stories in which the ruthless, incomprehensible world of adults is
observed through the eyes of a child.
|
|
|
|
|
|
|
MARGINALIAS |
|
|
Fantastics stories |
|
|
 |
In
accordance with the tradition of
the story form, Romero, disagreeing with reality, attempts to modify
it—rather, to transgress it. Without stridencies, leaning more toward the
ludico than the metaphysical. His intentions are not to interpret or create
parallel realities, or total visions like those of a Borges, for example.
The only thing he intends is to play a little with its severe, established
boundaries, its boring order and implacable chronologies. An honest game of
sport, utilizing the same elements of cotidian reality. But changing their
places, as if mocking them, to see what happens.
Daniel
Moyano
|
|
|
|
|
|
|
|
|