This summer will be remembered for server particularly relevant for two reasons: First, and most importantly, more personal and the second is the initiation into the universe strawberry, the first author I can say that his book speaks more to my sensibilities of what could express myself.
1. Both Kensington Gardens and Life of Saints contains a sensitivity characteristic marked by an increasingly defined style, Baroque and hallucinations, which seem to meet the debug standby (or mental) of all tastes from the author. If Borges was the result of the books read, Strawberry is just that and, according to the postmodern sensibility, is also the result of all their cultural preferences assimilated: Fresán engenders a narrative device, a universe in constant change (which takes its stories Sad Songs name) where introduced. Thus, a clear example would be to Kensington Gardens where you can see how the song A day in the life of The Beatles, which seems to make the story he was given the hand next to the songs of The Kinks.
2. Before its baroque marked characteristic product of the constant use of his digressions which, after all, is the hallmark of that brand of strawberry. In the stories of strawberries, and speak more to life watching Santos Kensington Gardens, the story is told just dirtied by the narrator's digression, while at the same time becomes what defines the personality of its own character / narrator each story. Already Fresán himself says in an article on its own style " certain key absences are the watchwords as or more that certain recurring and similar occurrences "
3. In Vida de Santos, his second novel, is a common factor in the theme of every story: the earthly religion as an excuse to believe in something they think important, a care plan and perfect. The characters are lost sheep, with a special talent or some mental deformity, a fact that need to exorcise the past that marks great present. Remembering to forget: A form of catharsis. Perhaps the reason that most of the stories contain a sort of grim irony implicit in each sentence.
4.A of the greatest genius of the book lies in the originality with which it forms the narrative of some stories. In the excellent "The memory of all things"-the story about most in both substance and form to Kensington Gardens, Fresán mechanism makes his story as if it were to enter the palace of memory created by Ricci, mentioned in the story itself.
5. As in Kensington Gardens, it appears the shadow or the ghost of the narrative. The phantom according Fresán, you set in Kensington Gardens as
"Ghosts are not dead-alive, but living-dead. The power of your memory is installed in our present and the dead are brought before us in the most unexpected moments (...) The power of that memory is the food that nourishes the ghost. "
A halo that has remained elusive in the background, but still come and that reappears at the end hard to close the account (the ghost of the dead Llewellyn Davies family in Gardens Kensington that seem to be the reason that Peter committed suicide, according strawberry Life Jude Santos, who acts as ubiquitous secondary to star in the last story in the book). An example, in the words of Jude:
"Finally I speak for myself and not through the mouths and eyes dazzled with whom I met during these past two centuries"
6. final chapter is precisely that which has just to round out the book. Fresán seems to erect a metaphor for the narrative. Jude may be the alter ego of Fresán. Fresán has played with the reader the same way that Jude has played with players of all accounts with a fait great without revealing the truth behind it. Jude, then, is (change location per person) "Shadow in the shade within the shadow. The place where the various ingredients of the plot hook. " A beautiful metaphor for the narrator as predigitador. "Now go, now you do not see."
