Books
Extraños testimonios
Genre
short stories
Last Edition
Huso (Spain 2017)
ISBN
978-84-946245-4-4
The stories included in Extraños testimonios illustrates one of the author’s stylistic qualities that she calls «Caribbean Gothic».
Unlike Magical Realism, where the characters accept the presence of fantastic beings or events as something natural, the characters of Caribbean Gothic recognize the existence of the supernatural and the magical, although knowing that they are alien to their reality, in sunny Caribbean landscapes or in tropical zones of deceptively bucolic appearance.
The formal proposals of these stories are as diverse as its contents, drawn with a subtle and fierce prose. Debtor of Anglo-Saxon and Latin American classics—E. A. Poe, Horacio Quiroga, Margaret Atwood, J. J. Arreola, H. P. Lovecraft and María Luisa Bombal—, the author of Extraños testimonios makes headway along a narrative path that distinguishes her from the rest of Ibero-American writers and, especially, from her Cuban colleagues.
The use of erotic, fantastic, and terrifying elements are the tools she uses in dealing with painfully human issues—the woman object, the rebel woman, the writer's conflicts with the creative act, the social reality, the fragility of the psyche—in hues passing through the most perverse wit, the intensity of poetry, and the horror of the unnamable.
Unlike Magical Realism, where the characters accept the presence of fantastic beings or events as something natural, the characters of Caribbean Gothic recognize the existence of the supernatural and the magical, although knowing that they are alien to their reality, in sunny Caribbean landscapes or in tropical zones of deceptively bucolic appearance.
The formal proposals of these stories are as diverse as its contents, drawn with a subtle and fierce prose. Debtor of Anglo-Saxon and Latin American classics—E. A. Poe, Horacio Quiroga, Margaret Atwood, J. J. Arreola, H. P. Lovecraft and María Luisa Bombal—, the author of Extraños testimonios makes headway along a narrative path that distinguishes her from the rest of Ibero-American writers and, especially, from her Cuban colleagues.
The use of erotic, fantastic, and terrifying elements are the tools she uses in dealing with painfully human issues—the woman object, the rebel woman, the writer's conflicts with the creative act, the social reality, the fragility of the psyche—in hues passing through the most perverse wit, the intensity of poetry, and the horror of the unnamable.
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