Turn in my essay meme suicidal
Let's talking about turn in my essay meme suicidal.
The book focuses on a fictitious battle that takes place in Andalusia in 1808. Spain is under French command and governed by José Bonaparte. A group of Spanish guerrillas takes up arms against the French and sends the regiment of hussars there to kill them. Like the previous book of yours that I read, this one is also short, 170 pages, but it did not finish to hook me. It seemed very good to me to know what that era was like, military discipline, honor and all that, but it has a very slow tone and something is done uphill. Well, with this I finally finish my reading challenges this year, which I thought would not give me time. Now relax and read what I have pending for a long time. The action takes place in a small town in the Basque Country. Tetxu is a very reserved adolescent who has forcibly made a breastplate to get away from people, because of a great weight that he carries on his shoulders. His father, a ETA, murdered ten years ago an innocent man who had confused with another. Neither he nor his mother knew anything, and they discovered that other side of him at the same time as the rest of the people, watching the news on television. His father disappeared and since then they never saw him again. They stayed in the village, and Tetxu has had to drag the stigma of "son of ETA" since then. That's why he has no friends and many people in the town look at him with a scowl. Then a boy named Carlos arrives in town, who has no one and who is as reserved as he is. Carlos becomes someone he can call "friend", and is the first one that opens up, telling him everything about his father. But Carlos also keeps a secret, an important one, and Tetxu will not discover it until the last pages, and that will change everything. They are only 190 pages that are read immediately, their chapters are short and their rhythm very agile, also has that turn at the end that you do not expect. The only thing is that I find it a delicate subject to be a book for 12-year-old kids. Until now I had not read anything about him and if now I've done it it's been a matter of time. I did not know what I was going to find, but in the end the book ended up liking me. Jordi's books are not the typical juvenile books in which everything is rosy, there are a lot of adventures and nobody suffers or dies. In the book, three stories end up tragically intertwining in the end. And a disgusted man whose wife just left does not stop receiving negative from all the women he calls and ends up getting drunk alone in a bar. Then take the car, and you can imagine what happens. Someone must die for the girl to live, but who? I loved the part of the concert. As the author describes it, it is as if you were really there. Also the title is from a song by Boss, and all this has made me want to hear something of yours. Well, I think that after this pleasant experience I will continue reading more books by this author. But Napoleon interprets his gesture as a heroic act and orders a charge that will end up giving him one of the greatest victories of his campaign. I liked the book, it is very easy to read and it has a fast pace, and I found it very funny. The only downside is that it has a too casual tone and seems to take everything as a joke. And the war, my friend, is not funny at all. The present anthology is a clear example. Here he presents a selection of what for him are the best science fiction stories of the 30s, a decade in which science fiction began to gain strength. I read it about ten years ago and I have decided to read it again because from time to time I like to refresh my memory. But this is not a simple anthology, since Asimov tells us a little about his childhood and at what moments of his life he read these stories and why he liked them so much. Millions of years later, beings half aliens, half robots, find it. Once shrunk he discovers an unknown world inhabited by beings like him. Humans have lived in underground cities for centuries, as shelks eat them. Tumithak de Loor, a brave young man, is determined to rise to the surface and kill one of those aliens to prove to his fellows that humans can recover their planet. There is a little girl who is persecuted by aliens who want to kill her. The second volume, next year. But of course, they were almost 1300 pages and there are classics that are very slow and thick, so I was giving it long. This lasted 12 years, which is already time. As this year I had to read a book that I always wanted to read but I never dared, my choice was automatic. The story that Víctor Hugo presents to us here is, in my view, a story that will never be outdated, and that could well happen today. You'll tell me if you've never heard of someone who did not pass what the protagonist, who steals a bar bread because his nephews were dying of hunger and therefore throws twenty years in prison. Well, actually five years fall, but as he tried to escape several times, his sentence was extended to twenty. But even so, it's insane, a real injustice that someone who steals out of necessity ends up in jail and whoever commits a real crime goes down the drain. But hey, that's the justice that there is, and nothing can be done. Let's go with the story, if not then I mess. When leaving the jail nobody gives him lodging or food, because of his condition as a prisoner, and only a bishop gives him bed and food. Jean Valjean continues his path and crossing a child can not resist and steals his coin. Remembering the words of the bishop he regrets, although it is already late, and from then on he decides to become a good man. Javert is a staunch defender of the law and for him a criminal will always be a criminal, and he becomes obsessed with taking Jean Valjean back to prison. Then we have Fantine, a young woman who gets pregnant and then they get rid of her. Fantine has nowhere to fall dead and can not work and take care of her daughter at the same time, so she leaves her in the care of the Thenardier, a couple who runs an inn, and promises to send them money every month. The Thenardier are those who truly honor the title of the book, because they are the worst. They steal, cheat, bribe and kill for a few cents. Valjean promises to find his daughter and bring it to him, but due to circumstances beyond his control, he can not do it on time. His true identity is discovered and Javert shows up to arrest him, and laughs when Valjean asks him to let him go in search of the girl. And finally we have Marius, a young Bonapartist who falls in love with Cosette at first sight and who has an active role in the revolt that occurs later on. In this revolt, which occupies a large part of the second volume, almost all the main plots are solved, although later still some more things happen. Well, what is the story itself I liked a lot. Jean Valjean is one of those great characters of literature that you can not help but admire, and Javert is a matchless villain. On these occasions the book becomes very slow and heavy, and it is difficult to move forward. Of the almost 1300 pages that it has, at least it exceeds 300 or 400 and without them the narrative rhythm would be faster. Despite that, I liked it and I think it was worth the effort. Well, with this book I finish my classics this year. Now to see when I will see that new movie. I wanted to do it before but I've been focused on other series, and now I've been able to make a hole for it. In the last chapter we discovered who causes earthquakes: the commissar. That is his "problem", his ability, although he can barely control it, and in the end he becomes stone and explodes. And Nathan goes on to take his place as deputy commissioner. Nathan and Audrey take her for an imposter and do not trust her, but the two Audreys discover that they have the same memories, even those they have not told anyone about. Audrey 2 follows a clue about the fake agent Howard and ends up losing her memory. He does not remember who he is or what he is doing there and here the participation of Audrey in the series ends. After this, the false agent Howard is no longer talked about and the issue is left behind. The other secondary plot has Duke as the protagonist. And towards the end this plot ends up intertwining with the main plot, that of the reverend. If I'm honest, I liked this season more than I expected. I thought it would happen as in the 1st, that some chapters were quite lazy, not to say bad, but nothing further. They are all pretty good and the different plots kept me hooked all the time. The character of Jason Priestley I liked a lot because his situation is very funny. Let's see if in the 3rd season they do not go so much in the branches and they start to enter into matter, and as far as I know, it seems that way. This is a season of great changes, with new characters and better stories, and this is a breath of fresh air, after eight seasons always talking about the same. Mitchell tries to put them together again, but he can not convince them and the threat of this new and dangerous enemy is needed to reunite the old gang. The Priors have great power and with their staff can make true miracles, cure the sick, raise the dead, but they can also cause epidemics and destroy planets. Now, the 10th season and the series is over. Some have been easy to choose, but others have cost me more because there are seasons with very good chapters, but hey, in the end this is the result. You will tell me if you agree with me. Three stories Here I had it very clear. This is the best chapter of the season and one of the best of the series, because we discovered what happened to House in the leg. House has to give a class and presents the students three cases in which the patient's leg hurts. In the end the three patients turn out to be one: House. House against God In this season there are several chapters that I liked a lot. I like it because all the crazy things that happen to him are because of nonsense, the sting of a tick. In the 2x17, "I bet the rest", a child suffers symptoms that remind House of an old case that did not know how to diagnose on time and that ended in death. House will have to deal with it against the clock so that history does not repeat itself. But if I have to choose, I'll take the 2x19, "House against God." House treats a teenage preacher who claims to be able to heal with his hands through the power of faith. The chapter is great, because House puts the kid back and half and devotes some of his best pearls. In short, it is the reason against faith. One day, one room This season has two really good chapters. But other than that, he has another unknown illness that House's team has to deal with. But I prefer the 3x12, "One day, one room", without a doubt the best episode of the whole season. House has got rid of Tritter thanks to Cuddy lied in the trial, so he forces him to pass query, because he owes it. but the chapter immediately becomes serious when he discovers that one of his patients has been the victim of a rape, and for some strange reason he just wants to talk to House. House does not know what to do and asks for advice from each other. In the end she ends up confessing that as a child he also suffered abuses, and then she starts telling him what happened. Instead of reason against faith, it is a reason against magic, and contains some of the best House phrases of this season. But I'll take the 4x15, "House's head". The bus that goes House is in a terrible accident and House receives a blow to the head that prevents him from remembering the last hours. What he does remember is that there was someone sick on board, and whether he recovers his memory depends on whether that person lives or dies. I have chosen a chapter because for the first time we get into House's mind and discover what his reasoning process is like. The strange couple 5th season: 5x04. House's father dies and he refuses to go to the funeral. Then someone drugged him and when he woke up he was in the seat of the co-pilot of a car, driven by Wilson, who took him to the funeral. Wilson stopped being a friend after Amber, and tells him that he does not do this for him but for his mother, but House smiles because he is with his friend. During the trip he does a lot of putas not to get to the funeral, and we discovered how they met and how they became friends. And at the end of the chapter they are again and Wilson stays in the hospital. The 6x10, "Wilson", chapter entirely starred by Wilson. The 6x14, "From 5 to 9", starring Cuddy. And the 6x17, "Closing", where the hospital baby. But the one I'm staying with is the 6x22, "Help me", just for the fact that House hits bottom and recognizes that he is a miser. A crane falls on a building, knocking it down and a woman is trapped, with beams on one of her legs. They can not remove the beams without risking a new collapse, so they opt for amputation, but she refuses. Cuddy tries to convince her, but then House gets on his side, because he identifies with her. Cuddy tells him that he is selfish and bitter and that he has pushed everyone away from him and that he is alone, and that for once he does the right thing. He tells her that she has people who love her, that she is not like him and that she is only one leg. She agrees, but in the end she ends up dying and this affects House so much that she goes home to get an overdose of Vicodina. But before he does, Cuddy appears and stops him. Poor children 7th season: 7x13. The 7x07, "A smallpox in house", the title says everything, although in the end it turns out to be another disease. The 7x12, "Unforgettable", where the patient is a waitress who remembers every moment of her life as if it had just happened. And the 7x18, "The excavation", in which it returns Thirteen. In a school the bell that indicates the end of recess sounds and a boy and a girl are about to kiss when the teacher catches them and sends them to the principal's office, and out there, waiting, is House. The children want to know what he did and he tells him, in exchange for being told what they did. Wait, I'll help you 8th season: 8x21. I do not know how he manages to meet one of his complicated cases that only he can solve. I really like what House says that sometimes bad things happen. He also has the case of a young nun with doubts, and the guy ends up throwing it at her. Wilson's cancer is widespread and nothing can be done. Wilson refuses to continue with the chemo, which will have five months to live. House can not allow his friend to commit suicide and tries to convince him in every way possible, since he does not know what he will do without him in his life. In the end Wilson agrees to take the chemo, but then he realizes that he has been manipulated by House and they have a monumental row. Wilson collapses and starts crying. When they return to the hospital they inform him that his patient has tried to commit suicide, and then he loses the papers and tries to strangle him. After this he reconsiders and accepts Wilson's decision and makes peace with him. Although he did not need the three warnings to notice. The second envelope was received a week later. This time it was not a blank paper but one with six simple words: "Get out while you're still on time." And the attitude of his neighbors had become clearly hostile. Some stopped speaking to him while others refused to attend him in their establishments. Well, Ray thought, they may have discovered that I've been in jail and not the other. But if they know I've been in jail, they must necessarily know the other thing, right? With the third envelope had confirmation. Inside was a newspaper clipping. It was the article they wrote when they captured him. So they called him, because he would sneak into the houses where there were babies at night, he would abuse them and kill them, without the parents knowing anything. Ray liked that nickname and laughed the first time he read it in the press. During the whole time the fun lasted he was surprised that people were angry and pissed off for what he had done. For Ray, babies were not people. They were just things that screamed, cried and made their own things, and Ray saw them as instruments meant to satisfy him, just as some people resorted to inflatable dolls or dildos. When he said it at the trial it caused quite a stir and some parents jumped over their seats with the intention of assaulting him, and had to get him out of the room. Ray's passion for babies came after watching a movie. It was not this that upset him. The What made him a depraved was to see the mother's reaction. Instead of screaming or crying or throwing her hair out, the very sick woman smiled, as if it were horny that they were raping her newborn son in front of her. As if she had purposely become pregnant with that goal in mind. This affected Ray so much that he had a strong erection and from that day he began to see the film again and again, masturbating when he arrived at that scene and with other similar ones. When he was not seeing her, he was thinking of babies and dreamed a couple of times that he was the masked one. On these occasions he woke up discovering that he had ejaculated asleep. He followed her for several days to get an idea of his routine, what was the baby's room, when he was sleeping the baby, when he got up to bottle-feed him... So one night he decided to do it. He stayed outside waiting until the woman turned out the lights, waited for him to fall asleep, and slipped into the baby's room after forcing the front door. He crept into the room and looked at the baby, who was sleeping soundly. He saw that there was an intercom on the bedside table and turned it off, lest the baby start crying and the mother wake up. Ray got scared, left the kid back in his crib and ran out of the house, not caring if he woke the mother. During the following week he had such an attack of nerves that he was not able to sleep or eat, but when he saw that the police had not just arrived at his house he concluded that he was not in danger and breathed a sigh of relief. So he continued to do it, using the same modus operandi. He followed the mother several days, slipped into the house, raped the baby and then left without the parents noticing. Ray did not make a distinction, everything was worth it. He raped them vaginally and anally or subjected them to a deep throat, and most babies did not survive the experience, either because of the resulting hemorrhage or drowning. Other times I broke their necks. But there were a couple of them that he let live because he found it funny to imagine the faces that the parents would put on entering his son's room and see his face covered in semen. But in the end I trust too much and ended up catching him. He was sentenced to 15 years but was released at 7 for good behavior, although I had to wear an electronic anklet to know where he was at all times. The jail was hell for him, because everything he did to the babies was done to him one day and the other as well, as well as his good beating. That made him want to do it again, but he still masturbated thinking about babies. Ray had to be moved a couple of times from town because his neighbors ended up finding out what he had done and they came to give him more than one beating. He thought that the third would be the final one, but apparently his past followed him like a shadow. Remembering what he had done excited Ray and that night he set out to watch his favorite movie for the umpteenth time, but when he started to get in tune he heard a creaking and a little patter from the ceiling. He had tried to find the hole through which they could have been cast, but he did not find any, as if they had materialized there by God's work and grace. He looked at the ceiling, waiting for the noise to repeat itself, but he did not and Ray concentrated on the movie. Two minutes later there was a hard knock on the wall behind him. The walls of the room were made of old wooden boards that the termites had planted with small holes. A well-struck blow could make a hole of considerable dimensions, but not an ordinary rat. What had produced that blow was bigger than a rat. Maybe a cat or a small dog. The blow came again followed by a kind of screech, a sharp "gaa-gaa". Ray got up and went to the wall. Yes I knew something about rats is that they did not go beyond "iiiii". The one behind the wall hit her again, two or three times in a row, emitting her "gaa-gaa". At the same time Ray heard the run of some paws through the ceiling. He hit the wall with his fist to scare what was behind. There was silence for a few seconds and then the blows became more insistent, until a large piece of wood fell off and something went outside. Ray started and unconsciously stepped back. But it did not look anything like the ones that came out on TV ads. His skin was grayish, covered with dust and sawdust and had dried blood and drool around his mouth. The fingers were stained with blood and the wound on the hand did not look good. Then part of the roof collapsed and at least six zombie babies fell into the living room, with their eerie "gaa-gaas". The zombie babies began to crawl towards him and at the same time he felt that the first baby, the one who had crossed the wall, was hooked around the foot and bit under the calf. Ray screamed in pain and kicked the baby through the air. Ray put his foot down and felt such pain that his leg failed him and he fell to the ground. He looked at his leg and saw that he was missing a good piece of meat. They gagged at the sight of the remnants of the torn tendon. Ray saw that he was almost on top of them and tried to find something to defend himself with, but the storage room where he kept the brooms was on the other side of the room and he would not have time to reach him if he had to crawl. He picked up the vase of yellow flowers on the table beside the sofa and threw it at him, but it did not help, the babies kept moving toward him. The babies did it and they looked at him, tilting their heads. "You are you, right? I'm sorry, please, I'm so sorry. I did not want to hurt you, I could not help it. I was sick, I did not know what I was doing. I have not touched a child since then. The babies looked at each other and began to exchange their "gaa-gaas", as if they were having a normal conversation. Then they turned to Ray and resumed their crawling. Ray started crying and peed on himself. He began to scream when they started to bite him, and he only fell silent when his little teeth were ripped from his throat. The Dark Tower is a mixture of western and fantasy that takes place in a world that has some things in common with ours but very different in others. The gunmen are like knights-errant, those in charge of maintaining order and enforcing the law. But that was before "the world moved". Roland is the last of his kind. King corrects that and adds new scenes that greatly improve the story, and so the book makes more sense than the original. If I have to choose, I was left with this one, because it refers to things that will come later and the story flows better. So I read the series from the beginning, and I fall short if I say that I was hooked and fascinated as few series had done until then. When I finished the series I read it again and this 2nd time I liked it even more, because I could appreciate the details at another level and look at the mistakes that I missed the first time. And now I have not been able to resist a third time, when discovering this challenge, because it is not the same to read it to you alone than to do a joint reading with other kateteros colleagues. This is the 2nd time that I read this corrected version of the first volume, and I have enjoyed it as much as the previous time. Akkarin is so powerful that not all the wizards of the Guild together could defeat him, so they decide to wait to find a way to defeat him. In the second book, Akkarin discovers that they know him and becomes Sonea's tutor so that neither she nor the one who was his tutor will leave the language. At the end of the book, Sonea witnesses how Akkarin wards a man through black magic, and reveals that someone is sending killers to for him, that this was not the first nor will it be the last. In this third book we discover the whole truth about the Great Lord and the reason he resorts to black magic, and it is a more than acceptable reason. The Guild won, but the Sachakans did not disappear. These magicians, the Ichani, are cruel and ruthless, and very powerful. Years ago, Akkarin was taken prisoner by one of these magicians, who made him his slave. But the magician had a brother, Kiriko, who swore to take revenge, and is the one who is sending these killers to him. And that is what happens here, a terrible battle from which very few will come alive. Of the three books that make up this trilogy, this is undoubtedly the best and the only one that is really worth it. The others have a lot of straw and they have half the pages left over. Although it has 600 pages, none of them is left over and you spend all your time trapped by history. The book hooks you from the beginning and transmits all the tension of the plot, and has an outcome that you do not expect, plus an open ending to the next trilogy. Now I'm going to see if the next ones take them out in Círculo, or else I'll wait for them to come out in my pocket. But I will take my time, that this year I have had enough of wizard stories. I did not know this work, just by hearsay, and the story fascinated me from the beginning. In fact I liked it so much that I wanted to read the book, but it was so extensive that I backed out and have been giving it a long time since then. Now I have decided to read it once and for all and to keep warm I have seen it again miniseries. I thought I would do something uphill, but nothing could be further from reality. The experience has been as good as the first time. The story is impressive, shocking and harshly realistic. A history of poverty and misery, of despair and injustice. The protagonist is Jean Valjean, who spends 20 years in prison for stealing a loaf of bread. When leaving, a bishop gives shelter and food for one night. Valjean steals the cutlery, which is silver, but in the morning he is caught. This shows him that there are still good people in the world and from then on he channels his life. Under another identity, Jean Valjean becomes a respectable man, managing to run his own factory and become mayor. But the past does not forgive, and inspector Javert, his antagonist, arrives at its doors. Javert believes firmly in the law and for him or there is second chance. Thief once, thief forever. Both will have their final confrontation during a student revolt in the streets of Paris, although its end will be surprising. I hope that at least in the book it is understood. In the stories there are many other characters, but these are the two on which all the weight falls. And if this miniseries is so magnificent it is thanks to the great interpretation of its two main actors. To Gerard Depardieu these classic papers feel like a glove. The only downside is that you have a few extra pounds and it does not look as good as you would with a little less weight. The only negative note is that long mane that you put at the beginning, which shows that not even far is yours. In his day I was surprised that several blogging friends said it was a quite irregular season, even somewhat boring, since they are very fans of the zombie theme, but after seeing it all in a row I have to give them the reason. The first half of the season is quite uphill, lengthening Sophia's search more than comprehensible. Two or three chapters worth, but, half season? Come on, after two chapters it was already clear that she was dead. What would squeal me is that I was in the barn all the time. I do not know, I do not like the times. Disappears in the first and second, is it already locked there? And like cherry, that plane of the prison in the background, something great, since I have read the comics and I know very well what it touches now. What I do hope is that in the 3rd season they are fairly faithful to the comics and do not stray too far from the path traced by Kirkman, because in this 2nd season, series and comics went by very separate ways. After lengthening it for eight long seasons it is finally shelved to the theme of the goa'ulds. And I saw it only by obligation. I am glad that the main plot finally ends, but I never imagined that this would happen thanks to the intervention of another dangerous enemy, the Replicantea. As expected, Anubis did not die in the explosion of his ship. Anubis is half Ascended, so he exists as a spirit and needs a body to inhabit. After getting one the SG-1 cheats him and sends him to an icy planet, and he does not hear from him until almost the end of the season. In the 8x11 the Replicators return, and this plot gives an important and unexpected turn. But the big trap occurs in the 8x16 and 8x17, a double major and spectacular chapter where there are with which almost completely resolves the goa'ulds and shelves that of the Replicators. Killing them and staying with their territory. Only Baal remains, who is allied with Anubis, and their ships face them as they can. So bad is the thing that asks the SG-1 for help. If the Replicators impose themselves, they can be taken for granted, so they make a truce with him and help him. Carter and his father find the weapon and program it to only destroy the Replicators. And in this way it ends with the Replicators. Just to say that this season is one of the best in the whole series. It also has chapters of filling and some boring other, but with the spectacular that are all these chapters of which I have spoken, it is compensated. Well, now there are only two more seasons left and that's it.
The reasons are not easy to synthesize. In order to explain the literary backwardness of Paraguay, especially in regard to the narrative genre, it is necessary to go back a hundred years in time and relive what happened in 1870. Paraguay was almost cut off from the face of the earth. The victors imposed on Paraguay its interpretation of recent history: the war had been a crusade to free a poor people from a fierce tyrant; the heroism of the vanquished was explained more as due to the terror of that tyrant than to the love of the invaded country. The current reality was not a poetic theme unless it was romanticized and falsified. Who fought to go against the tide, or was rejected by non-patriotic or friendly urged to treat historical issues. Paraguay lived in the past; I could not help but live in the past. Something very similar happened in the American South after the defeat of the War of Secession from 1861 to 1865. Southern children were taught in schools the errors of their parents. Then there was a chauvinistic, romantic, idealizing reaction to the southern tradition. An ancestor worship or cult of the heroes spread throughout the "section". The South was then living in the past. Today and yesterday were confused as it happened in Paraguay. Far from the pressure of the environment, this Paraguayan in voluntary exile could exert an annihilating satire of the self-deceived society, by virtue of a psychic trauma that prevented him from seeing himself in the mirror of his true reality. The upper classes are only interested in the conquest or retention of power. For twenty years he sporadically publishes novels and stories that barely reveal the possibilities of his mature art. Curious is that the kindness of the expatriate Paraguayan disappears completely with the slug, whose scenario is the town of Areguá. In Areguá precisely the writer lived the happiest days of his childhood and adolescence. It is the town of his first loves, the landscape in which he learned to feel nature and where he darkly glimpsed his destiny as an artist. Areguá, thirty kilometers from Asunción, sits on the side of a hill on whose summit stands its church. It is the ideal setting for the idyllic literature of the chauvinist tradition. But Casaccia turns Areguá into a horrible place, inhabited by vile souls to those who azacanan the lowest passions. For Casaccia, from La Slug, the novel is censorship and nothing but censorship. Neither the sky nor the lake of Areguá never deserves the most bland praise for being or being more or less blue. The slug is a great novel with a vast gallery of characters characterized with profound intuition of the low strata of the human soul. Although the literary renown of Rivarola Matto is due to his plays, this first-and-last novel has the merit and originality of discovering themes and teaching an attitude to develop them with artistic efficiency. Rivarola disregards the suffocating sentimentality that had spoiled the previous narrative and focuses the reality critically. The book is titled Thunder among the leaves. In these passionate Southerners there is a repudiation of the sentimentality of previous literature. The rejection of the Southern legend by the new generation was going to create more of an intimate conflict. Then the desire to deny, to annihilate a reality distorted by excessive embellishment would happen then. Hence, these anti-romanticists incurred a romanticism of the frightful. Casaccia turns his infant Paradise of Areguá into hell. Roa conceives fictions of extreme situations and makes truculence and horror the substance of his romanticism of the frightful. Five are the prizes that this work obtains. The events that narrate cover more than a century of Paraguayan national life. The backward sentimentality of Roa pushes him to the most outrageous truculence. Perhaps no American book surpasses the Son of man in the painting of cruelty and violence, of the inhumanity of man towards man. Never Roa's pupil stops on a landscape to capture its beauty. In Son of Man there is not a single character belonging to the non-miserable classes who show humanity or act with appreciable human qualities. To those below, yes, the author consecrates all his compassion and sympathy, as well as those above, all his hatred and contempt. Roa is more romantic than the romantics he turns against. Within the decade there must be a reaction against the romanticism of this anti-romantic. They are not entirely different collections. Almost all the stories of The feet on water, 1967, are in turn reissues of works inserted in The thunder between the leaves, 1953. This last story is the story of a revenge. A group of Paraguayan exiles in Buenos Aires decides to execute the newly arrived ambassador of their country to the Argentine government. In each new story Roa invents new forms of truculence. A friend induces the painter Torres to become an accomplice in a conspiracy. Colonel Balbuena was able to escape shortly before the arrival of the police. A Casaccia is not interested in experimenting with the novelistic structure, with time, with space, nor is it attracted by the prestige of what has been called magical realism. Anti-rhetorical, does not worry about language itself as a beautiful creation. In this he differs radically from Roa, the architect of the language. To verify this study, it was necessary to internalize in the most secret intimacy of each of the four central characters. To the Oedipal complex of Attilius with respect to Constance corresponds a yokosic complex of this one with that one. In Atilio, who is only eighteen, the reflection on his own being and the nonsense of human life is sharpened in intuitions of existentialist inspiration. Jealousy exacerbates their intimate conflict. Constancia, for her part, is terrified of aging and sees in the money inherited from her suicidal husband the only guarantee to keep her lover, and for that reason she denies her son the sum that he asks for. Torres is the coyguá in which Casaccia embodies the least kind way of being a man. It lacks will and decorum. It is impossible judge yourself with honesty and clarity. He expects others to solve his problems; he believes himself the owner of unquestionable rights and ignores his obligations. With his wife he is selfish and brutal; He exploits his mistress and advises her badly. He dreams of going abroad to develop his potential talents there. Colonel Balbuena, leader of the future revolution, is an abulic subject, owner of a fabulous capacity to do nothing. He has no ideas, much less political ideals. He wants to overthrow the dictator only because he has ceased to be one of his cronies. Balbuena represents the army of officers gnawed by laziness and inaction, except when acting in sporadic skirmishes in favor or against the general who holds the supreme power. Cáceres, boxer by trade, punches his victims. In the Police, no one assumes responsibility for the prisoners. No one can report, for example, on the detainee Gilberto Torres. The existential anguish, the obsession of death, the perversion of instinct, hatred and love are given in him with extraordinary violence. His mother reproaches him for not taking care of his teeth, and he replies: "For what we have to last, it seems absurd to worry about keeping teeth that will serve us so little time. Atilio we see him acting in very different circumstances and with very different characters. The themes embodied in Atilio come into close connection with other themes dramatized in circumstances and with characters of very different attitudes towards life. Thanks to this procedure, the multiple facets of the characters submitted to the most diverse tests are revealed. This connection procedure in regard to the characterization has an intimate relationship with the connection procedure with respect to the argument. Casaccia is an accomplished inventor of arguments in the sense that there is no incident in his fiction, however insignificant it may seem, without an important relationship with the total intrigue. Casaccia must have noticed that there was still much to be said about other characters in this dark drama of the town of Areguá. The plan is prepared by the revolutionary committee resident in Buenos Aires. Along the border, forces are grouped for the liberating invasion. Dr. Gamarra is an exile of rank. He has been Minister of State in Paraguay, and in his profession, the lawyer, a distinguished criminalist. His daughter Graciela, a seventeen-year-old girl, has fallen in love with the painter and has secret intimate relationships with him. His son Dionisio is the gigolo of the owner of the clandestine brothel in Posadas. Dr. Rolando Gamarra and Mrs. completely ignore these last two circumstances. One of the murderers of the police machine so that the suspicion of the crime falls on the painter. Torres is imprisoned and the widow never arrives at his prison. The Gamarra, parents and children, are portrayed with great penetration. Etelvina Gamarra, the hero's wife, incidentally, emerges from the pages of the novel as one of the most surprising fictional creatures in our narrative. And it is also then that the papers are changed, because Dr. Gamarra now shows a piety that his wife does not know; Dr. Gamarra is filled with confusion and shame. And, on the other hand, it is the prostitute who will give a lesson of dignity to the wife of the hero who covers dishonor and crime with lies, indignation and insult. The novel, opaque in the beginning, ineffective in the painting of urban life, takes on sudden vigor as soon as the protagonist arrives in the town of Tacuary and begins his apostolate of médecin de campagne. But unlike Roa, whose sympathy and compassion are reserved exclusively for the proletarians and their hatred for the wealthy and those who rule, Ritter does not distribute good and evil according to the social class of his characters. Dr. Reyes is a true lay saint who does charity with his hands full; between those who rule and those who are well off there is everything: people good and bad. The injustices do not seem to be ineradicable as in Roa. The hero of Ritter gets that they dismiss a high-ranking commissar, for example, and that from Asunción he is replaced by a man of justice. The denunciation of ignorance, misery and iniquities is, however, as passionate as the most. In that double argument, he is murdered, victim of the obscurantist sector of the town. The tragic end of this first novel would make Ritter suspect a pessimism similar to that of the founders of critical narrative. The crime of Tacuary would symbolize the defeat of good or the triumph of superstition over science. But the death of the heroic Médecin de Campagne does not symbolize such things. Ritter denounces the parochial caciquismo with the apostolate of his post-conciliar priest. The people live in the pages of Ritter as in a film in which beings and things are located in such a way that, when the camera turns on these or those realities, everything is offered as if possessing the familiarity of the everyday. He is an apostle who plays football and earns his parishioners with his good humor, his charity and his sporting spirit. Father Ulloa is the man of the city not only conquered by the countryside, like Dr. Reyes, but triumphant over the negative forces of peasant existence. Rather, his characters confront evil, fight against it, study its causes and with action and thought try to overcome it. The hero of The Chest and the Back revolts against ignorance, superstition and injustice, without ever surrendering to them. And he himself, after discovering the causes of poverty and backwardness, indicates his solution. It can be argued that an artist should not be asked for optimism, but art. What we want to emphasize here is that Ritter initiates another way of confronting reality and that perhaps this way leads to other still unpublished forms of literary art in Paraguay. This novel won the first prize of La Tribuna. Now, it is the study of a soul that is not "heroic" and not "exemplary", like those that the patriotic-sentimental narrative favored. The novelist is asking for excuses because he will dispense with all romanization of the Paraguayan. Halley lives and publishes in Paraguay, where around 1965 there is still a sort of "patriotic censorship" that has virtually drowned out the depressing literature of "national virtues" for half a century. The Judas that burns must be a Judas without firecrackers, horrible, yes, but not grotesque. On the face, the evil of the Maximum Crime must be read to him. Flattered by the priest's praise, Servián accepts the proposal. Ignore, for example, his own evil, as who ignores in his flesh the hidden presence of cancer. In his childhood he was the author of a perverse infidelity almost entirely forgotten, by virtue of which he made an innocent child and almost a beggar victim of an atrocious punishment. The faces of the man and the doll that the fire will consume simultaneously have the same features and identical expression. The scenario is Asunción, a scenario more suggested than described but not for that reason faded or diffuse. Ana Iris Chaves makes this famous phrase something like the leitmotiv of her novel. These last two hypotheses seem equally incredible, for various reasons. Moreover, they warn that they are aware of this tradition, that they leave for their personal adventure, because you have to rely on it. Restless spirit, the writer flies from one reality to another; he does not prolong the morbid emphasis on the tortures of his strange protagonist. The causes of their native pride went back to the warrior period; that is, to the whole past, which was nothing but an immense battlefield rationed by time. It is a strange humor that laughs at itself, that seems exempt of bitterness, that does not make pathetic fuss. Perhaps the critical-humorous stage, in which the humor has to go through all the nuances, from the more black until its most complete chromatic opposition. For a long time, Paraguayan musicians have been leading the other artists of their nation. It is time for writers to study the secret of their success and to stop being devotees as interpreters of their people. At first sight it may be believed that the young novelist falls into narrative forms that today enjoy little prestige; who seeks inspiration from authors such as Gallegos and other regionalists. What is important, however, are not these things that in themselves can not be judged good or bad, because their success or aesthetic failure depends on the treatment that the writer gives them and not on their being or not being in the literary fashion. Perhaps this is the profound meaning -one of the senses- of this first book. It should not be forgotten, however, that the action of the novel takes place in 1945 and that the wound has healed quite a lot between that date and the current one. In addition, that same character, in chapter VI of the third part, affirms a hope in the nation shared by more than one interlocutor. Rosendo gets drunk with glory while talking. The young writer, yes, rediscovers a topic before which he neither feels rabid nor inhibited, and for that reason pages 235 to 255 are among the best in the novel. Perhaps in Halley Mora there exists, as one of the motives of his protest, a dissent of a political nature. In the course of the report asks Roa if the return to the country would perhaps cause in this "a change of focus of reality." It seems clearly to imply that this reality, the Paraguayan, demands a different approach. And Roa Bastos answers yes, there will be a change of focus. For Rivarola, a believer in class determinism, "Casaccia is a liberal democrat who sympathizes with the people and who disregards politics. It belongs to the upper middle class, closely linked to traditional ruling circles. He does not know about extreme needs nor has he suffered from social humiliation. Linked by its origin to the semirural petty bourgeoisie, it is a veteran taster of poverty without remedy, of frustration and abandonment, of the bitter bitterness of disappointment and resentment. Hence the cold vivisection of Casaccia is replaced in Roa by the fabulation of history by vague vindictive dreams that materialize in the creation of impossible archetypes, more like statues than living beings. " Much of Argentine tourism comes by car. He has never traveled so much from Paraguay and Paraguay as in the last five years. It will be remembered that the generation of 1900 founded Paraguayan nationalism and with it the cult of heroes. Heroism was the only thing that the vanquished people had for the consolation of their misfortune. Nationalism erected the heroes from 1864 to 1870 into gods of a religion. These heroes of the epic all died, almost all, without knowing the face of victory, which gave the national religion a deep sadness. Today, more than thirty-five years away in time, the heroes of that war are acquiring a prestige that equates them little by little with those of the first epic. Recent history is charged with legendary value, mythical energy. In addition, the heroes of the Chaco were all favorites of the victory and their cult, therefore, does not have the aforementioned sadness. On the other hand, a century after the catastrophe of 1870, glory is seen in it more than misfortune; it hurts infinitely less than before and also produces a cleaner pride without resentment. The total cure of secular trauma will make Paraguay stop being the homeland absorbed in its past, which was until recently.
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