The hidden tension of the “furies”

The short story is said to be a complex genre, and this is where authors are challenged. It is also said that the reading public prefers the novel to the short story and because of this publishers publish fewer short stories, some say that short story books are read in any order, others prefer to read them in the order given by the writer; and so many tales are woven upon the tale. What we do know is that a handful of stories are part of the story’s photograph and perhaps that’s why readers keep looking for other stories to zoom in on that photo.

“Las furias” is the latest book of short stories by Luis López-Aliaga, published this year by Banda publishing house. It is a set of ten stories with different themes, they are stories that do not look for sensationalism, nor last minute surprises, nor are there any strange characters, but rather, most of them look at the details in relationships, there is a search in the interstices of life.

What may be monotony is seen from another side or with a different filter. There is a variety of tones, landscapes, protagonists; but I think what unites them is the Latin American color that is in them. Which is not something to say, because with this globalization and social networks it is difficult to build the identity and often the authors; for his readings; its influences; their confessed and secret literary loves end up parodying works from other latitudes; which in itself is not bad; but I think it is more valuable to continue writing about the village.

In “Las furias” this village is bigger, the stories tell of a life that is wasted by these payments, sometimes, the reverse of the story. In most of the stories the idea of ​​”The Furies” is present, revenge, not as an act for granted, but as a slowly stretching rope. A hidden tension runs through the stories that you need to be aware of. As I read I wondered where the furies were and turning the pages I was left with those sediments thrown by the author.

In the story “Sister”, for example, where a young woman is looking for her missing brother, the reader witnesses the discovery of an unsuspecting reality that remains suspended. A rugged landscape, sparse dialogue, something from Coltauco and Comala has that story. An apparent calm, but beneath it lie tortuous relationships and buried stories that haunt the protagonists.

In the story “Prologue” is the portrait of a decadent literary environment. Poets who fight for the stage, looking for the few minutes of fame that their writings can give them. I think it’s the story where humor is most present, the narrator academically recounting the misadventures of a group of poets and their circumstances. “The link between the poetry of the eighties and millennial poetry is, among other things, complex, and offers too broad a field of study possibilities. However, this approach refers to the specific link between Lautaro Medina and Herta Montana, a relationship which in its anomaly and in its consequences shows a diegetic seam that favors an in-depth understanding of the problem” (p. 108).

The story “The first death of Antonio di Benedetto” has more the air of a chronicle on the last years of the writer Di Benedetto and I think it is also an invitation to read this author saved by Bolaño in his story “Sensini”, which I really like . A few years ago, a film was also made about his novel “Zama”, which once again awakened his memory. Di Benedetto’s stories have an unclassifiable air and a personality of his own; away from the madding crowd of the culture spotlight; It gave him an aura that seemed endearing. Perhaps the stories also allow us to follow in the footsteps of other authors and be our own furies.

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  • The content expressed in this opinion column is the sole responsibility of its author and does not necessarily reflect the editorial line or position of The meter.

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