About
the Book
The
Guilt is mother of Serafin. She opens “Las Mariposas,” a
whorehouse, when her son is small. The boy grows up in that scene.
He becomes best buddies with Crescencio, who drowns in El Slato,
an abundant river.
When
he turns fourteen, a party is thrown on his honor, the brothel is
closed for Serafin’s own pleasure, who is initiated sexually by
his mother and one of her great friends, also a prostitute, who
will ask the young man to kill her lover, which would be the only
way to keep him by her side.
He
does as he is told and murders Moslem, stabbing a knife into his
chest. Both, the prostitute and friend, bury Moslem in the garden
of “Las Mariposas”.
The
young man becomes the protector of the girls. One night, Carolina
accuses Pedro for leaving the place without paying. Serafin takes
his jackknife and attacks him, giving him a scar on the cheek.
They become friends. Very good friends, in spite of the scar.
Pedro owns a grocery store, where both get together to drink beer.
He tells Serafin about his wife, a sexually repressed uptight
lady, and their son Alberto, a converted seminarian influenced by
his mother.
The
day Pedro’s son comes as a guest, he confesses to have killed a
girl, which was the reason he had come to seek his father. Serafin
brags about his crime. Little by little, consequences arise
throughout the scabrous revelations of both characters, until
Serafin, putting himself in Alberto’s place, the son of Pedro,
who apparently murdered a girl, kills his friend.
About
the Author
Juan Trigos
(1941-)
Creator
of the aesthetic literary style Hemofiction. Literature of
search which reflects on the bleeding of the consciousness in
multiple mirrors, where it contemplates with horror the thousand
faces of personal infantilism, process which endures desolation
and anguish, indispensable symptoms on the road to individuation,
path of ascension towards human. To be, it is necessary to suffer
an internal revolution, practically impossible to reach. Maybe,
someday, the spiritual awakening leads man to paradise – another
dimension of consciousness – which could mean the full
responsibility of which most characters, created by Juan Trigos,
run away from, precisely by humans.
Hemofiction
opens doors to the personal conscience of the author and, through
expansive reflection, towards the intimate knowledge of the adult
reader, who is capable to glimpse into ones own abysms. He stands
against the Europeanized concept of literature history, all class
of paradigms that oblige copy and diminished positions in writers
that start from a different spine for their creations and, for the
same, do not belong, nor want to belong, to a universal abstract
cultural sphere which tends to simplify the extreme richness of
the soul.
Hemofiction
is serous literature, points towards the exit of the everyday
insane asylum. Invents realities which seem like games where the
spiritual depth is illuminated by experience. This extraordinary
writer looks with pitiless objectivity the most darkest tendencies
of the human being. The works which have given him fame, are all
now united under the seal of Fontamara: Cuento del perro
bailarín, Déjame que te mate para ver si te extraño, La Llorona,
Mulata del diablo, La leyenda de Don Juan Manuel, La diabólica
santa de las tijeras, Callejón de las ratas, Policías y rateros,
El maniático homre de la bacinica, Leyenda del sapo matón, Crímenes
en la profesa, Rincón de las calaveras, Leyenda del hombre verde,
Diario de un cuervo humano, Mamá es loca o está poseída, El
tapado, Castigo, Divino placer, La guillotinita, La culpa,
JuanCamaleón, el hombre mimético, Carne y tripas de gusano, Hijo
de tamalera, Confesión de una muerta, Nuestra Señora del rostro
rasurado, Araña negra y peluda, La zarpa, Cuentos de hemoficción,
Leyenda de los espíritus, Yo digo que soy yo, pero quién sabe,
El hombre-reloj; and now in English: La Llorona, Let
Me Kill You to See if I Miss You, and The Guilt.
Ordering
Information
The Guilt
