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Ferrero, Vilas, Sabadú, Quinto, Pagès Jordà

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Raúl Quinto, crap ; The Gaviero, Almería, 2010

rush to representation is launched vacuum. After leaving the absurd or at least limited attempt to mimesis, the artist finds that reality has left without having very clear where to go. The text "The Lemon Itten" Fifth explores this gap and aims to anxiety as a way to synthesize the experience of artist who makes the leap and exposed to the fall of representation. Compared to other metaphysical reality falls narrated by Western philosophy, fifth focuses on the fall in unreal, or in this new form of reality in which the artwork is. "And where I say art is understood to speak also of literature, these same words that I'm writing" (p. 78). The fifth book is a foreign element, situable in a difficult place between angelic and infernal deed. Gender, if any, is the cultural dystopia , when a book begins to wonder, taking himself for example, about the limits representation and the death of culture, or culture of death. The best of the year now.

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English poetry told from the narrative

One way to approach the English poetry of the twentieth century can be through two novels Recent: Ballad wild night of Jesus Ferrero (Siruela, Madrid, 2010) and Air Our , Manuel Vilas (Alfaguara, Madrid, 2009). Between the two are covering almost the entire spectrum of the poetry of the century. Vilas is responsible for the most part of the poets who remained in Spain (Damaso Alonso, Aleixandre) and who went into exile in America (Guillén-who takes the title of the book, Cernuda, Garfield, etc.) , while Ferrero is focused on who expatriated to Europe (the recently deceased Carlos Edmundo de Ory, Valente, Costafreda). Both novels can not be more different in everything else. The Ferrero, following its consistent narrative line, is a partially autobiographical work which lies in a late modern well understood, with moments of great brilliance and exotic displays of erudition is one of its features from Belver Yin (1981), while Vilas focuses on a hilarious postmodern autofiction continuing his previous books, on all Spain (2008), which can be considered a continuation. The only thing I would say they have in common these two books, apart from notable literary quality and to use experiences of the authors, is its respect and admiration for the poetry of our country, which are a curious historical evidence. Not have to choose, I recommend both.

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Jimina Sabadú, Coelacanth ; Language of Cloth, Madrid, 2010

is difficult to know how one should behave toward the premiums operas. Some say that the critic must be comprehensive before the first literary work of an author. Others, however, say that nobody is obliged to write, that forests should not be destined to become role where justified, and should not be more lenient with the first novel by someone from what we used to be with the first cabinet of a carpenter. I understand the reasons for the latter, who attends the reason, but one has its sensitivity and prefers to be among those trying to do too much blood before the onset or initiation of a person in literature. Jimina Sabadú is a person with natural talent, as demonstrated in other facets of his diverse activities, but Coelacanth is not a satisfactory novel. I thought about quitting read on page 20, but I endured for damages to the 130, I think reasonable margin in a 248-page novel, to see if they will take flight in history or literary language of the book. In the event that happened a from page 131, the novel has the no small matter of the 130 first pages are boring, confusing, with a naive vision of childhood and, unfortunately, of the narrative. This novel, which has imagination and improve something from page 90, should have found another editorial fit; trying to say by this that not only wonder Coelacanth has won the Language of cloth, but is not the height of a library that other authors have published more jelled and interesting. That said, it's what I think, I also believe that there is a narrative talent shown in some detail point that deserves to wait for other books Sabadú to see if you find your channel, appropriate tone and ambition.

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Another literature exhaustion

[Vicenç Pagès Jorda, whist players, JP Books, Barcelona, \u200b\u200b2010]

One of the last words of this book is "cumulative" (p. 518), which is no coincidence considering that the collection is one of its particular constructive. In this novel is told-exhaustingly-all that surrounds its characters, its urban environment (Figueres), the Ampurdán to 1977, the music and film tastes of the main characters, their relationships and family ties, etc., etc., etc. When it comes to songs that contain specific phrases, all documented or at least says the total number. Also narrated dozens of films about adultery, it refers to all the urban tribes from move to this day, etc. It also appears some of those characters a line Baroja (vgr., p. 495), on the relevance of which both have discussed the author's exegetes Tree science. The author seems unable, or unwilling, to give up anything, which leads him to even finish the book as if it were a DVD, scenes including "deleted" entries discarded and an epilogue ... or two. Could this apparently an aesthetic choice if the narrator had not spent the entire book carefully separating what is in what is out, which is worth what not, which is contemporary of that which is coarse anachronistic and unpolished. So yes Jordà Pagès is on a selective requirement for shaping tastes, but much less ability discrimination in putting the history in the spotlight (self) criticism. The result is a good novel, made with craft and wit but without much artistic pretension, but which has too many many pages. Many. There is an interesting recent debate in recent times on what is left in a narrative and what is not (remember recent texts on the subject of Eloy Tizon and John Mal-Wounded on this), but here we speak not of a more paginillas but full of issues, from historical references, urban details, sociological, musical, or architectural can be fascinating for the historical reconstruction of Figueres ... but not so much for a reader Empordà. Materials "extras" DVD is out film for something . Being in the same media does not mean being in the art project. In the books should go well. Robert Juan-Cantavella, for example, placed on a web page building materials from Eldorado, and another did others before with other books. The reader interested in details can go to these pages or leftovers, but the others are released from the obligation to meet them. An author should be able to distinguish what quo should remain within a play and what you can get out of it. The accumulation remains a dangerous aesthetic touches the limit when the lack of discretion. whist players have some interesting two hundred fifty pages to glean, unfortunately, from a total of 530. This defect, which Sabato called Heterodoxy sharply in literature extended in front of the extensive literature, Proust type, which is something quite different, is becoming a bad English detectable in many recent novels, it confuses more extension offer more . Horacio recommended in Poetics books let stand eight years in the drawers to provide the author recognize all that they make up for a glance. It is true that eight years from now are not like those of ancient Rome, but. But.

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[Relationship with the authors: none to Vincent Pagès, with Jimina Sabadú no, no with Jesus Ferrero, I have cordial relationship with Manuel Vilas and I have corresponded with Raúl Quinto. Relation to all publishers reviewed here: none.]

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Books Ngram Viewer as a tool of literary analysis

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The floor to ceiling Christmas

Ignorance at its most ridiculous splendor, even if it was done with the best intentions.

Denise Milani Milky Jug

responses to a questionnaire on Handke

reproduce the responses to a questionnaire on Peter Handke made by escr Itor Edgar Borges.

As soon as I become one with the environment,

start talking again and I stand.

Peter Handke, "differentiated"

1.-P ether Handke said "no be a poet. " Is it a poet?

The Handke's writing project is so sing ular a hasty response to this question could lead to paradoxes such as is not a poet, or storyteller, and writer, and playwright. Handke is rare , superbly strange, singular, in all these facets. It is difficult to find similar or licensors his poetry, but that does not mean it's not a poet, but readers say a guy acostrumbrados Estr echo poetry, conventional and standardized, they must make an effort to adapt to a stage dis red, a new world, where texts appear poems always as Poem the duration coexist with alignments football teams or credits of a movie. Nicanor Parra readers or Girondo Oliverio Handke will access more easily than Francisco Brines, and put er an example. The quest for "objectivity" that figure in Goethe Handke (cf. Poem the duration ) explain many things, but important is not where it comes from, but where it goes. live without poetry ( Bartleby, Madrid, 2009, translation by Sandra Santana ) is a literary experiences extreme and co

mpletas can have a reader today. Does it really important to stop and think if the result is

or not poetry, when what we have here is much more interesting?

2.-The first collection of poems, "The inner world of the outside world the inner world" (1969), from when I was 27, was written before many of its major novels. Is it the poetry of Handke a door to his narrative, or vice versa?

Handke, Poem the duration

I think so, partly because the very notion of door (Tür) or threshold is key to the literature of Handke. Quoted in the very first poem of this first book, "When I closed the door first with my own hands?" (P. 21), and then other times (see pp. 71, 185, 199, 213, 223, 423). But above all, how many times obsessively in his work that the characters enter or out from somewhere. First fifty pages Hornets (Norse, 2010; translation of Anna Montana) are populated by thresholds crossed, and on page 146 of the novel begins a brief section titled " The doors "without leaving that page, the word" door "appears a whopping eleven times. Following a behavioral tone, where the characters do not display their thoughts but the narrator tells about events to speak for themselves, on the following pages we read: "I keep I silence and right to the door jamb, in the meantime, he will work to close the open door sheet, be surprised that the blade does not close and stop opposing pressure, because this man knows no doors close on their own. However, do not waste time with the blade disobedient, without stopping, pass me by before, lightens the step further and reach even to push the swinging door before me "(p. 147-48). It is important to remember that writing Hornets (1966) and his first book (1965-68) is contemporary, there is even a mention of hornets (Hornisse) in that (cf . live without poetry , p. 192). Would be easy, too easy, do a cursory reading of the aesthetics of the thresholds, and resort to cheap to conclude that metaphysical poetry and prose Handke characters representing restless, dissatisfied with their current situation, seek elsewhere (as the two protagonists of brief letter to a long goodbye , 1972 or the banker The loss of image or by the Sierra de Gredos , 2002), but the fact that something essential in the literature of Handke is attached to the motion.

Another common element in his poetry and prose is playful consideration as to me, about which we shall return later: in his poems the character is in scenarios possible scenarios, seamless with the real (if they are real and no other plausible fictions Handke), something visible in the first poem The inner world of the world inner world outside (1969) . This means no testimony but performativity, an attitude of doing something, narrative intention. You can also see the gesture Hornets , observing the attitude of the narrator. On page 37 the voice that is telling us all of a sudden the book says "tells me," and lies within the characters. A little later, on page 39, writes: "I start the story again", and tackles a different perspective. And at 41, back again, "Narro me. I hasten to follow the narrative. " The narrator elocutorio, other than their own Handke, plays with the narration, the alter at will. So does first-person narrator of his poems: "I (or perhaps you?) I, / cavilo, / amuse me, / say, / on a hill / in a deathbed" (p. 273) . That say says as much or more on the performativity given to the subject that the possibility of opening to the second person. A say is the first word implied, of any novel.

3.-The observer (or character) of Handke, in poems or novels, has crisis loneliness. Out into the world to seek dialogue or experiences, but, even if you try, the inner insulation can only external voices. Handke's language is the pulse that makes the crisis. And in crisis, the observer returns to private life, but still lost, their lives. Does Peter Handke's speech is a window into a form of communication beyond language?

be in the picture (seated in it) and I just like feeling.

Handke, Essay on the fatigue

I think so, and I think this form of communication is the image. But the image just as today understand, daughter of a mother of countless screen pixels, nor the poetic image, but mental image communicated . This is another pervasive tone and theme throughout his work. The central book in this regard is perhaps The loss of image or by the Sierra de Gredos , as in this novel we have the exact description of the term "image" in a handkiano sense. Near the beginning, the protagonist walks through her garden, at some point something was assaulted, "he stopped. The street of the framers of pots echoed in Cairo: the smoke and dust of metal fell from the workshops. " The vision of a reality so far stops short. "Images like these will come continuously, especially in the morning (...) There were memories, or voluntary or involuntary, in addition, these images came like lightning or a meteor, and not left or slow down or stop" (Alianza, Madrid, 2003, p. 19). The character thinks they are media : "Some days there were no pictures: no-day. And I was convinced that something like this happened to all world. It is true that each object image was part of the universal world of each. But the image, the image was universal. Going beyond it, of it. Under the open image and it opens, people were in connection "(p. 21). In this sense, the image for Handke would not only communicable, but also the communication itself. It's the way things come to mind .

Handke imagines that deep in the Sierra de Gredos is a place where expatriate people from around the world have given themselves a new order of reality, with temporary and own language, related to nature. Another particular feature is that they have become resistant to images, something that reminded me of the Baroque movement of mistrust towards the image that brilliantly recalls Fernando R. Flower in Imago. The visual culture of the baroque and figurative (Abada, Madrid, 2009, pp. 46-47). Those people on the move, she says Handke, have become blind to images, and the locals have fought back by inventing the most bizarre artifacts to return them and take away the resistance to the image, filling the saw reduplications tecnoescópicas. "Each of them holds," says the guide, "who has not suffered any loss of image, what has happened is rather that they have reneged on the images. (...) What they think the returnees (...): It is true that the images are needed, without them there can be spread worldwide and there is no feeling of life. But especially in recent centuries has become yet one use of pictures and had not been done before. And so the world of images is exhausted, he turned everything without exception in some blind, deaf and tasteless, "and no science can no longer reactivate. And so now, at this intermediate time, the only thing that matters is the eye "(pp. 426-27). And look, in fact, what Handke tries to propose as a means to revive the image in his work, resemantizing the image, giving it new content. If I remember correctly, one of the first planes The absence ( Die Abwesenheit , 1992), the film version of the novel, directed by Handke himself, was precisely a plane in total darkness, which was to be taken from inside a train that slowly rose to the surface, light, what mirable. And in another he wrote that one of his literary purposes is "to apprehend the feelings and images to put words on those images" ( Essay on the jukebox , Alianza, Madrid, 1990, p. 116). This brings us to "blue Poem" explaining the procedure again: "The noises coming from the world of objects / (...) not needed close your eyes / to experience totally different phenomena / when he was staring at me, / and it would be arbitrary / describe the 'real' images / 'facts', / because in reality / only were the 'other' images / in that the 'real' swayed me more and more, / and 'other images' / allegories were not, / but moments of the past / released / by the feel-good / (as now remember / a hedgehog in the grass "( p. 485). Nature, whose language is much larger than any other, says in a verse of live without poetry , often usually means resemantizing the discourse.

The end result is that the image transforms the subject, because it becomes another, but not somebody else, but a version of himself that is elsewhere , which I find clearly expressed in a poem The end of wandering :

I, while I'm here, somewhere else ...

front or behind

elsewhere, a second self:

concern, a non-self.

who see , therefore, transported, "she began occurred in a flash of images (...) with this multiplicity and a series like this, comparable to a rain of asteroids, so compact, and also in widely separated areas of sky due to this phenomenon seems incomprehensible that the eyes can no longer continue and, however, would like, if possible, do not miss any of the asteroids "( The loss of image or by the Sierra de Gredos , p. 153), that is what the woman sees while driving . Other examples of such images, sometimes cutting dream, we can see a live without poetry , pages 251-57. Or: "Just start looking, the curtain becomes an image" (p. 269); "crossed my mind the image of the guillotine in your vertebrae crunchy" (p. 381). But this imagofanía nuclear Handke was already in his first books, computers All:

A noise I heard, I assigned images. The images I assigned noise not to hear. A not hear the sounds assigned images. Clutch noise and joint assigned the last car of the tram. In the light of the tram car I assigned separate images of passengers through the windows, to the knees of the passengers, portfolios, to the hands, folded newspaper with its smell of sour, the identity, hat and gloves white lipstick marks on the middle finger. I assigned the image of the mouth sounds and corresponding mouth was in front I assigned sounds correlates. I had the image of a face and the image of another mouth to exchange sounds and images of the respective bodies were inclined toward each other. Give lips images of mouth movements, and movements, sounds. Given to images of bodies that bent the conversation. I had images of bodies LE Cervantes, I had the image of the face that went before it turn and look the image of the other side that was, I had the image of this face to greet the first image . I pictured quite accurately the image of this greeting, I pictured the image of the arms extended at right angles to the bar and the fingers clung to it. Then I assigned to the image of the bar handholds to be swayed again free. I walk down the tram images of people, I had on board, that scour the coaches, to come down. ( Hornets , p. 74)

However, the images do not solve the difficulties of dialogue between people. This is a dark lesson handkiana literature. On this human inability to communicate to remember a central work of Handke, not too known, but which for me meant, as a reader and writer, a complete turnaround and an indelible impression: his play Kaspar (1967), which met in the version of Alliance of 1982, which is behind my poems Construction . It is one of the most profound works ever written about the power of language and the im / possibility of communication.

4.-In a world where subjectivity is largely uniform, who is Peter Handke?

"The word I began the difficulties," Handke writes in his poem "The division of property" ( live without poetry, p. 91). The rest of the poem is an acute thinking about how we use possessive pronouns when we want, and carefully parked when it suits us. The idea of \u200b\u200bsubjectivity as construction is ongoing in the literature handkiana, and noticeable in the poem "Changes throughout the day." Here are represented the different states or forms by which a person spends over one day, its different metamorphoses, to reach a predictable end: "Then, finally, I'm next to someone on the grass and I am, at last another "(p. 113). I think that Handke is not interested as much the result process , the gradual change perceptible only through experience.

concept experience and, in general, any element terminology which refers to the passage of an abstract to the concrete, is essential in Handke's poetic vocabulary. This concept spends opening piece The inner world of the outside world the inner world , title already significant and as the poem "Measures of time, space of time, local time." What happens, what should happen for something to happen, and how will we know that after something has happened and how we can tell, are all manifestations of phenomena that appear in Handke and stained deep questions but at the same time, a healthy sense of irony. In the last poem read some verses cited key, significantly linked back to the idea of \u200b\u200bthe gate, "to experience anything / I enter the hallway / open the door to the hallway / corridor and close to the door to the room / in the corridor and open the door to the room / in the room and open the door to the hallway / door opening / for experience something / and enter the hall / I could / experience / during the process of leaving / coming out to the patio "(p. 223). Its known Poem the duration (1986), Bergson base, is precisely define itself as the deepening experience: "Some time ago I write about life, / but not an essay or a scene or a story / duration calls to write a poem (...) I have repeatedly experienced the life "(p. 395). A descry these experiences are addressed during the rest of the poem a large number of images, and the book closes with the illuminating quote from Bergson: "No image will replace the intuition of duration, but many different images, taken from orders of things different, could in the convergence of their action, direct awareness of the point where you can pick a certain intuition "(p. 459). If TS Eliot noted in his Four Quartets the language as a means of reconstructing experience in effect, Handke does the same, except that their language is a language of images, made by words. But do not forget the order, which is crucial to understand its uniqueness: first images, words later.

These particular forms of experience are part of a larger arrangement between two concepts of semantics wider handkiana: event and language . This is the wonderful beginning of Afternoon of a Writer : "from convinced that once lived for almost a year, he had lost his speech, every sentence that writer noted, and even experimented with a possible start then had become an event. Every word spoken but made no other writing brought "(Alfaguara, Madrid, 1995, p. 9). Similar considerations are in his poetry: in "panic", Handke reflects on how something can not happen expected alarmed as well as the unexpected that finally takes shape (p. 211). Examines how singular and plural forms of the verb can be a stimulus or an impediment to the restoration of the sense experience (pp. 97, 153 and 247), is asked in several poems about the possibility of comparisons between phenomena and objects ( also Hornets , see p. 44) and, in general, and as a child of the twentieth century, systematically put in crisis and potential representation of language ("but I have no words to express it! " live without poetry , p. 269). We are not, therefore, both to metaphysical poetry, but rather a phenomenological poetry, pending here and now, looking in particular its justification and its diffuse horizon of expectations. For this reason, the reader is always near of these strange poems that recreate their own fantasies about the idea of \u200b\u200breality and its fuzzy outline.

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Vampire And Werewof Names

Marcola, drug lord in Sao Paulo. Spanish Cooking Ideas Blog

Read the interview and then think: if this is what's next, how can we stop it?. With more "help the poor?. More "war on drugs"?. "New elections?. I mean, what more of the same?.

I think there is a way to stop this, and global strike is four hours. With it conquer full employment, better working conditions and better quality of life. With full employment away the breeding ground of the problem, which is none other that millions of unemployed and underemployed people living in slums. Do not believe me? Then continue doing the same.
Note: tell me that in Brazil it was reported that the interview in question was apocryphal. Some clever scribbler has imagined and has simulated having done it.
But the text, as does literary fiction, portraying reality yet.

Milena Velba Tit Weighing

A summary of 2010 from King is always above the village, by Daniel Alarcón

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The excellent book of short stories The King Is Always Above His People Daniel Alarcón, translated and published this Alfaguara year, can serve as the guideline for what happened in 2010, for its peculiar internal variety. It may even be useful to refer to what happened in areas not entirely literary. An example: on page 165 we read "In what year was U.S. screwed?" Obvious homage to Mario Vargas Llosa, who has nobelizado been this year. The author of Conversation in the Cathedral is still a long shadow for young Peruvian writers, and even a Peruvian who writes in English and that their early moved to the United States as Alarcón not appear to be entirely unrelated to its influence, as can be compared here . And another example extraliterary more: that the last two sentences of the book are "And of course, no one knows nothing, Mr. President. These are state secrets "(p. 167), after of what has happened this month, it seems an admirable exercise of foreknowledge and derision de Alarcón. In any case, the secrets of state and described the goings-on of power throughout the book may be a link with Omega Point (Scribner, 2010) by Don DeLillo, the book this year that I liked, and which I did a long review in my blog.

Alarcón's stories are different, but have some common themes and obsessions, are these attractors or nodes which launched bridges to other texts I've read this year, although not all were published in 2010. Speaking of bridges, "The Bridge" is one of the best accounts of King is always above the village and is also one of the best I have read in the recently. Alternating spaces and temporalities, diving into the depths family while on the problems of large Latin American cities, is a story halfway between English and American traditions, something that critics have already prominent in the work of the Peruvian-American. This mixture of cultures social structural causes can be a relationship between this volume of short stories and poetry anthology Latino cursed, cursed sudacas , published by Editions pool of Lucretia (Mexico , 2009), with selection and foreword by Monica de la Torre and Cristián Gómez B. It is no accident that a question autologous become latent in Alarcón's book, written in English but full of references to the culture of Peru and their languages, "which can mean the concept of 'mother tongue' (...) In this first decade of the twenty-first century "(p. 10). The question is answered with no little vigor in the poems included in the anthology, ranging from panlengua Rodrigo Toscano (Jeu inventin lingascem mascarem / teu Sep correzcur solascment / meu importamen madrizcem Teupa correzciremp solascmentarim ", p. 235, may be here an interview where Toscano explains his poetic and political reasons for the creation of Newspeak ) or Gabriela Jauregui ("Encore: one two three tangled appreciateit tango trois moi September angled handle off twice, thrice-Aid Relief and The Immortal, three sad tigers paddle and paddle and rowing is a branch ", p. 124), whose games remind us crosslinguistic Cabrera Infante, the alternate language (poets such as the Mexican Jose Molina, who write poems in English and English), to whom problems arise in their bilingualism and new intermediate forms between English and English, as Spanglish or code switching ("Is not that code switching way too smart to call?" Román Luján, p. 159; "talk as bilingual / worshiping a bull "Jaime Rodríguez Matos, p. 217). This anthology is not just useful to know the status of some Latin poetry in the United States, but also to see how you are English in different places, mixing with other languages \u200b\u200band creatively mutating.

Alarcón Returning to the book, already stressed about it than most of his stories featuring characters who resist the power or who refuse to follow the path marked by his environment, his family, his age or circumstances. In that sense I was reminded The light is older than the love (Seix Barral, 2010), Ricardo Menéndez Salmon, which for me has been one of the most important books of the year . Also in the unclassifiable book Menéndez Salmon are three characters, three painters, such as opposing the dictatorship of label or brand of dictatorship. Speaking of dictatorship, is also the subject of Three white coffins (Anagram, 2010), Antonio Ungar, an excellent novel set, as Alarcón's narrative, in a Latin American country indefinitely, although Ungar at least has a name: Miranda . Alarcón loose some accounts have reminded me of other books: "The vibrator has brought me to mind the excellent book of short stories by Roberto Valencia, Smile at the camera (Language of Cloth, 2010 ), set in the world of porn, "Thousands" for its strange logic, almost fancy, reminded me of the Argentine novel Rodrigo Fresán, The sky background (Mondadori, 2009), which I read earlier this year and also seemed like a wonderful insight between the fantastic and realistic, possible and impossible. The experimental strain of the story "The court" de Alarcón, written in one sentence, I found it reminiscent of the writing on the run and ritornellos continuous Ghosts of masseuse (Eterna Cadence, 2009), Mario Bellatin. The way things are said are not more important than those who do not say ("I wish he could read my mind", p. 131) in King is always above the village I reminded the latent value of the things to say, as well as the importance of language in the construction of our social relationships, which are two of the conductors of Sight (Anagram, 2010), the short novel and valuable J.A. González Sainz, who recovered in this work and present some issues essential in earlier works. The star of "The Idiot President", an actor who squandered his talent first little theater and then television, did get my memory the terrible character of the novel Dead ( Mondadori, 2010), Jorge Carrión, one of the most provocative and compelling novels of the year. The child may try to survive as the "Republic and Grau", making a blind guide of fighting corrupt and hostile environment of poverty, brought me to mind the children devastated banlieu Paris that aims to understand in Diego Doncel Women say good-bye (DVD, 2010), and committed his last novel. And finally, Part of "The Bridge" on the phone interpreters passages in the novel tends glocal Douglas Coupland Generation A (Scribner 2009) which among four characters describes one very successful working as teleoperator telephone a British company relocated to India.

Offshore, or located in various cultures, open and multiple Alarcón's book made me look like a volume of stories, with some masterpieces and an interesting read noise background of our time. Like everything else mentioned, is the best, and it is not enough, that leaves 2010.

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(Critical Ratio with Alarcon and Alfaguara: none. With the editors of Latino cursed, cursed sudacas , no. Salmon With Ricardo Menéndez I have a good relationship, and Seix Barral edited my last book. With Roberto Valencia and Language of Cloth, no. Rodrigo Fresán I have cordial relationship, none with Mondadori. With a cross Bellatin email with with Cadence Eternal I have no relationship . With cordial González Sainz I have none with Anagram. Jorge Carrion, good value, its editorial I have already spoken. Diego Doncel to maintain good relationship and DVD also published my first book of short stories in 2006. In Coupland, and DeLillo Scribner, unfortunately, I have no treatment).

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