I-console-web Monitor

FIRST FRIDAY AND OTHER TALES OF JOSE ANGEL Berceli FORERO

are few institutions committed to the dissemination of peripheral literatures. When there are some publishing groups, one administration or another department is venturing into such a feat, managing, if not begging-projects to certain State agencies compile and externalizing enabling the production of those little-known writers.

In this context, emerged several anthologies and compilations. Libanenses Library of Culture, for example, is irrefutable evidence that in attempting to collect eleven volumes of poetry and narrative most significant writers of Lebanon, among those who stand Eduardo Santa, Celedonio Orjuela, Alberto Machado, Fabio Restrepo Morales others.

number nine volumes of this library, entitled First Friday and other stories , is dedicated to José Ángel Berceli Forero, a writer whose production had been leaked story contests, especially in the National Short Story Competition "Ciudad de Barrancabermeja", and which had the opportunity to qualify for the finals, standing with my grandfather's body in 2001 and Salome in 2002. Compound

ten stories, First Friday and other stories reworked several situations typical of the human condition, but developed in the atmosphere of the province and rurality: the lonely woman eager to meet her husband's absence, the anguish caused by the departure of a loved one, sexual deviations an empirical musician, moving up the social ladder by way of claiming illegality and other ordinary characters who pass through steep streets and the central plaza of a town.

Most titles that begin with the narratives are a good appetizer for the reader. For example, "Alegro Crescendo", "Homecoming," "First Friday", "Ennui" and "Redress" is entered in this line, because concealed in the first instance, the story they tell texts. However, once covered its meaning is revealed, and who reads provides a direct relationship with the title, which contains one bit of the content of the narratives.

On the other hand, are stories that emphasize different narrators and points of view: sometimes depart from memories of an adult, a youth or a child and sometimes favor an omniscient narrator who occasionally gives the characters a chance to intervene. In addition, enriched with numerous digressions that provide important details and override another that gives the stories a break from linearity in the sink sometimes.

Similarly, a significant portion of the stories found in the village, taken as a space, a point of confluence. This is configured, not only necessary and relevant descriptions, but also the attitudes of the characters, who behave like villagers who are, and with minimal descriptions about the clothes they wear, which reveals the lack of civility developed.

Finally, First Friday and other stories, in the middle of realism that characterizes it, offers views of the exploited, a different view of life and its conflicts. How do you see a young man in a relationship? How are the problems from the standpoint of a child? How a mother feels through the voice of his youngest son? Are some questions that address the stories. Thus, exploring the human condition through different eyes, perhaps not very noticeable once, but on this occasion have a place.

The stories of Joseph Angel Forero Berceli labeled as regional literature, but worth reading, since from the peripheral experience achieved an approach to human life, which, independent of space and time, is defined by tension, euphoria, sadness and misery that manage to build First Friday and other stories.

Gabriel Bermúdez. Forero

Angel Berceli. First Friday and other stories . Library Culture libanenses. Bogotá: Codex, 2006.

Wizje Sw Teresy Z Avila

The continuing paradox of young

This text is published in issue 140 of Letras Libres

Jos and Israel Carranza

The gums stewardess

Mexico, Deck / Universidad de Guadalajara, 2010, 202 pp.

Valeria Luiselli

false papers

Mexico, Sixth Floor, 2010, 106 pp.

If we put in parentheses for a moment's idleness authors grouped in generations, is no doubt noticed the boom that has taken the test writers born after 1970. Beyond the young critics, known within the media, alternating between essay and fiction (Geney Beltrán Felix, Heriberto Yepez), Mexican literature has produced an interesting spectrum of authors that are beginning to find in testing a particular language of expression takes them away from the dominance that the narrative and poetry have enjoyed since almost forever in our letters. Thus we find a range that goes from the literary exploration (José Mariano Leyva) to the light-culturalism (Alzati Fausto Fernandez) from the highly personal and subjective test (Paola Velasco) until assay loaded in equal parts of theory and affect (Jezreel Salazar). In any case, the authors discuss in these few lines, José Israel Carranza and Valeria Luiselli, belong to a broad constellation where the trial emerging gradually seem to find a new role in shaping both the literary digression as freedom of thought.

gums stewardess and false papers share a genealogical origin: the miscellaneous essays by Alfonso Reyes. Although the genre has certainly had considered practitioners (come to mind Adolfo Castanon and Jose de la Colina) actually is a neglected tradition. Although the strict definition of the miscellaneous implies the coexistence of various themes and styles, in fact can be found in both variant alfonsina as presented by the texts of Carranza and Luiselli precise elements: a vocation for filtered by a personal memory Stock culture (think of the file displayed by Reyes in his Memoirs of kitchen and cellar or the Joseph Brodsky Luiselli structured walk through the cemetery), a humorous and light-hearted tone that from the title, provides a sense of playfulness and tentativeness (clearly do random sarcasm of a title as the hostess gums, self-questioning irony of false papers, or securities alfonsinos as Al anvil or the suicide), the construction of a world that is a mixture of personal and literary dose, the mapping of the experience which scriptural factor is as important to their referents (as is clear from tests on women angry Carranza or his "friend Owen", or as did Reyes in his explorations of the concept of a smile or his reading of Fray Servando in the English province).

A comparison between the two books reveals some important differences between two talented practitioners of the same gender. Certainly, Carranza (Guadalajara, 1972) is a writer more done and more experienced (that is, oh fancy for generations, ten years older than Luiselli), and it shows in the admirable prose of his book. Carranza is the author of precise phrases and playful in equal measure "should always rely on the pictures when you are about to declare what will inevitably be taken as a folly," "This means that for absolute freedom in the work, there is only one opportunity, one that arrives when it is necessary to name, owner, what is created. " As seen in both examples, the book of an author accused Carranza comfortable and in full command of his personal literary canon, giving us Text in the roots of the books at first maturity alfonsina (think of the texts of the thirties), solid, almost classic, where everything is in place and well contained. Despite the title and the desire for casual gaming, Carranza is a classic deep essayist, and in it the ease and naturalness are masks stylistic precision and control.

Instead, Luiselli (Mexico City, 1983) offers a book joyfully immature, with a young voice dazzled by their own culture and a broad desire to prove to the world. "After searching for the tomb of Brodsky for several hours and have not found even Stravinsky, I was about to throw in the towel. "This sentence is a case where Brodsky and Stravinsky spare, they note, however, the main virtue of the book Luiselli: his talent is such that these details instead of sounding annoying, are part of what makes the book endearing. As young people follow, Luiselli is a young writer whose enthusiasms lie in the possession of a literate culture can articulate the meaninglessness of modernity: from bicycles and maps to the work sites. If Reyes inhabits the kind of texts Luiselli, Walter Benjamin clearly fills his mind: literary culture and demonstrated carefully acquired from the relevant to what desperate as the only language capable of giving meaning to a life that goes beyond its narrative voice.

Despite differences in age and tone, it is nonetheless striking that, in essence, both books are deeply and thoroughly homesick. If the test worldwide is increasingly in all of its records, a study of discomfort caused by the endless proliferation of cultures, subcultures and counterculture (come to mind Slavoj Zizek in philosophy, Eloy Fernandez Porta in the trial Hispanic Chuck Klostermann in U.S. popular culture or the brilliant viral Immanence Alzati Fausto Fernandez in Mexico), both Carranza and Luiselli appeal to the trial as the last chance to preserve a culture in which literature plays an undeniable epistemic privilege and emotional. For example, Luiselli embarks to counter the chaos of Mexico City, in a reflection on the maps, tracking the first maps of the region to sentence: "The town looked like something then." Meanwhile, Carranza In an essay entitled "May", recreates the classmate who was excited by the Valentine's Day as an icon of an emotional world and lamented lost despite the dismissive tone of voice essays. The essay concludes: "Would someone help me remember how called. "

The point here is that these two books show an exemplary manner the two paradoxes of" youth essay, the writer in media res existential, but articulates the voice of experience: a genre that requires maturity vital immature necessarily practiced by authors and training and, perhaps most important, a kind of freedom and play, however, refugees, young authors of the cultural storm that is approaching. I do not know if that nostalgia is an instance of resistance needed before the chaos of contemporary or hopelessly anachronistic sentenced to extinction. What I do know is that both gums stewardess as false papers are two of the best books of recent Mexican literature and, in the midst of their nostalgia, have returned to find a beauty and a sense of literature, personally, hardened alfonsino I am, thought lost.

Kate Playground Fotos

TO ASSUME THE VOICES

The number 19, who runs the magazine Exile Vargascarreño Hernán, offers the reader an anthology of poems published cucuteño Miguel Méndez Camacho, recognized in the field of Colombian poetry. This compilation of texts of particular interest for the magazine's director, who decides, as a tribute group a series of poems that are of the best productions of the writer.

To take the loneliness is a collection of poems full of reflection, of absence, is the becoming of a man who has kept his course by the horizons of dispossession in memory, which has racked the paths of tedium and has woven with its stones the frame of thought always open to the chances of misunderstandings. Text supplied by the encounter with his past, tissue heat of bodies in flight, borne on the failure of a fresh start, a loss: a death.

Underlying this anthology the author's poetic production, mainly of his four books: The blind shots (Cúcuta, 1968), Poems of homely (Cúcuta, 1971), Instructions for nostalgia ( Buenos Aires, 1984), and disappointments and songs (Bogotá, 2003). Compendium that highlights the ability of the author towards the deep reflections of the everyday, constant loneliness, the unfinished thirst companies, and especially boredom.

Ponte Shame:
is there under the bed clothes
next fall.
Pick it up and over your cheeks
dilúyelo like a makeup.

The formal, that is the title of the poem that begins with the above lines, which can be seen kissing the boredom of women who will eventually be prey to escape, but women committed to the arts of love, delivered, not submissive , bold, not bold. Female bed and agony of those who share his body with the solitude of the possessor, those who understand that the bed is a single train ticket, which the left behind from the same absence that accompanies the tour. Girls, girls only remind us that ...

lovers never give anything not to each other
and hands that cover the bodies are not intended to skin

if not forgetting the future alone. And

lavish caresses the bodies not
But the absence vacuum
The fear of being without company. Camacho Méndez

us into now, as the poems goes on the intricacies of the journey, rather than the journey of the traveler, the memory-resident insomniac, who curses over and over again forgetting the beloved, that hunting fights with their own clothes and luggage, you are never on time for next season, the other love. That is, at least, I can receive from his poem Night flyer, text, beautiful in its conception and full of metaphors made steps leaks.

The ride offers views, landscapes, some animals, and all the representation of absentees, which are trees, animals, roads and distant mountains to the lifeless hand, always pressed against the glass, on the other. That we hold for some time now and shut the doors and windows to let out indifferent, to provoke, well, the ruthless pit

doubt ... I was wondering
who now occupy our small hostel
transient.
And what a different face in the mirror

hang in the same place twice
was naked.

feel the loneliness is completely abandoned in a pond free of algae and fish, rather than pond is a pool in one day dip our clothes and rags of love that we still have a palace of turbid water in which interchangeably, the vessel of the other searches for us and rescues us, of course, be remembered.

I do not know at what time the reading of poems attracted me and I ended up facedown in the pool of my own stories, so full of emptiness and absence, fresh, clean water, even transparent so recent. So, I follow string of letters and I dare to whisper the poem to read quietly, "... share


bodies which was all ours that we had, and that was enough

for all that we dream and we never had

also was given to us.

To take the loneliness is shown fine touch than the author has to create and recreate the memory hostile worlds of the other to aunarlo in their own pain and ensure that nothing is more universal the goodbye that hurts. Therefore, the poet invites us to hurry the passage to other ports, a ticket to a bad part. We woos and seduces us to in the midst of boredom we find joy in the goodbyes, the hands that are beaten and tear that waves, such as laughter raffled to anyone at the airports of departure. Despite the mockery of this frugal means to be alone ...

And when the loudspeakers announced
the journey continues,
turns and raises his arm towards the crowd

it is possible that those who greet you are also lonely

not
have no visits or absences.

You go and you stay in this text, and you know in advance that you have to leave, that the end of the reading is also the absence of company, good point. Still come back to him, turned into memories. Perhaps when you read something similar remember your pages, bled in the memory is now a grown woman with a thousand and a sadness that also left you, drunk and empty rib to rib, this "other" made in the poem Mendez verses ...

Of all the women who will live
is a lurking waiting for me.
not the demure, scrupulous, the timely, comprehensive
the subtle, the translucent
requetesabiada
the most worthy.
The other:
the alienated, the lewd, the possessive, the lascivious
unexpected
the greedy, the cruel, the untimely
the only respectable
of those many women who will live.

There is not just following the game that encourages the collection of poems, it is time to say goodbye, goodbye's doleful and drop escapes. Lack support and know the game, find place in the corner of a sister report, perhaps lover, hopefully lascivious. Only one trigger is always looking to be alone, chained to nothing, closed by our own selfishness, denied the freedom of others we run away. Is you who transgresses the order of flight and matching the proper steps with the melancholy of farewell on the lips of the other ...

One train leaves without
no planes,
one goes without boats.
One leaves.

Omar Alejandro González.

Tab Book: MENDEZ, Miguel Camacho. To take the loneliness. Anthology. Exile Editions. Bogotá-Santa Marta. 2009. Vol 19.