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Descripción

Título: Two hundred and one miniature tales

Autor: Alejandro Eduardo Córdoba Sosa

Género: Narrativa Argentina

Palabras clave: Cuentos, Narraciones, Relatos, Idioma Inglés

Año publicación: 2014

ISBN: 978-987-711-210-8

Formatos disponible: E-book

Precio versión E-book: USD 6,99

¿Disponible para compra?: Sí[/box]

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[tabs slidertype=»top tabs»] [tabcontainer] [tabtext] Sinopsis[/tabtext] [tabtext]Indice [/tabtext] [/tabcontainer][tabcontent]

[tab]I think there is no better way of presenting this book of short stories (short in extension but not in the connotative field), than through the evocation of the prophet Walt Whitman, saying that each one of them sounds with the sharp note of the “barbaric yawp”, the howl of a spirit that reveals itself unfolding its wings.

It’s been a long time since I started crying my indomitable joy over the roofs that men build to block the heaven of the highest longings. It’s been a long time since I started beholding the endless dance of Fate, the one of the great and the one of the small, and I sing to them all because I am one of them.

Because I live with them, among the crowds that don’t know the reason of their sorrow nor the cause of their laughter, that is why I don´t want my “barbaric yawp” to get lost in the immensity of the skies but to sound and resound, bringing down the roofs of the world and echoing in the conscience of the liberated.

This book may contain passages from the Gospel of a man who decided to reconquer the hidden beauty of the Real through his alchemical power of aesthetic creation. Lead will be gold in contact with ideas; mediocrity will withdraw its grey veil and the poorly endowed will shine with an inconceivable light. Then the uneven proportion of earthly gifts will not be the standard and the munificent uniqueness of the thousands lurking in the shadows, recovered, will reconcile them with the burden of life.

The above goes as a minimum prologue of an esthetic manifesto of my own.

Now, the idea of writing flash fictions came to me from numerous influences, distant voices that echoed in my soul as inspiration and, perhaps, a certain conviction that from the viewpoint of a certain history dialectics, this form of narrative emerges as a synthesis that brings us closer to the ways in which our most ancient ancestors used to tell the facts of the physical and psychic world around them.

If I have to talk about the literature of this genre which influenced me, I should begin inevitably with China. The extremely brief apologues of the Taoist and Confucian philosophers, in their perfect minimum extension and closure, showed me how intuition and suggestiveness can become the essence of a tale, making an idea go beyond the limit of words.

Next to that cultural tradition, the Arabic poetry, as a rich heritage that comes from distant ancestors of my mother tongue, was to me an important source of poetic sense, aimed to embellish the idea that finally becomes a miniature tale.

On the antipodes (in some sort of cultural polarity), by reading the Icelandic Sagas, I found in the kennings of the Old Norse poetry, those exquisitely brief metaphoric “names” that were created by the poets the Viking called “skalds”, the immense beauty of an image transcending a concept.

Two hundred and one miniature tales could be considered a legatee of all those cultures among others which I have explored across the decades of a personal –and spiritual- search. Those stories resemble the multicolor bits of glass of my own creative kaleidoscope in whose mirrors I want to reflect the world in all its beauty, its mystery, its sublimity and its tragedy, the whole human cosmos for which everything on it is my concern, as Terence would have said. Before I conclude this short introduction, I’d like to say some words concerning the illustrations. From the beginning, the idea of including them in this volume proceeded from the rare quality they possess of being much more than just complementary to the text as it is usual for illustrations. Those paintings and drawings are the personal interpretation of Meli Valdés Sozzani, an extremely sensitive –and gifted- artist who was able to capture the essence of each tale she chose to inspire her, and surpass the confinement of the text, developing a whole new artistic experience. And so the book became unexpectedly –and fortunately- enriched. Finally, some words to the reader. Whoever you are that have chosen this book as much as it has chosen you, what you will realize when you enter in its secret halls full of mirrors where you would see your reflection and that of others; to you, the reader of this small “Gospel of Freedom”, whose parables often show the face of love and the one of cruelty, I want to bring my barbaric word, unlimited, fierce and happy as a rare music in the beginning unknown but suddenly recognized as beautiful.

Perhaps in that plethoric hour you may also sound your “barbaric yawp” no matter where you are because you will be free.

So be it.

Alejandro Córdoba Sosa

La Plata, Buenos Aires

2014[/tab]
[tab]Preface

About the English version

All the days of the world

Of freedom and Sin

The ‘Thou shalt kill’ tetragony

Passages of a New Decalogue

A theological revisitation

A cardinal revisitation[/tab]

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