a story of strong women from memory, childhood and heritage

There is an Aragonese village full of everything, rooted in rituals and traditions, where anecdotes are told about the past, spaces and objects that endure (a boy’s bike, a sardine bite, a real cinema and a neighborhood full of books where one of the women found the only way to live) are the bearers of a family memory embedded in “tierras dead and antepasados ​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​a–Down-On.

Then, when there were only ruins, they built their lives and built a “foundation” the great-granddaughter of Miguel and the stranger she loved without permissionsin medo y sin medida. There were 16 children and they hid their entire families during the war years. There, at the beginning of the 90s, the girl in this story passed a crucial moment with a secret that would take her some time to reveal about the “agüela”, with “Lapili” (“the first perra” in two years) and “la tía Pilarito” (a story of abandonment and mistreatment that was never told).

Alas, the goddess of her mother, without mediating explanation, without speaking in the midst of the duel of abandonment that is forming on her head. Ah, the truth about these three women prepares the world. It also has an irony and incisive humor that prolongs it as a strategy to maintain the important emotional charge of many situations.

It’s time to introduce yourself to your author, Natalia Moreno (Zaragoza, 1979), debutante on the stage of the novel, although curtida and recognized in the theater, without roles and cinematographic direction. Bebe de both in this epic debut.

The poetry of visual language is powerful; also the treatment of the story, the rhythm, the expressiveness and the subtlety necessary for the distinctive sense of humor not to remain clear, but to de-dramatize the intensity of the story. The Aragonese call them stupid in this way of projecting irony, with pride and a smiledestroy the masked attitude and intent that is usually confident and intelligent.

Here, anger becomes theater and takes shape and voice, like anger, sadness, or pain. Here is a hectic story of memory, childhood and heritage. Counted two voices: the voice of a 46-year-old woman who writes and tries to get out of a deep crisis, and the voice of a little girl who fights. I am the same woman, but on the other hand, it is prominent in this story.

Moreno’s strength is in the poetics of visual language; also story processing, rhythm, expressiveness

Allowing two narrative lines to be drawn in the story and starting from two time perspectives, from their three planes, the result is a realistic novel that celebrates liberating memories and the opportunity to reconcile with the ghosts of the past. As for the crisis, it is true that with his generation of women born in the 80s, heirs to the sentimental and emotional grammar of his mayors: silence, obedience and silence; open people, “measure feelings in the best”; silence the “addictions” that Hundian families manage “hogares a la drift”.

The woman was a little girl pueblo “marked as having longed to be a city”. Then she gave up her name and begged like Madonna (that was the time) to give herself some of the song and grace, like a fantasy that took her away from what I call Wisconsin.

On the Defende car value of the inscription “flatten the gargantuan” Stop making up the story you’ve been following for so many years. For the proposed extravaganza to work as a coup de effect and a lamada that took where the weight resides and rural Honduras: the story of these women in that child country.