There is a path to tell stories that only Nuria Labari seems to travel.
In her new novel,
The Last White Man
, the space to which the author leads appears at first to be the most conventional, a more or less close reality, a world of professional ambitions and labor problems.
You take a look at the flap, you see that it's about a directive that the little man has to do to succeed and you enter the novel thinking you're in familiar territory.
But as soon as you set foot inside you are catapulted into the stratosphere.
The poetry of Francisco Alba, which publishes
The Major Crime,
is for its part memory and forgetfulness, a review of the scars of contemporary civilization through a journey through its cultural emblems and mythological references.
In
The Affordable Dreams of Josefina Jarama
, Manuel Guedán returns to the subject of the labor market, but he does so from the perspective of denouncing a precariousness that particularly affects young people.
Montero Glez returns in
Carne de mermaid
to his personal style, unmistakable and mannerist, while Liliana Colanzi presents in
You shine in the dark
a set of stories written from the body whose characters feel overwhelmed by that predominance of the physical.
Stitch
, by Richard Stern addresses the subject of exile, voluntary or forced, of the artist in search of another environment for his writing.
Milorad Pavić in
Poisonous Mirrors
opens a door to a dream world and Putzi.
Hitler's Confidant, by
Thomas Snégaroff, is the biography of a quirky and quirky pianist.
The last recommendation for this week,
Foreign lovers,
proposes a journey through literary Spain with the help of Ana R. Cañil.
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