difficult to find a starting point from which to portray literary fears that citizens of a country they have inherited from their own history. The springs that reactivate those fears can jump in any time and prosecute anyone at certain times, and that feeling passed Eloy M. Cebrián the best way possible through a versatile collection of stories that have a common ground, one that marks the fear, loneliness and insecurity as a modern city heritage.
These stories form a general review of the emotional devastation, reflecting the way this comes through in everyday life. For this collage, Eloy uses a multidimensional literary tradition, which draws on the classic pass Contemporary optics and untrammeled formal or thematic. To explain the multidimensional nature of the work can serve as an example the story "Anamorphosis" cornerstone of the book and, of course, true classic of the literature soon. Running
to time in several significant levels, "Anamorphosis" is a desperate cry for help from the narrator, who is the slave of his own fears and ambiguity of today's society that fluctuates between what is real and what better to consider it is more comfortable to take as fiction. Because pain is not there, or for which there is not suffering. But even for those who may be suffering more bearable its own negation, keep it hidden like a precious stone that regenerate to cherish but which in reality were eating into the vitals.
is the profound realism of this story, well anchored in the canon of fantasy literature, making it a masterpiece that articulates the rest of the book. Because the McGuffin of "Anamorphosis" is an individual who is tormented for being different from other people around, or at least what he sees from other people who are against him, has that invisible fourth dimension becomes a monster. And ultimately, all accounts of "Communion" plays with a multidimensional coordinate axes are among Borges, Bioy, Cortázar, Poe, Wilde, Lovecraft, Chekhov, Cheever or Carver, but also concepts such as postmodern pastiche, pop iconography, the self-ironic nostalgia, or introspective dialogue (contradiction made possible by the multiplicity of each person, each with its ghosts) . Between
manners, social critics, the legacy of the past, allegory, and literature fanstástica, Eloy M. Cebrián saved both fall on the one hand, realism shy that has so damaged the national development in recent times as great excess and loss of identity that can be brought about by an excess of imagination. In the first case, the author avoids any dogmatism and never falling into complacency with itself or with the characters, gives no compassion or falls on psychological subterfuge: we could say that morally, it is almost bressoniano. As for cutting the most fantastic stories, it is remarkable the cleaning exercise and control at every moment. Each story of the book is impeccable, and if someone can throw something at fault may be, at some point in time, the author decides to finally jump into the void and ignore any explanatory apostille classic sets the tone of certain stories. This, however, never losing touch all the necessary amphibology.
The characters in this joint accounts are children of their age, the Internet, mobile phones, stress and postmodern pastiche, but they are also sons of Catholicism more stale, decades and decades of dictatorship, the resentment, the bitterness, of a freedom never completely self-conscious, and vacuum can not face their own identity.
accounts structure, consistent with the multidimensional mentioned, also varies, ranging from the classical nineteenth century neat as to the coral mosaic inherited from Dos Passos and Faulkner, Borges allegory vacuum or aesthetics led by Raymond Carver to its ultimate consequences. This saves the book to be too flat or not formally appear consistent with his theoretical approach. So, all these influences are organized in a tree structure that part (to take an artificial start that does not exist and could be traced much further back) of Poe and Chekhov, founding head of the short story as a literary genre, and is opening, respectively, on the one hand by Wilde and other Cortázar and Jorge Luis Borges and John Cheever. But these influences not only plan on the book of Eloy Cebrián, because you can not forget the ubiquitous Kafka, shade it plans to force through Borges or Raymond Carver (and I believe, not without risk, Kafka is present, directly or indirectly, of anything interesting to write today.)
taking this look back And can not forget that the stories of "Communion" fully meet the requirements already established by the Infante Don Juan Manuel in the fourteenth century as central to their literary accuracy, clarity and brevity. The difference is that perhaps at that time was possible and even practical to reduce ideas, concepts and emotions to a final moral doctrines function as a catalyst. Eloy Cebrián is aware that it has long ceased to be possible, and the answer to a complex society must be an open literature, no moral or aesthetic hindrance, and can talk face to face with the material of his own being: the individuality of each of the readers.
These stories form a general review of the emotional devastation, reflecting the way this comes through in everyday life. For this collage, Eloy uses a multidimensional literary tradition, which draws on the classic pass Contemporary optics and untrammeled formal or thematic. To explain the multidimensional nature of the work can serve as an example the story "Anamorphosis" cornerstone of the book and, of course, true classic of the literature soon. Running
to time in several significant levels, "Anamorphosis" is a desperate cry for help from the narrator, who is the slave of his own fears and ambiguity of today's society that fluctuates between what is real and what better to consider it is more comfortable to take as fiction. Because pain is not there, or for which there is not suffering. But even for those who may be suffering more bearable its own negation, keep it hidden like a precious stone that regenerate to cherish but which in reality were eating into the vitals.
is the profound realism of this story, well anchored in the canon of fantasy literature, making it a masterpiece that articulates the rest of the book. Because the McGuffin of "Anamorphosis" is an individual who is tormented for being different from other people around, or at least what he sees from other people who are against him, has that invisible fourth dimension becomes a monster. And ultimately, all accounts of "Communion" plays with a multidimensional coordinate axes are among Borges, Bioy, Cortázar, Poe, Wilde, Lovecraft, Chekhov, Cheever or Carver, but also concepts such as postmodern pastiche, pop iconography, the self-ironic nostalgia, or introspective dialogue (contradiction made possible by the multiplicity of each person, each with its ghosts) . Between
manners, social critics, the legacy of the past, allegory, and literature fanstástica, Eloy M. Cebrián saved both fall on the one hand, realism shy that has so damaged the national development in recent times as great excess and loss of identity that can be brought about by an excess of imagination. In the first case, the author avoids any dogmatism and never falling into complacency with itself or with the characters, gives no compassion or falls on psychological subterfuge: we could say that morally, it is almost bressoniano. As for cutting the most fantastic stories, it is remarkable the cleaning exercise and control at every moment. Each story of the book is impeccable, and if someone can throw something at fault may be, at some point in time, the author decides to finally jump into the void and ignore any explanatory apostille classic sets the tone of certain stories. This, however, never losing touch all the necessary amphibology.
The characters in this joint accounts are children of their age, the Internet, mobile phones, stress and postmodern pastiche, but they are also sons of Catholicism more stale, decades and decades of dictatorship, the resentment, the bitterness, of a freedom never completely self-conscious, and vacuum can not face their own identity.
accounts structure, consistent with the multidimensional mentioned, also varies, ranging from the classical nineteenth century neat as to the coral mosaic inherited from Dos Passos and Faulkner, Borges allegory vacuum or aesthetics led by Raymond Carver to its ultimate consequences. This saves the book to be too flat or not formally appear consistent with his theoretical approach. So, all these influences are organized in a tree structure that part (to take an artificial start that does not exist and could be traced much further back) of Poe and Chekhov, founding head of the short story as a literary genre, and is opening, respectively, on the one hand by Wilde and other Cortázar and Jorge Luis Borges and John Cheever. But these influences not only plan on the book of Eloy Cebrián, because you can not forget the ubiquitous Kafka, shade it plans to force through Borges or Raymond Carver (and I believe, not without risk, Kafka is present, directly or indirectly, of anything interesting to write today.)
taking this look back And can not forget that the stories of "Communion" fully meet the requirements already established by the Infante Don Juan Manuel in the fourteenth century as central to their literary accuracy, clarity and brevity. The difference is that perhaps at that time was possible and even practical to reduce ideas, concepts and emotions to a final moral doctrines function as a catalyst. Eloy Cebrián is aware that it has long ceased to be possible, and the answer to a complex society must be an open literature, no moral or aesthetic hindrance, and can talk face to face with the material of his own being: the individuality of each of the readers.
Eloy M. Cebrián
And take the opportunity to comment that the book will be presented on December 3 in Madrid, in the library carveriana
Three yellow roses 
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