About
the Book
A new version of the
successful novel which was called "Amor del bueno", published in
1989. Urban entrails, beings suck in poverty (to the bone
and fried food), pulque, tortillas, beans and beer. Alleys
with no way out, which open the doors to drugs and felony -
corpses planted on asphalt, just because they wanted a few coins,
a crime of passion, or some ill thankfulness for justice. A
coin has two faces; one can show the face of a crook the other one
of a cop, both are similar but different at the same time.
In the slums, it's like flipping a coin, people are forcefully
assumed into certain positions. Teofilo, the protagonist of
this sensitive and marvelous novel, was made to become a crook.
When "his honey" appears in his life, his road is changed: Teofilo
wants to keep away from the machismo and ends up becoming
so.
He wants to become a
real good man, a husband instead of a pimp, and his girl - who is
used to being hit - and a policeman make his foul reality to force
him to use his claws.
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, The Guilt, and
Cops and Crooks.
Ordering
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