Reading is undoubtedly remember the past, retracting episodes served as a prelude to events which we live today and which we are constantly rebuilding as much as we can, but looking at the past and allows us to find those facts that have preceded us, we are aware, word by word, the unveiling of the here and now works already saved his belt decades steadily to the century. Such is the work Flor de Fango José María Vargas Vila, where life revolves around the pure love is threatened by the slander of blessed beings who gleefully boast about God's faithfulness to God that the author himself sees wallowing in the grave for the actions of those who claim to enact his word. The story is set in a provincial area. In this regard it is important to the game that made Vargas Vila with the context, as Luisa, the main character, is from Bogota and is aimed at "Hope" to carry out its activity with two young academic instructor. In this sense we see how the author expected to tell the story in a city like Bogotá would not give the same tint overwhelming that allows a town as small as "Hope" to make way for what he says the familiar adage "small town , big hell "hell that a Venus as Luisa would suffer for the sake of having a sweet beauty that would later become his sentence.
Vargas Vila divide the work into three parts, each with a degree of intensity that grows with the passage of the pages and which gives an orderly and sequential events. See for example how in the first half narrates the arrival of the already named Luisa village which is being awaited by members of the family De la Hoz at the head of Mr. Don John Chrysostom, whose figure was disturbed immediately to remind in their childhood to a pimp who wanted to access.
Then he meets Ms. Mercedes Sánchez Robledo Fisherman and despot whose attitude does not make a good impression. By knowing the two people who would educate, Sophia, daughter of the marriage and appointed, and Matilda, niece in charge of the family in these two antithetical poles: the first sweet and a bit self-absorbed, self timid and loyal souls whose body gently reflect a being who inhabited the body as docile as his lank blond hair with the slightest wind breathe free dance to the blizzard, on the other side, Matilda, with a strong but beautiful face and a sensuality that was expressing his budding adolescence. Finally, as Louise says:
"one was the dream of love, and the other was the dream of pleasure." (P. 201)
Can you imagine that knowing a person represents the joy and misery? Are they affiliated with these two forces transiting purposes the same roads? Well, what happens to Louise after meeting Arturo, brother of Sofia, answer these two questions. Thus, the presentation protocol was the ominous symbol of a series of events that I will just tell me because I will not ruin the subsequent reading of this work, but outlined some aspects that were key to clarify certain claims that José María Vargas Vila naked tattooed with words and devoid of any moral overtones typical of the era he lived.
That's pure love that I mentioned earlier and what it represents in a conservative society and class is undoubtedly the axis on which the epic story of "Flower of mud." Later in the reading I found that Vargas Vila gives rise to a series of pages on which constructs a Luisa memorandum in which the interior monologue of this character to understand its purity and to know why the author constantly compares the Venus deity and others that give the reader the possibility of characterizing in all its majesty:
"Her beauty was heroic and sensual, was the polyad Minerva and Venus Victrix, almost androgynous beauty, reminiscent Luini youth and beauty san juan ephebe of that admirable, oval face and throat of a virgin, who sleeps on his shoulder master Dinner. (Pàg.196)
This dialogue with itself by way of letters, added to the forest walks Luisa with her students performed in the company of Arthur, took me to recall passages of Werther, in which the character, along with Charlotte and her sisters performed the same activities involved in an idyllic atmosphere. Luisa says good writing in its memorandum :
"I read Werther: the immortal sadness of this work attracted me" (p. 227)
Already the reader can imagine the type force with which you will find: of course the language of the Colombian writer's poetry from beginning to end, but the disembodied poetry directly, erotic bathing with his characters, allowing more details about something that many writers try but few are able to characterize the human condition.
That condition that exposes the carnal desires of a man serving God-I mean the figure of a priest who later emerged in the fraught history of animal appetite for heavenly and satanic beauty Luisa imagine that it takes every moment in possession of his body. This fact can be seen in the following excerpt:
"The great temptation, a glass of meat, drink wishes he thought he had left on the bed, then seemed beyond the distance with diaphanous whiteness, with slides of opal, under the mysterious arch of willows, in the shadow of glyphs forests, offering their lips, the splendor of her naked flesh (294) (...) was a kind of black mass, sadistic mass, which he celebrated in this wedding day with his chimera "(297)
De Thus the work shows a man in the eyes of society embodies the pure image of God, but that embodies human passions which are the cornerstone of a dark denouement covered under the sign of death and in which the reader space is immersed in chaos and human misery.
Written by: John Edwin Trujillo
Book Details: Villa José María Vargas "Flower mud." Bogotá: book club, SA, 1984
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