( was leaving in a web
Argentina but for reasons that
irrelevant mention
virtual ends at the landfill site.)
I did not see the moon, Leonardo de León.
122 pages. Edit
Banda Oriental, 2010.
Storytellers Award of the Banda Oriental is-worth clarifying for Argentine player, one of the three most important awards points Uruguay. In its seventeenth year, the winner was Leonardo de León to not see the moon, six stories which explores the darker side of human emotions.
sex, death, childhood and family ties would be the themes he chooses for his fiction Leon (if you do not choose the topics the author, if you can talk about themes in the art) . The first story, homologous to the title of the book is first-person chronicle of a disaster foretold, but no one knows exactly where to come: three friends through the city in a runaway car that functions as a trigger to go putting together the story of one of them, their relationship to the recent tragedy, their trauma. From the first pages the author's tone makes clear, the voices of the characters (with a hyper use of cronolectos and sociolects) contrasts the poetic voice (more tending to the use of the comparison to the metaphor) and rich in visual images of Leon.
The second story, "The strength of the field" was the critical favorite, and who signs is no exception. Criollo literary tradition of Uruguay has not a bible as Martin Fierro for Argentina (and its antibiblia, Don Segundo Sombra ) so that those on inland are diverse and dispersed: Juan José Morosoli (hint: Morosoli is the title of the gold medal he got from Leon as part of the award), Francisco Espinola and Serafin Garcia names appear in influences that haunt this narrative. But unlike the aforementioned writers, the author did not see the moon explores the depths of rural sexuality, an issue completely forgotten by Morosoli (who prefers to portray the experiences of the work setting and relations of friendship and enmity) and sketched by the other two. In this sense, there is a resemblance to some stories creolists Mario Arregui.
"A mother is a Shakespearean story with a touch that is two stories, from the beginning you can guess the point where they cross. The predictability of the final effect takes away the story, unless the reader locate the weight in the treatment of oppressive atmosphere (surrounding the schizophrenic protagonist and the inner voice of his deceased mother). From this story begins to gradually tighten the membrane that separates the raw realism of the fantastic (with madness as an intermediary in this case), that never comes to break at all.
In "The Gift"-perhaps the morbid voyeuristic tale in which the mechanism operates as parent-childhood and adulthood are linked through the discovery of the erotic (in the first pole) and the carnal consummation of fantasy (in the second). The tension plot is based on sexuality (with an Oedipal element very present) and the moral blame to the impulses, it is also an interesting insight about the imaginary reverse revolves around pedophilia.
Here are some of the prose of Juan Carlos Onetti, in the sense that the workplace uncomfortable and disturbing descriptions and sequences generate a certain guilty pleasure in reading; de Leon, manager of climates, deserves special mention, since they charge mostly more weight than the arguments themselves.
There is a flirtation with science fiction pandemic "(forgive the coinage of the term) in the style of Richard Matheson and HG Wells in" shell ", with perhaps a slight daily anchoring in the epidemic of H1N1 influenza occurred in mid-2009, there is also something of a long story short Mario Levrero Gelatin, although Leon avoids any trace of it absurd that the author did himself. The paranoia that erupts in small doses as a result of an inexplicable disease (halfway between the biological and psychiatric), serves as a catalyst for
express a pessimistic view on human relationships (parental, family, neighborhood) and the alienation of a disintegrating city that seems to occur even before the tragedy, and is therefore unable to cope.
The book closes with "The cutting of the angels." Back to rural areas, the daughter of a broken home that struggles to survive in misery is the protagonist. There is some social paradigm in the way that the frustrations are looking for ways to escape: the violence took place as currency (bad analogy given the precarious setting of the story) among adults and to children. But any trace of social criticism is outweighed by weather and tragedy, that she Beatriz processed in the worst possible way. The final image is very effective, and tightens the aforementioned maximum realism.
In short, I saw the moon in Leo joins the subgroup of young narrators critic José Gabriel Lagos renamed it the "serious" : there is an interest in language as a tool in building climates in the investigation of the figures. The taste for the tragedy as a trigger like this book to the generation that began publishing in the late eighties, authors such as Gabriel Peveroni, Gustavo Trujillo knew Escanlar and explore Henry black areas of fiction, in response to the poetic canon of the correct ideological Mario Benedetti and Eduardo Galeano. There are also contact points Mechanisms sensitive volume of short stories won the same award So Leonardo Cabrera in 2006. You may be criticized for any abuse of Leon images (intended or unintended) interferes in the story, perhaps the repetition of tragic events that could numb the reader and reduce the effect, especially in recent stories. It would be interesting to see if future work of Leon, which has a good omen to have to his credit this award-can and want to explore other records. It would be a step similar to Neil Armstrong, as we speak moons.
Federico de los Santos
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