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亘賷丿乇賵 亘丕乇丕賲賵
賮賷 毓丕賲 1953 丕賱賯丕氐 賵丕賱乇賵丕卅賷 丕賱賲賰爻賷賰賷 禺賵丕賳 乇賵賱賮賵貙 賵賴賵 賮賷 丕賱禺丕賲爻丞 賵丕賱孬賱丕孬賷賳 賲賳 丕賱毓賲乇貙 亘賲噩賲賵毓丞 賯氐氐 賯氐賷乇丞 爻鬲丐孬乇 賮賷賲丕 亘毓丿 毓賱賶 賰鬲賾丕亘 賲賳 噩賲賷毓 兀賳丨丕亍 兀賲賷乇賰丕 丕賱賱丕鬲賷賳賷丞貙 丕賱賲噩賲賵毓丞 丕賱賯氐氐賷丞 亘毓賳賵丕賳: "丕賱爻賴亘 丕賱賲賱鬲賴亘".
丨賷孬 丕鬲賮賯 丌賳匕丕賰 丕賱噩賲賴賵乇 賵丕賱賳賯丿 兀賳 乇賵賱賮賵 賯氐丕氐 廿爻鬲孬賳丕卅賷貙 賷毓賷丿 禺賱賯 丕賱賱睾丞 丕賱賮賱丕丨賷丞 亘氐賵乇丞 毓噩賷亘丞 賵亘鬲賯賳賷丞 噩丿賷丿丞貙 賲賵囟賵毓賷鬲賴 賲鬲賲丕爻賰丞貙 兀氐賷賱丞貙 賳丕賯丿丞貙 賵賰賱 賴匕丕 亘廿賯鬲氐丕丿 賲匕賴亘 賮賷 丕賱賵爻丕卅賱 賵亘卮丕毓乇賷丞 睾乇賷亘丞貙 賵丕毓鬲亘乇 乇賵賱賮賵 賮賷 丕賱爻賳鬲賷賳 丕賱鬲丕賱賷鬲賷賳 賱氐丿賵乇 丕賱賰鬲丕亘貙 胤賱賷毓丞 丕賱賵丕賯毓賷丞 丕賱噩丿賷丿丞 丕賱賲賰爻賷賰賷丞貙 胤賱賷毓丞 丕賱賮賵賱賰賱賵乇賷丞貙 胤賱賷毓丞 丕賱馗購乇賮貙 胤賱賷毓丞 丕賱兀丿亘 丕賱賲毓亘乇 毓賳 丕賱爻賰丕賳 丕賱兀氐賱賷賷賳貙 賵胤賱賷毓丞 丕賱賰鬲丕亘 丕賱賲賱鬲夭賲賷賳貙 賵乇賮毓賴 亘毓囟 丕賱爻賷丕爻賷賷賳 賰乇丕賷丞貙 賵賰丕賳 乇賵賱賮賵 賷賯賵賱 毓賳 賰賱 賴匕丕: "賱爻鬲 賰丕鬲亘丕賸 賲丨鬲乇賮丕賸貙 廿賳賳賷 賲噩乇丿 賴丕賵賺 兀賰鬲亘 毓賳丿賲丕 鬲兀鬲賷賳賷 丕賱賴賵丕賷丞".
賵毓賳丿賲丕 馗賴乇鬲 乇賵丕賷丞 亘賷丿乇賵 亘丕乇賾丕賲賵 毓丕賲 1955貙 廿賳賴丕乇 亘乇噩 丕賱賵丕賯毓賷丞 丕賱匕賷 卮賷丿賵賴 賱乇賵賱賮賵貙 廿賳賴丕乇 賲毓 丕賱乇丕賷丞 賵賲毓 賰賱 卮賷亍: 丕賱乇賵丕賷丞 賲丨囟 卮毓賵匕丞貙 賱賰賳 丕賱賳賯丕丿 賱丕 賷賮賯丿賵賳 丕賱丨賲丕爻丞貙 賱兀賳 乇丕卅丨丞 丕賱賱睾丞 鬲賯賵賱 廿賳賴丕 乇賵丕賷丞 丨丕匕賯丞貙 賮賷卮賷丿賵賳 亘乇噩丕賸 丌禺乇貙 兀毓賱賶 賯賱賷賱丕賸 賲賳 爻丕亘賯賴貙 賱賰賳賴 兀囟毓賮 亘賳賷丕賳丕賸.
賱賯丿 兀氐亘丨 乇賵賱賮賵 丕賱丌賳 丕賱爻賷賲賷丕賵賷 丕賱兀賰亘乇貙 丕賱爻丕丨乇 丕賱兀毓馗賲 丕賱匕賷 賷匕乇毓 賲禺丕亘卅賴 賵兀賯亘賷鬲賴 丕賱賲爻賰賵賳丞 亘丕賱兀乇賵丕丨貙 賵亘丕賱賮丨賷丨 丕賱賱賷賱賷 丕賱匕賷 賷購毓賯丿 賱賴 丕賱賳氐乇 丕賱丨丕爻賲貙 賵賳賯乇兀 毓賱賶 丕賱亘胤丕賯丕鬲 丕賱噩丿賷丿丞貙 賵丕賯毓賷丞 爻丨乇賷丞貙 兀丿亘 禺賷丕賱賷貙 賲丿丕禺賱丞 卮丕毓乇賷丞 賱賱孬賵乇丞 丕賱賲丨亘胤丞貙 兀丿亘 兀丨賱丕賲貙 乇丐賷丞 乇賲夭賷丞 賱賱兀爻丕胤賷乇 丕賱賲賰爻賷賰賷丞 丕賱毓馗賷賲丞.
亘賷丿乇賵 亘丕乇賾丕賲賵 賰鬲丕亘 賱賷爻 賲賳 丕賱爻賴賱 丕賱廿賲爻丕賰 亘賴貙 賰鬲丕亘 睾夭賷乇 賱丕 賷賳囟亘 賲毓賷賳賴貙 廿賳賴 乇丨賱丞 睾賷乇 賲兀賱賵賮丞 賷賯丕丿 廿賱賷賴丕 丕賱賯丕乇卅 賲賳 賷丿賴 毓亘乇 乇賵丨 禺賵丕賳 亘乇賷孬賷丕丿賵 丕賱胤賷亘丞 廿賱賶 兀毓賲丕賯 丕賱亘丿賷賴丞貙 賵賱賷爻鬲 噩賲賷毓 丕賱乇丨賱丕鬲 廿賱賶 賰賵賲丕賱丕 - 毓丕賱賲 丕賱兀賲賵丕鬲 - 賲鬲卮丕亘賴丞 丿丕卅賲丕賸貙 賵賱丕 鬲鬲賰卮賮 賮賷賴丕 丕賱兀乇賰丕賳 匕丕鬲賴丕 賱噩賲賷毓 丕賱夭賵丕乇.
賱匕賱賰貙 賮廿賳賴 賲賳 丕賱氐亘賷丕賳賷丞 廿賱鬲夭丕賲 鬲賮爻賷乇 賵丕丨丿 賱賭賭"亘賷丿乇賵 亘丕乇賾丕賲賵" 卮禺氐賷丕鬲 丕賱賲兀爻丕丞 賯丿 賲丕鬲鬲 賰賱賴丕貙 賵賴賷 鬲毓賷卮 賮賷 賯亘賵乇賴丕 賲丨賰賵賲丞 亘賯賵丕賳賷賳 兀禺乇賶貙 賮賱丕 賷亘賯賶 兀賲丕賲賳丕 廿賱丕 丕賱丿賳賵 亘丌匕丕賳賳丕 賲賳 丕賱丨噩丕乇丞 賵丕賱廿爻鬲賲丕毓 廿賱賶 賴賲爻賴丕貙 廿賱賶 賯氐氐 丨亘賴丕 賵丨賯丿賴丕貙 賵廿賱賶 兀丨賱丕賲賴丕.
丨賷孬 丕鬲賮賯 丌賳匕丕賰 丕賱噩賲賴賵乇 賵丕賱賳賯丿 兀賳 乇賵賱賮賵 賯氐丕氐 廿爻鬲孬賳丕卅賷貙 賷毓賷丿 禺賱賯 丕賱賱睾丞 丕賱賮賱丕丨賷丞 亘氐賵乇丞 毓噩賷亘丞 賵亘鬲賯賳賷丞 噩丿賷丿丞貙 賲賵囟賵毓賷鬲賴 賲鬲賲丕爻賰丞貙 兀氐賷賱丞貙 賳丕賯丿丞貙 賵賰賱 賴匕丕 亘廿賯鬲氐丕丿 賲匕賴亘 賮賷 丕賱賵爻丕卅賱 賵亘卮丕毓乇賷丞 睾乇賷亘丞貙 賵丕毓鬲亘乇 乇賵賱賮賵 賮賷 丕賱爻賳鬲賷賳 丕賱鬲丕賱賷鬲賷賳 賱氐丿賵乇 丕賱賰鬲丕亘貙 胤賱賷毓丞 丕賱賵丕賯毓賷丞 丕賱噩丿賷丿丞 丕賱賲賰爻賷賰賷丞貙 胤賱賷毓丞 丕賱賮賵賱賰賱賵乇賷丞貙 胤賱賷毓丞 丕賱馗購乇賮貙 胤賱賷毓丞 丕賱兀丿亘 丕賱賲毓亘乇 毓賳 丕賱爻賰丕賳 丕賱兀氐賱賷賷賳貙 賵胤賱賷毓丞 丕賱賰鬲丕亘 丕賱賲賱鬲夭賲賷賳貙 賵乇賮毓賴 亘毓囟 丕賱爻賷丕爻賷賷賳 賰乇丕賷丞貙 賵賰丕賳 乇賵賱賮賵 賷賯賵賱 毓賳 賰賱 賴匕丕: "賱爻鬲 賰丕鬲亘丕賸 賲丨鬲乇賮丕賸貙 廿賳賳賷 賲噩乇丿 賴丕賵賺 兀賰鬲亘 毓賳丿賲丕 鬲兀鬲賷賳賷 丕賱賴賵丕賷丞".
賵毓賳丿賲丕 馗賴乇鬲 乇賵丕賷丞 亘賷丿乇賵 亘丕乇賾丕賲賵 毓丕賲 1955貙 廿賳賴丕乇 亘乇噩 丕賱賵丕賯毓賷丞 丕賱匕賷 卮賷丿賵賴 賱乇賵賱賮賵貙 廿賳賴丕乇 賲毓 丕賱乇丕賷丞 賵賲毓 賰賱 卮賷亍: 丕賱乇賵丕賷丞 賲丨囟 卮毓賵匕丞貙 賱賰賳 丕賱賳賯丕丿 賱丕 賷賮賯丿賵賳 丕賱丨賲丕爻丞貙 賱兀賳 乇丕卅丨丞 丕賱賱睾丞 鬲賯賵賱 廿賳賴丕 乇賵丕賷丞 丨丕匕賯丞貙 賮賷卮賷丿賵賳 亘乇噩丕賸 丌禺乇貙 兀毓賱賶 賯賱賷賱丕賸 賲賳 爻丕亘賯賴貙 賱賰賳賴 兀囟毓賮 亘賳賷丕賳丕賸.
賱賯丿 兀氐亘丨 乇賵賱賮賵 丕賱丌賳 丕賱爻賷賲賷丕賵賷 丕賱兀賰亘乇貙 丕賱爻丕丨乇 丕賱兀毓馗賲 丕賱匕賷 賷匕乇毓 賲禺丕亘卅賴 賵兀賯亘賷鬲賴 丕賱賲爻賰賵賳丞 亘丕賱兀乇賵丕丨貙 賵亘丕賱賮丨賷丨 丕賱賱賷賱賷 丕賱匕賷 賷購毓賯丿 賱賴 丕賱賳氐乇 丕賱丨丕爻賲貙 賵賳賯乇兀 毓賱賶 丕賱亘胤丕賯丕鬲 丕賱噩丿賷丿丞貙 賵丕賯毓賷丞 爻丨乇賷丞貙 兀丿亘 禺賷丕賱賷貙 賲丿丕禺賱丞 卮丕毓乇賷丞 賱賱孬賵乇丞 丕賱賲丨亘胤丞貙 兀丿亘 兀丨賱丕賲貙 乇丐賷丞 乇賲夭賷丞 賱賱兀爻丕胤賷乇 丕賱賲賰爻賷賰賷丞 丕賱毓馗賷賲丞.
亘賷丿乇賵 亘丕乇賾丕賲賵 賰鬲丕亘 賱賷爻 賲賳 丕賱爻賴賱 丕賱廿賲爻丕賰 亘賴貙 賰鬲丕亘 睾夭賷乇 賱丕 賷賳囟亘 賲毓賷賳賴貙 廿賳賴 乇丨賱丞 睾賷乇 賲兀賱賵賮丞 賷賯丕丿 廿賱賷賴丕 丕賱賯丕乇卅 賲賳 賷丿賴 毓亘乇 乇賵丨 禺賵丕賳 亘乇賷孬賷丕丿賵 丕賱胤賷亘丞 廿賱賶 兀毓賲丕賯 丕賱亘丿賷賴丞貙 賵賱賷爻鬲 噩賲賷毓 丕賱乇丨賱丕鬲 廿賱賶 賰賵賲丕賱丕 - 毓丕賱賲 丕賱兀賲賵丕鬲 - 賲鬲卮丕亘賴丞 丿丕卅賲丕賸貙 賵賱丕 鬲鬲賰卮賮 賮賷賴丕 丕賱兀乇賰丕賳 匕丕鬲賴丕 賱噩賲賷毓 丕賱夭賵丕乇.
賱匕賱賰貙 賮廿賳賴 賲賳 丕賱氐亘賷丕賳賷丞 廿賱鬲夭丕賲 鬲賮爻賷乇 賵丕丨丿 賱賭賭"亘賷丿乇賵 亘丕乇賾丕賲賵" 卮禺氐賷丕鬲 丕賱賲兀爻丕丞 賯丿 賲丕鬲鬲 賰賱賴丕貙 賵賴賷 鬲毓賷卮 賮賷 賯亘賵乇賴丕 賲丨賰賵賲丞 亘賯賵丕賳賷賳 兀禺乇賶貙 賮賱丕 賷亘賯賶 兀賲丕賲賳丕 廿賱丕 丕賱丿賳賵 亘丌匕丕賳賳丕 賲賳 丕賱丨噩丕乇丞 賵丕賱廿爻鬲賲丕毓 廿賱賶 賴賲爻賴丕貙 廿賱賶 賯氐氐 丨亘賴丕 賵丨賯丿賴丕貙 賵廿賱賶 兀丨賱丕賲賴丕.
184 pages, Paperback
First published March 19, 1955
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About the author
Juan Rulfo
123听books1,769听followersJuan Perez Rulfo
Juan Rulfo naci贸 el 16 de mayo de 1917 脡l sostuvo que esto ocurri贸 en la casa familiar de Apulco, Jalisco, aunque fue registrado en la ciudad de Sayula, donde se conserva su acta de nacimiento. Vivi贸 en la peque帽a poblaci贸n de San Gabriel, pero las tempranas muertes de su padre, primero (1923), y de su madre poco despu茅s (1927), obligaron a sus familiares a inscribirlo en un internado en Guadalajara, la capital del estado de Jalisco.
Durante sus a帽os en San Gabriel entr贸 en contacto con la biblioteca de un cura (b谩sicamente literaria), depositada en la casa familiar, y recordar谩 siempre estas lecturas, esenciales en su formaci贸n literaria. Algunos acostumbran destacar su temprana orfandad como determinante en su vocaci贸n art铆stica, olvidando que su conocimiento temprano de los libros mencionados tendr铆a un peso mayor en este terreno.
Una huelga de la Universidad de Guadalajara le impide inscribirse en ella y decide trasladarse a la ciudad de M茅xico. La imposibilidad de revalidar los estudios hechos en Jalisco tampoco le permite ingresar a la Universidad Nacional, pero asiste como oyente a los cursos de historia del arte de la Facultad de Filosof铆a y Letras. Se convierte as铆 en un conocedor muy serio de la bibliograf铆a hist贸rica, antropol贸gica y geogr谩fica de M茅xico, temas que un estudio minucioso de su obra literaria y fotogr谩fica permite rastrear en las mismas, adem谩s de los textos y la labor editorial que les dedic贸. Durante buena parte de las d茅cadas de 1930 y 1940 viaja extensamente por el pa铆s, trabaja en Guadalajara o en la ciudad de M茅xico y a partir de 1945 comienza a publicar sus cuentos en dos revistas: Am茅rica, de la capital, y Pan, de Guadalajara. La primera de ellas significa su confirmaci贸n como escritor, gracias al apoyo de su gran amigo Efr茅n Hern谩ndez. Publica sus im谩genes por primera vez, tambi茅n en Am茅rica, en 1949. Pero fue a finales de la d茅cada de 1930 cuando se iniciaba como escritor y fot贸grafo, aunque pocos sab铆an de esto.
A mediados de los cuarenta da comienzo tambi茅n su relaci贸n amorosa con Clara Aparicio, de la que queda el testimonio epistolar (publicado en 2000 en Aire de las colinas. Cartas a Clara). Se casa con ella en 1948 y los hijos aumentar谩n la familia poco a poco. Abandona su trabajo en una empresa fabricante de neum谩ticos a principios de los cincuenta y obtiene en 1952 la primera de dos becas consecutivas (1952-1953 y 1953-1954) que le otorga el Centro Mexicano de Escritores, fundado por la estadounidense Margaret Shedd, quien fue sin duda la persona determinante para que Rulfo publicase en 1953 El Llano en llamas (donde re煤ne siete cuentos ya publicados en Am茅rica e incorpora otros ocho, nuevos) y, en 1955, Pedro P谩ramo (novela de la que public贸 tres adelantos en 1954, en las revistas Las letras patrias, Universidad de M茅xico y Dintel). En 1958 termina de escribir su segunda novela (muy breve), El gallo de oro, que no se publicar谩 hasta 1980. En 2010 aparece la edici贸n definitiva de esta 煤ltima obra, despu茅s de una revisi贸n cuidadosa del original que permiti贸 eliminar errores e inconsistencias de la versi贸n previamente conocida.
A partir de la publicaci贸n de los dos primeros t铆tulos el prestigio literario de Rulfo habr谩 de incrementarse de manera constante, hasta convertirse en el escritor mexicano m谩s reconocido en M茅xico y el extranjero. Entre sus admiradores se cuentan Mario Benedetti, Jos茅 Mar铆a Arguedas, Carlos Fuentes, Jorge Luis Borges, Gabriel Garc铆a M谩rquez, G眉nter Grass, Susan Sontag, Elias Canetti, Tahar Ben Jelloun, Urs Widmer, Gao Xingjian, Kenzaburo Oe, Enrique Vila-Matas y muchos otros. Muri贸 el 7 de enero de 1986.
Juan Rulfo naci贸 el 16 de mayo de 1917 脡l sostuvo que esto ocurri贸 en la casa familiar de Apulco, Jalisco, aunque fue registrado en la ciudad de Sayula, donde se conserva su acta de nacimiento. Vivi贸 en la peque帽a poblaci贸n de San Gabriel, pero las tempranas muertes de su padre, primero (1923), y de su madre poco despu茅s (1927), obligaron a sus familiares a inscribirlo en un internado en Guadalajara, la capital del estado de Jalisco.
Durante sus a帽os en San Gabriel entr贸 en contacto con la biblioteca de un cura (b谩sicamente literaria), depositada en la casa familiar, y recordar谩 siempre estas lecturas, esenciales en su formaci贸n literaria. Algunos acostumbran destacar su temprana orfandad como determinante en su vocaci贸n art铆stica, olvidando que su conocimiento temprano de los libros mencionados tendr铆a un peso mayor en este terreno.
Una huelga de la Universidad de Guadalajara le impide inscribirse en ella y decide trasladarse a la ciudad de M茅xico. La imposibilidad de revalidar los estudios hechos en Jalisco tampoco le permite ingresar a la Universidad Nacional, pero asiste como oyente a los cursos de historia del arte de la Facultad de Filosof铆a y Letras. Se convierte as铆 en un conocedor muy serio de la bibliograf铆a hist贸rica, antropol贸gica y geogr谩fica de M茅xico, temas que un estudio minucioso de su obra literaria y fotogr谩fica permite rastrear en las mismas, adem谩s de los textos y la labor editorial que les dedic贸. Durante buena parte de las d茅cadas de 1930 y 1940 viaja extensamente por el pa铆s, trabaja en Guadalajara o en la ciudad de M茅xico y a partir de 1945 comienza a publicar sus cuentos en dos revistas: Am茅rica, de la capital, y Pan, de Guadalajara. La primera de ellas significa su confirmaci贸n como escritor, gracias al apoyo de su gran amigo Efr茅n Hern谩ndez. Publica sus im谩genes por primera vez, tambi茅n en Am茅rica, en 1949. Pero fue a finales de la d茅cada de 1930 cuando se iniciaba como escritor y fot贸grafo, aunque pocos sab铆an de esto.
A mediados de los cuarenta da comienzo tambi茅n su relaci贸n amorosa con Clara Aparicio, de la que queda el testimonio epistolar (publicado en 2000 en Aire de las colinas. Cartas a Clara). Se casa con ella en 1948 y los hijos aumentar谩n la familia poco a poco. Abandona su trabajo en una empresa fabricante de neum谩ticos a principios de los cincuenta y obtiene en 1952 la primera de dos becas consecutivas (1952-1953 y 1953-1954) que le otorga el Centro Mexicano de Escritores, fundado por la estadounidense Margaret Shedd, quien fue sin duda la persona determinante para que Rulfo publicase en 1953 El Llano en llamas (donde re煤ne siete cuentos ya publicados en Am茅rica e incorpora otros ocho, nuevos) y, en 1955, Pedro P谩ramo (novela de la que public贸 tres adelantos en 1954, en las revistas Las letras patrias, Universidad de M茅xico y Dintel). En 1958 termina de escribir su segunda novela (muy breve), El gallo de oro, que no se publicar谩 hasta 1980. En 2010 aparece la edici贸n definitiva de esta 煤ltima obra, despu茅s de una revisi贸n cuidadosa del original que permiti贸 eliminar errores e inconsistencias de la versi贸n previamente conocida.
A partir de la publicaci贸n de los dos primeros t铆tulos el prestigio literario de Rulfo habr谩 de incrementarse de manera constante, hasta convertirse en el escritor mexicano m谩s reconocido en M茅xico y el extranjero. Entre sus admiradores se cuentan Mario Benedetti, Jos茅 Mar铆a Arguedas, Carlos Fuentes, Jorge Luis Borges, Gabriel Garc铆a M谩rquez, G眉nter Grass, Susan Sontag, Elias Canetti, Tahar Ben Jelloun, Urs Widmer, Gao Xingjian, Kenzaburo Oe, Enrique Vila-Matas y muchos otros. Muri贸 el 7 de enero de 1986.
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October 30, 2024
It has been a few years since I first encountered Pedro P谩ramo from Juan Rulfo but my joy over the novel and its first sting of brilliance have never faded. It鈥檚 a novel I am frequently reminded of, not only due to it being alluded to in many other works I鈥檝e read but also its ghostly vibes of rot and decay are the first to come to mind when encountering dark and decaying towns in any form of media. Not only is this retranslation an excellent update on the language, one (who鈥檚 novel Faces in the Crowd鈥攁 favorite I highly recommend鈥攍eans heavily into homage to Rulfo鈥檚 work) refers to as 鈥�by far, the best of Rulfo in English,鈥� but also just a great excuse to reread the book. Rulfo himself once said in an interview that Pedro P谩ramo was intended to be read at least three times before it could be truly understood. Though another reason this is worth reading is for the introduction by the late, great .
Marquez writes that reading Rulfo for the first time 鈥�will without doubt be an essential chapter in my memoirs,鈥� an experience on par with his first experience with . It is a interesting little tale, where Marquez was handed a copy by friend 脕lvaro Mutis and told 鈥�read this and learn.鈥� He did, and fell in love with it. How could you not. 鈥�They number scarcely more than three hundred pages,鈥� he writes of these marvelous pages of literature, 鈥�but they are as great鈥攁nd, I believe, as enduring鈥攁s those of Sophocles.鈥� Coming from Marquez, that鈥檚 about as great an endorsement as one can get, though for those still curious I鈥檝e left my original review intact below.
鈥�The sun was tumbling over things, giving them form once again. The ruined, sterile earth lay before him.鈥�
There are passages of Juan Rulfo鈥檚 exquisite 鈥�Pedro P谩ramo鈥� that I want to cut out and hang upon my walls like a valuable painting. Because that is what this novel is, a purely beautiful surrealistic painting of a hellish Mexico where words are the brushstrokes and the ghastly, ghostly tone is the color palate. Rulfo鈥檚 short tale is an utter masterpiece, and the forerunner of magical realism鹿鈥攁 dark swirling fog of surrealism and horror that is both simple and weightless, yet weighs heavy like an unpardonable sin upon the readers heart and soul.
Rulfo鈥檚 book is easily digested in a sitting or two, yet will nourish (or cling like a parasite to) your literary soul for an eternity. A dazzling surrealism coupled with a simple, yet potent prose make this an unforgettable classic, and one that has inspired many great authors since its first printing. A hellish portrait of society, brilliantly incorporating political events to help illustrate an abominable image of the dark side of Mexican history, Rulfo immortalizes himself and his homeland into myth and legend. A must read that will haunt you like the pale specters whose voices echo forever in the streets of Comala.
4.5/5
鈥�This town is filled with echoes. It's like they were trapped behind the walls, or beneath the cobblestones. When you walk you feel like someone's behind you, stepping in your footsteps. You hear rustlings. And people laughing. Laughter that sounds used up. And voices worn away by the years.鈥�
鹿 , who once said of Rulfo鈥檚 novel 鈥業 could recite the whole book, forwards and backwards,鈥� (), credits the book as playing a major chord of inspiration in his brand of 鈥榤agical realism鈥�.
Marquez writes that reading Rulfo for the first time 鈥�will without doubt be an essential chapter in my memoirs,鈥� an experience on par with his first experience with . It is a interesting little tale, where Marquez was handed a copy by friend 脕lvaro Mutis and told 鈥�read this and learn.鈥� He did, and fell in love with it. How could you not. 鈥�They number scarcely more than three hundred pages,鈥� he writes of these marvelous pages of literature, 鈥�but they are as great鈥攁nd, I believe, as enduring鈥攁s those of Sophocles.鈥� Coming from Marquez, that鈥檚 about as great an endorsement as one can get, though for those still curious I鈥檝e left my original review intact below.
鈥�The sun was tumbling over things, giving them form once again. The ruined, sterile earth lay before him.鈥�
There are passages of Juan Rulfo鈥檚 exquisite 鈥�Pedro P谩ramo鈥� that I want to cut out and hang upon my walls like a valuable painting. Because that is what this novel is, a purely beautiful surrealistic painting of a hellish Mexico where words are the brushstrokes and the ghastly, ghostly tone is the color palate. Rulfo鈥檚 short tale is an utter masterpiece, and the forerunner of magical realism鹿鈥攁 dark swirling fog of surrealism and horror that is both simple and weightless, yet weighs heavy like an unpardonable sin upon the readers heart and soul.
Nights around here are filled with ghosts. You should see all the spirits walking through the streets. As soon as it is dark they begin to come out. No one likes to see them. There鈥檚 so many of them and so few of us that we don鈥檛 even make the effort to pray for them anymore, to help them out of their purgatory. We don鈥檛 have enough prayers to go around鈥hen there are our sins on top of theirs. None of us still living is in God鈥檚 grace. We can鈥檛 lift up our eyes, because they鈥檙e filled with shame.When Juan Preciado visit鈥檚 his mother鈥檚 home of Comala to his father, the long deceased and 鈥�pure bile鈥� of a man, Pedro P谩ramo, he finds a town of rot and decay filled with ghosts, both figuratively and literally. This is a place of utter damnation, where the sins of a family are so strong that their bloodstained hands have tainted and tarnished the immortal souls of all they come in contact with, leaving in their wake a trail of withered, writhing spirits condemned to forever inhabit their hellish homes. There is nothing pleasant鈥攁side from the intense, striking poetry of Rulfo鈥檚 words鈥攖o be found in the history of Comala, a town burdened by a list of sins so long and dark that even the preacher鈥檚 soul cannot escape from the vile vortex.
Life is hard as it is. The only thing that keeps you going is the hope that when you die you鈥檒l be lifted off this mortal coil; but when they close one door to you and the only one left open is the door to Hell, you鈥檙e better off not being born鈥�This violent, vitriolic landscape forges an unforgettable portrait of Rulfo鈥檚 Mexico, eternally encapsulating his vision into the glorious dimensions of myth. The small novel reads like a bedtime story meant to instill good morality in children through fear, while still enchanting their mind鈥檚 eye with a disintegrating stage furnished by crumbling, cadaverous buildings and populated by doomed phantoms. His style is phenomenal, effortlessly swapping between past and present, character to character, all in order to build a montage of madness and damnation.
Rulfo鈥檚 book is easily digested in a sitting or two, yet will nourish (or cling like a parasite to) your literary soul for an eternity. A dazzling surrealism coupled with a simple, yet potent prose make this an unforgettable classic, and one that has inspired many great authors since its first printing. A hellish portrait of society, brilliantly incorporating political events to help illustrate an abominable image of the dark side of Mexican history, Rulfo immortalizes himself and his homeland into myth and legend. A must read that will haunt you like the pale specters whose voices echo forever in the streets of Comala.
4.5/5
鈥�This town is filled with echoes. It's like they were trapped behind the walls, or beneath the cobblestones. When you walk you feel like someone's behind you, stepping in your footsteps. You hear rustlings. And people laughing. Laughter that sounds used up. And voices worn away by the years.鈥�
鹿 , who once said of Rulfo鈥檚 novel 鈥業 could recite the whole book, forwards and backwards,鈥� (), credits the book as playing a major chord of inspiration in his brand of 鈥榤agical realism鈥�.
January 11, 2023
Juan Rulfo was one of those who stood at the beginning of magic realism.
Pedro P谩ramo is a descent into the hell of human memory, a plunge into an abyss of the dire past 鈥� the hero travels to find his father but he finds himself astray in the land of the dead.
The novel is the Gehenna of despair and the Tartarus of sorrow and there is nowhere to hide so one must pass through the labyrinth of insufferable agony.
Destiny makes us travel though the strange valleys鈥�
Pedro P谩ramo is a descent into the hell of human memory, a plunge into an abyss of the dire past 鈥� the hero travels to find his father but he finds himself astray in the land of the dead.
Behind him, as he left, he heard the murmuring.
I am lying in the same bed where my mother died so long ago; on the same mattress, beneath the same black wool coverlet she wrapped us in to sleep. I slept beside her, her little girl, in the special place she made for me in her arms.
I think I can still feel the calm rhythm of her breathing; the palpitations and sighs that soothed my sleep... I think I feel the pain of her death... But that isn't true.
Here I lie, flat on my back, hoping to forget my loneliness by remembering those times.
Because I am not here just for a while. And I am not in my mother's bed but in a black box like the ones for burying the dead. Because I am dead.
The novel is the Gehenna of despair and the Tartarus of sorrow and there is nowhere to hide so one must pass through the labyrinth of insufferable agony.
Destiny makes us travel though the strange valleys鈥�
December 29, 2022
鈥淰ivo en conversaci贸n con los difuntos. Y con mis ojos escucho a los muertos.鈥� Francisco de Quevedo
Hay libros que son m谩gicos. Libros que hechizan. Libros que atrapan al lector desde sus l铆neas y que juegan con 茅l a su gusto. Libros que tienen ese poder de envolvernos dentro de un halo de magia, misterio y belleza. Uno de esos libros se llama "Pedro P谩ramo" y fue escrito en 1955 por Juan Rulfo, un correcto y simple empleado administrativo del Departamento de Migraci贸n del D.F. mexicano quien, sin saberlo se transformar铆a en el mito literario m谩s glorioso que dio M茅xico (puedo afirmar esto sin titubear) pero con el aliciente de tener escritos tan s贸lo un pu帽ado de libros.
Para ser exactos escribi贸 tres libros: 茅ste, su magn铆fica colecci贸n de cuentos "El llano en llamas" y "El gallo de oro", su 煤ltima novela, escrita cuando Rulfo ya se hab铆a retirado para siempre de la escritura y por pedido insistente del medio literario que le imploraba no abandonar ese don tan maravilloso que pose铆a para escribir.
Ese libro, que originalmente se llam贸 "El hijo del desconsuelo", ten铆a m谩s de trescientas p谩ginas, pero Rulfo decidi贸 deshacerse de todo lo superfluo, repetitivo o exageradamente detallista para transformarlo en una novela de poco m谩s de cien p谩ginas con el texto justo para la complejidad que posee.
Como dije, "Pedro P谩ramo" es un libro que a m铆 me hechiza, me sorprende, enciende todos mis sentidos. Es m谩gico, 煤nico, imposible de imitar, distinto, eterno como la muerte que recorre sus hojas.
La t茅cnica narrativa de Rulfo es maravillosa: lleva a su narrador, Juan Preciado, a partir de la promesa que le hace a su madre, Dolores Preciado, a iniciar su camino en busca de su padre, Pedro P谩ramo, sin saber que es uno de los tantos hijos que este hombre, que fuera caudillo, amo y se帽or de su pueblo y para ello recorre las desoladas calles de Comala, un aut茅ntico "ghost town" en donde se encontrar谩 con lo sobrenatural, lo fant谩stico y lo ilusorio.
"Pedro P谩ramo" no es un libro para lectores desprevenidos. Requiere una atenci贸n extrema y una concentraci贸n necesaria para no perderse como su narrador sin saber qu茅 es lo que realmente est谩 sucediendo mientras leemos la historia.
Es que es precisamente all铆 donde Rulfo utiliza una t茅cnica narrativa 煤nica, pocas veces vista en otros libros y que consiste, por un lado de interpolar los di谩logos de Juan Preciado con las personas que encuentra y ve (o cree ver) y que son los muertos que alguna vez pisaron ese pueblo.
Otra caracter铆stica genial de la novela son esos saltos temporales al pasado y sus vueltas al presente de Juan Preciado.
Cuando el lector termina de entender qu茅 es realmente lo que pasa, se encontrar谩 con infinidad de an茅cdotas del Pedro P谩ramo ni帽o, adolescente y adulto, pero tambi茅n de otros personajes claves del libro como lo son Dolores Preciado, Eduviges Dyada, Abundio Mart铆nez, Susana San Juan, Damiana Cisneros, Fulgor Sedano, Miguel P谩ramo y el Padre Renter铆a.
Para complicar la trama de la novela, Rulfo se vale de no dividirla en cap铆tulos sino de escribirla desgran谩ndola en sesenta y nueve fragmentos que trabajan a dos planos, esto es, por un lado el plano de Juan Preciado: de c贸mo narra su historia, de lo que le sucede luego de llegar a Comala (adem谩s de c贸mo es su final all铆, en ese pueblo) y en el otro plano el de los otros personajes con los ya mencionados saltos espaciales y temporales que transforman a "Pedro P谩ramo" en una novela puzle, compleja pero de alt铆simo vuelo po茅tico y narrativo.
Varias frases de este libro son tan hermosas que me es imposible dejar de incluirlas en esta rese帽a. Cito algunas:
"Aquello est谩 sobre las brasas de la tierra, en la mera boca del Infierno. Con decirle que muchos de los que all铆 se mueren, al llegar al Infierno vuelven por sus cobijas."
"Cada suspiro es como un sorbo de vida del que uno se deshace."
"Encontrar谩s m谩s cercana la voz de mis recuerdos que la de mi muerte, si es que alguna vez la muerte ha tenido alguna voz."
"驴La ilusi贸n? Eso cuesta caro. A m铆 me cost贸 vivir m谩s de lo debido."
"La muerte no se reparte como si fuera un bien. Nadie anda en busca de tristezas."
"Nada puede durar tanto, no existe ning煤n recuerdo por intenso que sea que no se apague."
"Esos animales nunca duermen... son como el Diablo, que siempre anda buscando almas para llev谩rselas al Infierno."
Comala es una especie de Infierno. Al menos lo es para sus almas en pena. Los muertos no s贸lo deambulan por el pueblo como fantasmas que son, sino que siguen sinti茅ndose como "vivos" dentro de sus sepulturas; se mueven, escuchan y hablan como en "Bobok", ese cuento de Dostoievski.
Personalmente posiciono a Comala como el precursor de Macondo y sostengo que este libro es de un realismo m谩gico distinto al de Gabriel Garc铆a M谩rquez porque traspasa los l铆mites de la vida y la muerte durante toda la novela.
Por ejemplo, en "Cien a帽os de soledad", Aureliano Buend铆a, ya muerto, permanece atado al casta帽o del patio, pero es s贸lo uno de los tantos personajes de esa novela, mientras que aqu铆, en "Pedro P谩ramo" incluye a la totalidad de los que habitan el pueblo.
Nada es real. Juan Preciado no puede asegurar que aquellos a los que ve est谩n vivos porque est谩 ya lejos de discernir esta diferencia e inevitablemente va siendo arrastrado al mismo final. Es vapuleado por un entorno que no puede dominar y lentamente se va transformando en uno m谩s de Comala, ese pueblo imaginario que Rulfo recre贸 a partir otros que conoci贸 (Talpa, Sayula, su pueblo natal, San Gabriel, el de su adolescencia, Jalisco y otros m谩s) aparece en la novela de dos maneras, el Comala id铆lico o ideal, que es la que sue帽an de j贸venes Susana San Juan, Dolores Preciado y hasta el mismo Pedro P谩ramo y el Comala infernal; ese pueblo devastado, 谩rido y fantasmal en donde s贸lo sopla el viento y se resecan las piedras al sol.
A veces pienso en Rulfo y en su corta pero muy contundente carrera literaria: tan s贸lo dos novelas y un libro de cuentos. Pensar que si uno colocara estos libros junto a los de otros tan prol铆ficos como Balzac o Dickens no tendr铆a reparos en reconocer que no hace falta escribir miles y miles de p谩ginas para transformarse en un escritor inmortal y Juan Rulfo se lo merece con creces.
Por eso es eterno.
Hay libros que son m谩gicos. Libros que hechizan. Libros que atrapan al lector desde sus l铆neas y que juegan con 茅l a su gusto. Libros que tienen ese poder de envolvernos dentro de un halo de magia, misterio y belleza. Uno de esos libros se llama "Pedro P谩ramo" y fue escrito en 1955 por Juan Rulfo, un correcto y simple empleado administrativo del Departamento de Migraci贸n del D.F. mexicano quien, sin saberlo se transformar铆a en el mito literario m谩s glorioso que dio M茅xico (puedo afirmar esto sin titubear) pero con el aliciente de tener escritos tan s贸lo un pu帽ado de libros.
Para ser exactos escribi贸 tres libros: 茅ste, su magn铆fica colecci贸n de cuentos "El llano en llamas" y "El gallo de oro", su 煤ltima novela, escrita cuando Rulfo ya se hab铆a retirado para siempre de la escritura y por pedido insistente del medio literario que le imploraba no abandonar ese don tan maravilloso que pose铆a para escribir.
Ese libro, que originalmente se llam贸 "El hijo del desconsuelo", ten铆a m谩s de trescientas p谩ginas, pero Rulfo decidi贸 deshacerse de todo lo superfluo, repetitivo o exageradamente detallista para transformarlo en una novela de poco m谩s de cien p谩ginas con el texto justo para la complejidad que posee.
Como dije, "Pedro P谩ramo" es un libro que a m铆 me hechiza, me sorprende, enciende todos mis sentidos. Es m谩gico, 煤nico, imposible de imitar, distinto, eterno como la muerte que recorre sus hojas.
La t茅cnica narrativa de Rulfo es maravillosa: lleva a su narrador, Juan Preciado, a partir de la promesa que le hace a su madre, Dolores Preciado, a iniciar su camino en busca de su padre, Pedro P谩ramo, sin saber que es uno de los tantos hijos que este hombre, que fuera caudillo, amo y se帽or de su pueblo y para ello recorre las desoladas calles de Comala, un aut茅ntico "ghost town" en donde se encontrar谩 con lo sobrenatural, lo fant谩stico y lo ilusorio.
"Pedro P谩ramo" no es un libro para lectores desprevenidos. Requiere una atenci贸n extrema y una concentraci贸n necesaria para no perderse como su narrador sin saber qu茅 es lo que realmente est谩 sucediendo mientras leemos la historia.
Es que es precisamente all铆 donde Rulfo utiliza una t茅cnica narrativa 煤nica, pocas veces vista en otros libros y que consiste, por un lado de interpolar los di谩logos de Juan Preciado con las personas que encuentra y ve (o cree ver) y que son los muertos que alguna vez pisaron ese pueblo.
Otra caracter铆stica genial de la novela son esos saltos temporales al pasado y sus vueltas al presente de Juan Preciado.
Cuando el lector termina de entender qu茅 es realmente lo que pasa, se encontrar谩 con infinidad de an茅cdotas del Pedro P谩ramo ni帽o, adolescente y adulto, pero tambi茅n de otros personajes claves del libro como lo son Dolores Preciado, Eduviges Dyada, Abundio Mart铆nez, Susana San Juan, Damiana Cisneros, Fulgor Sedano, Miguel P谩ramo y el Padre Renter铆a.
Para complicar la trama de la novela, Rulfo se vale de no dividirla en cap铆tulos sino de escribirla desgran谩ndola en sesenta y nueve fragmentos que trabajan a dos planos, esto es, por un lado el plano de Juan Preciado: de c贸mo narra su historia, de lo que le sucede luego de llegar a Comala (adem谩s de c贸mo es su final all铆, en ese pueblo) y en el otro plano el de los otros personajes con los ya mencionados saltos espaciales y temporales que transforman a "Pedro P谩ramo" en una novela puzle, compleja pero de alt铆simo vuelo po茅tico y narrativo.
Varias frases de este libro son tan hermosas que me es imposible dejar de incluirlas en esta rese帽a. Cito algunas:
"Aquello est谩 sobre las brasas de la tierra, en la mera boca del Infierno. Con decirle que muchos de los que all铆 se mueren, al llegar al Infierno vuelven por sus cobijas."
"Cada suspiro es como un sorbo de vida del que uno se deshace."
"Encontrar谩s m谩s cercana la voz de mis recuerdos que la de mi muerte, si es que alguna vez la muerte ha tenido alguna voz."
"驴La ilusi贸n? Eso cuesta caro. A m铆 me cost贸 vivir m谩s de lo debido."
"La muerte no se reparte como si fuera un bien. Nadie anda en busca de tristezas."
"Nada puede durar tanto, no existe ning煤n recuerdo por intenso que sea que no se apague."
"Esos animales nunca duermen... son como el Diablo, que siempre anda buscando almas para llev谩rselas al Infierno."
Comala es una especie de Infierno. Al menos lo es para sus almas en pena. Los muertos no s贸lo deambulan por el pueblo como fantasmas que son, sino que siguen sinti茅ndose como "vivos" dentro de sus sepulturas; se mueven, escuchan y hablan como en "Bobok", ese cuento de Dostoievski.
Personalmente posiciono a Comala como el precursor de Macondo y sostengo que este libro es de un realismo m谩gico distinto al de Gabriel Garc铆a M谩rquez porque traspasa los l铆mites de la vida y la muerte durante toda la novela.
Por ejemplo, en "Cien a帽os de soledad", Aureliano Buend铆a, ya muerto, permanece atado al casta帽o del patio, pero es s贸lo uno de los tantos personajes de esa novela, mientras que aqu铆, en "Pedro P谩ramo" incluye a la totalidad de los que habitan el pueblo.
Nada es real. Juan Preciado no puede asegurar que aquellos a los que ve est谩n vivos porque est谩 ya lejos de discernir esta diferencia e inevitablemente va siendo arrastrado al mismo final. Es vapuleado por un entorno que no puede dominar y lentamente se va transformando en uno m谩s de Comala, ese pueblo imaginario que Rulfo recre贸 a partir otros que conoci贸 (Talpa, Sayula, su pueblo natal, San Gabriel, el de su adolescencia, Jalisco y otros m谩s) aparece en la novela de dos maneras, el Comala id铆lico o ideal, que es la que sue帽an de j贸venes Susana San Juan, Dolores Preciado y hasta el mismo Pedro P谩ramo y el Comala infernal; ese pueblo devastado, 谩rido y fantasmal en donde s贸lo sopla el viento y se resecan las piedras al sol.
A veces pienso en Rulfo y en su corta pero muy contundente carrera literaria: tan s贸lo dos novelas y un libro de cuentos. Pensar que si uno colocara estos libros junto a los de otros tan prol铆ficos como Balzac o Dickens no tendr铆a reparos en reconocer que no hace falta escribir miles y miles de p谩ginas para transformarse en un escritor inmortal y Juan Rulfo se lo merece con creces.
Por eso es eterno.
December 23, 2022
UN RANCORE VIVENTE
Francisco Goya viene spesso in mente leggendo queste pagine. Qui 鈥淧ellegrinaggio a San Isidro鈥�, 1820-23, Madrid, Prado.
Questo 猫 Pedro P谩ramo, un rancore vivente.
Perch茅 era prepotente, come nessuno, e pi霉 di tutti.
Perch茅 ha fatto il bello e il cattivo tempo, il bello per s茅, il cattivo per gli altri. Perch茅 ha disseminato quella parte di Messico di figli, tutti figli non riconosciuti tranne uno.
Ancora Goya: 鈥淚 due vecchi鈥�, 1820-23, Madrid, Prado.
Rulfo va all鈥檈ssenziale, se scrive un saluto, tralascia la risposta.
E io ho problemi con la gente che si lascia, o chiude una conversazione, senza salutare, ancora peggio se evita di rispondere al saluto dell鈥檌nterlocutore.
Gli stessi problemi, che per antitesi, ho con chi, come da invalsa pratica, si accommiata dicendo 鈥渃iao ciao ciao ciao ciao ciao鈥�.鈥�.
In questo, mi rendo conto, ricalco le orme del Moretti di Palombella rossa.
Ma Nanni, che piacciano i suoi film o meno, 猫 ormai davvero patrimonio nazionale, citato almeno quanto Tot貌. E pi霉 di Albertone.
Juan Rulfo era anche fotografo: qui uno dei suoi magnifici scatti.
E ho problemi col realismo magico.
E quindi dovrei avere problemi anche con questo Pedro P谩ramo, che da qualcuno viene considerato il padre del realismo magico, e si dice abbia ispirato a Marquez il suo celebre capolavoro.
Invece, non ne ho, non problemi con Rulfo.
Come dicevo, Rulfo salta i convenevoli.
Cos矛 come salta nel tempo, i piani temporali si susseguono bruschi senza avvertimento.
Bruschi, e magici. I sessanta e passa anni di vita di questo romanzo sembrano ieri, o oggi, ma anche domani.
Fotografia di Juan Rulfo.
Rulfo compie altri salti: per esempio quello di punto di vista, ora 猫 un narratore intradiegetico, ora invece extradiegetico, ora autodiegetico ora eterodiegetico, ora omodiegetico, ora invece diegetico (io invece non salto, li elenco tutti).
Altrettanto repentinamente si passa dal 鈥榯u鈥� al 鈥榣ei鈥�: ma siccome quel 鈥榯u鈥� dura una battuta sola, mi viene da pensare che sia opera (maldestra) di Einaudi, non di Rulfo.
Una delle bellissime fotografie di Juan Rulfo.
I morti parlano, i morti passano a salutare prima di andar via definitivamente, i morti si mescolano ai vivi, si muore di tristezza, si muore sospirando, perch茅 ogni sospiro 猫 come un sorso di vita che se ne va, Rulfo sa come gestire la magia.
E io, che credo poco all鈥檃ldiqua, men che meno all鈥檃ldil脿, mi scopro ad avere una fascinazione particolare per la letteratura dove i morti si mescolano ai vivi, quasi fosse difficile separarli. Penso al magnifico romanzo di Satta, Il giorno del giudizio, penso ovviamente a Spoon River. Leggere Pedro P谩ramo 猫 un po' come sognare un sogno triste e confuso.
Versione del dio serpente piumato, Quetzalcoat, che si mangia la coda.
Dopo un breve inizio, in cui l鈥檃pparente protagonista Juan Preciado parte alla ricerca del padre mai conosciuto, il Pedro P谩ramo del titolo, perch茅 lo ha promesso alla madre morente, dopo poche pagine ci si perde in un universo altro, in un intrico di storie che sembra le radici di una pianta amazzonica, in una circolarit脿 che ricorda l鈥橴roboro e annulla il presente nel passato.
Rulfo si guadagn貌 da vivere scrivendo e fotografando, ma la scrittura fu soprattutto cinematografica, le opere narrative sono una manciata. E viene da pensare che la gabbia (e le griglie) delle sceneggiature lo spinsero a scatenarsi quando dedito a romanzi e racconti. A scatenarsi in un febbricitante delirio.
Un鈥檃ltra magnifica fotografia di Juan Rulfo.
Francisco Goya viene spesso in mente leggendo queste pagine. Qui 鈥淧ellegrinaggio a San Isidro鈥�, 1820-23, Madrid, Prado.
Questo 猫 Pedro P谩ramo, un rancore vivente.
Perch茅 era prepotente, come nessuno, e pi霉 di tutti.
Perch茅 ha fatto il bello e il cattivo tempo, il bello per s茅, il cattivo per gli altri. Perch茅 ha disseminato quella parte di Messico di figli, tutti figli non riconosciuti tranne uno.
Ancora Goya: 鈥淚 due vecchi鈥�, 1820-23, Madrid, Prado.
Rulfo va all鈥檈ssenziale, se scrive un saluto, tralascia la risposta.
E io ho problemi con la gente che si lascia, o chiude una conversazione, senza salutare, ancora peggio se evita di rispondere al saluto dell鈥檌nterlocutore.
Gli stessi problemi, che per antitesi, ho con chi, come da invalsa pratica, si accommiata dicendo 鈥渃iao ciao ciao ciao ciao ciao鈥�.鈥�.
In questo, mi rendo conto, ricalco le orme del Moretti di Palombella rossa.
Ma Nanni, che piacciano i suoi film o meno, 猫 ormai davvero patrimonio nazionale, citato almeno quanto Tot貌. E pi霉 di Albertone.
Juan Rulfo era anche fotografo: qui uno dei suoi magnifici scatti.
E ho problemi col realismo magico.
E quindi dovrei avere problemi anche con questo Pedro P谩ramo, che da qualcuno viene considerato il padre del realismo magico, e si dice abbia ispirato a Marquez il suo celebre capolavoro.
Invece, non ne ho, non problemi con Rulfo.
Come dicevo, Rulfo salta i convenevoli.
Cos矛 come salta nel tempo, i piani temporali si susseguono bruschi senza avvertimento.
Bruschi, e magici. I sessanta e passa anni di vita di questo romanzo sembrano ieri, o oggi, ma anche domani.
Fotografia di Juan Rulfo.
Rulfo compie altri salti: per esempio quello di punto di vista, ora 猫 un narratore intradiegetico, ora invece extradiegetico, ora autodiegetico ora eterodiegetico, ora omodiegetico, ora invece diegetico (io invece non salto, li elenco tutti).
Altrettanto repentinamente si passa dal 鈥榯u鈥� al 鈥榣ei鈥�: ma siccome quel 鈥榯u鈥� dura una battuta sola, mi viene da pensare che sia opera (maldestra) di Einaudi, non di Rulfo.
Una delle bellissime fotografie di Juan Rulfo.
I morti parlano, i morti passano a salutare prima di andar via definitivamente, i morti si mescolano ai vivi, si muore di tristezza, si muore sospirando, perch茅 ogni sospiro 猫 come un sorso di vita che se ne va, Rulfo sa come gestire la magia.
E io, che credo poco all鈥檃ldiqua, men che meno all鈥檃ldil脿, mi scopro ad avere una fascinazione particolare per la letteratura dove i morti si mescolano ai vivi, quasi fosse difficile separarli. Penso al magnifico romanzo di Satta, Il giorno del giudizio, penso ovviamente a Spoon River. Leggere Pedro P谩ramo 猫 un po' come sognare un sogno triste e confuso.
Versione del dio serpente piumato, Quetzalcoat, che si mangia la coda.
Dopo un breve inizio, in cui l鈥檃pparente protagonista Juan Preciado parte alla ricerca del padre mai conosciuto, il Pedro P谩ramo del titolo, perch茅 lo ha promesso alla madre morente, dopo poche pagine ci si perde in un universo altro, in un intrico di storie che sembra le radici di una pianta amazzonica, in una circolarit脿 che ricorda l鈥橴roboro e annulla il presente nel passato.
Rulfo si guadagn貌 da vivere scrivendo e fotografando, ma la scrittura fu soprattutto cinematografica, le opere narrative sono una manciata. E viene da pensare che la gabbia (e le griglie) delle sceneggiature lo spinsero a scatenarsi quando dedito a romanzi e racconti. A scatenarsi in un febbricitante delirio.
Un鈥檃ltra magnifica fotografia di Juan Rulfo.
September 26, 2021
Pedro P谩ramo = Pedro Paramo (1955), Juan Rulfo
Pedro Paramo is a novel written by Juan Rulfo about a man named Juan Preciado who travels to his recently deceased mother's hometown, Comala, to find his father, only to come across a literal ghost town鈹€populated, that is, by spectral figures.
Paramo was a key influence on Latin American writers such as Gabriel Garc铆a M谩rquez. Gabriel Garc铆a M谩rquez has said that he felt blocked as a novelist after writing his first four books and that it was only his life-changing discovery of Pedro P谩ramo in 1961 that opened his way to the composition of his masterpiece, One Hundred Years of Solitude.
Moreover, Garc铆a M谩rquez claimed that he "could recite the whole book, forwards and backwards." Jorge Luis Borges considered Pedro Paramo to be one of the greatest texts written in any language.
Pedro Paramo has been translated into more than 30 different languages and the English version has sold more than a million copies in the United States.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 卮丕賳夭丿賴賲 賲丕賴 1990賲蹖賱丕丿蹖
毓賳賵丕賳: 倬丿乇賵 倬丕乇丕賲賵貨 賳賵蹖爻賳丿賴: 禺賵丕賳 乇賵賱賮賵貨 賲鬲乇噩賲: 丕丨賲丿 诏賱卮蹖乇蹖貨 趩丕倬 賳禺爻鬲: 鬲賴乇丕賳貙 讴鬲丕亘 鬲賴乇丕賳貙 1363貨 丿乇 133氐貨 趩丕倬 丿蹖诏乇 丕氐賮賴丕賳貙 賳卮乇 賮乇丿丕貙 1371貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賲讴夭蹖讴 - 爻丿賴 20賲
毓賳賵丕賳: 倬丿乇賵 倬丕乇丕賲賵貨 賳賵蹖爻賳丿賴: 禺賵丕賳 乇賵賱賮賵貨 賲鬲乇噩賲: 讴蹖賵賲乇孬 倬丕乇爻丕蹖貨 鬲賴乇丕賳貙 趩賱趩賱賴貙 1395貨 丿乇 176氐貨 卮丕亘讴 9789649027081貨
毓賳賵丕賳: 倬丿乇賵 倬丕乇丕賲賵貨 賳賵蹖爻賳丿賴: 禺賵丕賳 乇賵賱賮賵貨 賲鬲乇噩賲: 讴丕賵賴 賲蹖乇毓亘丕爻蹖貨 鬲賴乇丕賳貙 賲丕賴蹖貙 1395貨 丿乇 176氐貨 卮丕亘讴 9789649042091貨
丿乇 丿丕爻鬲丕賳 芦倬丿乇賵 倬丕乇丕賲賵禄貙 賲乇丿蹖 亘賳丕 亘乇 賵氐蹖鬲 賲丕丿乇卮貙 丿乇 噩爻鬲噩賵蹖 乇丿蹖 丕夭 倬丿乇 賴乇诏夭 賳丿蹖丿賴 蹖 禺賵蹖卮 芦倬丿乇賵 倬丕乇丕賲賵禄貙 乇丕賴蹖 爻賮乇 賲蹖卮賵丿貨 倬丿乇蹖 讴賴 夭賳丿诏蹖 丕卮貙 賴賲丕賳賳丿 賲丨鬲賵蹖丕鬲 氐賳丿賵賯 芦倬丕賳丿賵乇丕禄爻鬲貨 賲賯氐丿 爻賮乇貙 噩丕蹖蹖 亘賴 賳丕賲 芦讴賵賲丕賱丕禄貨 丿賴讴丿賴 丕蹖 賲鬲乇賵讴 丕爻鬲貙 讴賴 丕乇賵丕丨 爻丕讴賳丕賳 倬蹖卮蹖賳卮貙 丿乇 丌賳噩丕 丿乇 诏卮鬲 賵 诏匕丕乇 賴爻鬲賳丿貙 卮丕蹖丿 亘丕 鬲讴蹖賴 亘乇 賴賲蹖賳 亘乇賴丕賳 賭 賵 亘賴 鬲賳丕爻亘 丌卮賮鬲诏蹖賴丕蹖 毓丕賱賲 丕乇賵丕丨 賭 丕爻鬲貙 讴賴 賳賵蹖爻賳丿賴貙 卮蹖賵賴 蹖 乇賵丕蹖鬲 毓噩蹖亘 賵 倬蹖趩蹖丿賴 丕蹖 乇丕 亘乇丕蹖 賳诏丕乇卮 丿丕爻鬲丕賳 禺賵蹖卮 亘乇诏夭蹖丿賴貨 卮蹖賵賴 丕蹖 讴賴 亘丕毓孬 賲蹖卮賵丿 禺賵丕賳卮诏乇 丿乇 噩丕蹖 噩丕蹖 丿丕爻鬲丕賳 賳賴 趩賳丿丕賳 亘賱賳丿貙 趩賳丿蹖賳 亘丕乇 亘丕 丿蹖诏乇 卮丿賳 芦賲賵囟賵毓禄貙 芦乇丕賵蹖禄貙 賵 芦夭賲丕賳禄 乇賵亘乇賵 卮賵丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 03/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/07/1400賴噩乇蹖 禺賵乇卮蹖丿貨 丕. 卮乇亘蹖丕賳蹖
Pedro Paramo is a novel written by Juan Rulfo about a man named Juan Preciado who travels to his recently deceased mother's hometown, Comala, to find his father, only to come across a literal ghost town鈹€populated, that is, by spectral figures.
Paramo was a key influence on Latin American writers such as Gabriel Garc铆a M谩rquez. Gabriel Garc铆a M谩rquez has said that he felt blocked as a novelist after writing his first four books and that it was only his life-changing discovery of Pedro P谩ramo in 1961 that opened his way to the composition of his masterpiece, One Hundred Years of Solitude.
Moreover, Garc铆a M谩rquez claimed that he "could recite the whole book, forwards and backwards." Jorge Luis Borges considered Pedro Paramo to be one of the greatest texts written in any language.
Pedro Paramo has been translated into more than 30 different languages and the English version has sold more than a million copies in the United States.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 卮丕賳夭丿賴賲 賲丕賴 1990賲蹖賱丕丿蹖
毓賳賵丕賳: 倬丿乇賵 倬丕乇丕賲賵貨 賳賵蹖爻賳丿賴: 禺賵丕賳 乇賵賱賮賵貨 賲鬲乇噩賲: 丕丨賲丿 诏賱卮蹖乇蹖貨 趩丕倬 賳禺爻鬲: 鬲賴乇丕賳貙 讴鬲丕亘 鬲賴乇丕賳貙 1363貨 丿乇 133氐貨 趩丕倬 丿蹖诏乇 丕氐賮賴丕賳貙 賳卮乇 賮乇丿丕貙 1371貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賲讴夭蹖讴 - 爻丿賴 20賲
毓賳賵丕賳: 倬丿乇賵 倬丕乇丕賲賵貨 賳賵蹖爻賳丿賴: 禺賵丕賳 乇賵賱賮賵貨 賲鬲乇噩賲: 讴蹖賵賲乇孬 倬丕乇爻丕蹖貨 鬲賴乇丕賳貙 趩賱趩賱賴貙 1395貨 丿乇 176氐貨 卮丕亘讴 9789649027081貨
毓賳賵丕賳: 倬丿乇賵 倬丕乇丕賲賵貨 賳賵蹖爻賳丿賴: 禺賵丕賳 乇賵賱賮賵貨 賲鬲乇噩賲: 讴丕賵賴 賲蹖乇毓亘丕爻蹖貨 鬲賴乇丕賳貙 賲丕賴蹖貙 1395貨 丿乇 176氐貨 卮丕亘讴 9789649042091貨
丿乇 丿丕爻鬲丕賳 芦倬丿乇賵 倬丕乇丕賲賵禄貙 賲乇丿蹖 亘賳丕 亘乇 賵氐蹖鬲 賲丕丿乇卮貙 丿乇 噩爻鬲噩賵蹖 乇丿蹖 丕夭 倬丿乇 賴乇诏夭 賳丿蹖丿賴 蹖 禺賵蹖卮 芦倬丿乇賵 倬丕乇丕賲賵禄貙 乇丕賴蹖 爻賮乇 賲蹖卮賵丿貨 倬丿乇蹖 讴賴 夭賳丿诏蹖 丕卮貙 賴賲丕賳賳丿 賲丨鬲賵蹖丕鬲 氐賳丿賵賯 芦倬丕賳丿賵乇丕禄爻鬲貨 賲賯氐丿 爻賮乇貙 噩丕蹖蹖 亘賴 賳丕賲 芦讴賵賲丕賱丕禄貨 丿賴讴丿賴 丕蹖 賲鬲乇賵讴 丕爻鬲貙 讴賴 丕乇賵丕丨 爻丕讴賳丕賳 倬蹖卮蹖賳卮貙 丿乇 丌賳噩丕 丿乇 诏卮鬲 賵 诏匕丕乇 賴爻鬲賳丿貙 卮丕蹖丿 亘丕 鬲讴蹖賴 亘乇 賴賲蹖賳 亘乇賴丕賳 賭 賵 亘賴 鬲賳丕爻亘 丌卮賮鬲诏蹖賴丕蹖 毓丕賱賲 丕乇賵丕丨 賭 丕爻鬲貙 讴賴 賳賵蹖爻賳丿賴貙 卮蹖賵賴 蹖 乇賵丕蹖鬲 毓噩蹖亘 賵 倬蹖趩蹖丿賴 丕蹖 乇丕 亘乇丕蹖 賳诏丕乇卮 丿丕爻鬲丕賳 禺賵蹖卮 亘乇诏夭蹖丿賴貨 卮蹖賵賴 丕蹖 讴賴 亘丕毓孬 賲蹖卮賵丿 禺賵丕賳卮诏乇 丿乇 噩丕蹖 噩丕蹖 丿丕爻鬲丕賳 賳賴 趩賳丿丕賳 亘賱賳丿貙 趩賳丿蹖賳 亘丕乇 亘丕 丿蹖诏乇 卮丿賳 芦賲賵囟賵毓禄貙 芦乇丕賵蹖禄貙 賵 芦夭賲丕賳禄 乇賵亘乇賵 卮賵丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 03/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/07/1400賴噩乇蹖 禺賵乇卮蹖丿貨 丕. 卮乇亘蹖丕賳蹖
October 20, 2023
Second reading. Surprisingly readable prose for such a dense and multi-layered story. A young man follows his mother's dying wish to return to the village of her birth and make Pedro P谩ramo, the young man's father, pay for the abandonment of his family. What follows is something like the descent into Dante's . The young man, Juan Preciado, and his Virgil, a burro-driver named Abundio 鈥� also a son of P谩ramo 鈥� make their way down the long road to the village. The village of the mother's youth is now a ghost town in which the living and the dead meet freely. What we might call the present action is rendered in the first-person voice of Juan Preciado. Spasmodically then the prose will switch to a third-person narration of life in the village long ago. The P谩ramos are a murderous bunch of thieves who take what they want, including the young women, who are always inexplicably grateful for being knocked up by them. Once we've switched to the third-person voice and back a few times, we begin to get a number of other first-person voices from those who once lived in the village. But don't let this put you off, for despite the multiple voices and a few touches of surrealism the book's not at all difficult for those who read attentively. ( introduces the text with a bit of well-earned praise and an explanation of how influential Pedro P谩ramo has been among Latin-American writers.) I suppose my favorite sequence is when those buried in the local graveyard listen to each other and comment on what is being said! Superficially, the novella seems close to Machado de Assis's own worthwhile , but that's an acerbic comedy compared to this piece of profound gravitas. Not to be missed.
April 1, 2018
螝伪蟿伪蟻蠂维蟼, 未畏位蠋谓蠅 渭蔚 蟺维蟽伪 蔚喂位喂魏蟻委谓蔚喂伪 蠈蟿喂 蔚委谓伪喂 蟿慰 渭慰谓伪未喂魏蠈 尾喂尾位委慰 蟿慰 慰蟺慰委慰 渭蠈位喂蟼 蟿慰 蟿蔚位蔚委蠅蟽伪 蟿慰 尉伪谓伪苇蟺喂伪蟽伪 蔚尉 伪蟻蠂萎蟼 纬喂伪 渭喂伪 未蔚蠉蟿蔚蟻畏 伪谓维纬谓蠅蟽畏.
螌蠂喂 蔚蟺蔚喂未萎 渭蔚 未蠀蟽魏蠈位蔚蠄蔚 萎 渭慰蠀 蠁维谓畏魏蔚 伪魏伪蟿伪谓蠈畏蟿慰 魏伪喂 渭蟺蔚蟻未蔚渭苇谓慰, 伪蟺蔚谓伪谓蟿委伪蟼, 未喂蠈蟿喂 萎胃蔚位伪 谓伪 尉伪谓伪魏慰蠉蟽蠅 蟿慰蠀蟼 胃慰蟻蠉尾慰蠀蟼 蟿慰蠀 魏伪喂 蟿喂蟼 蠁蠅谓苇蟼 蟿慰蠀.
螡伪 渭蔚 蟽魏慰蟿蠋蟽慰蠀谓 蟿伪 渭慰蠀蟻渭慰蠀蟻畏蟿维 魏伪喂 慰喂 位苇尉蔚喂蟼 蟽喂蠅蟺萎蟼. 螇胃蔚位伪 谓伪 尉伪谓伪蟺维蠅 蔚魏蔚委 蟺慰蠀 胃伪 苇谓喂蠅胃伪 魏伪喂 蟺维位喂 蟺喂慰 魏慰谓蟿维 蟿畏 蠁蠅谓萎 蟿蠅谓 伪谓伪渭谓萎蟽蔚蠅谓 伪蟺慰 伪蠀蟿萎 蟿慰蠀 胃伪谓维蟿慰蠀 蟽伪谓 谓慰蟽蟿伪位纬喂魏萎 伪谓伪蟿蟻喂蠂委位伪.
螒谓 尾苇尾伪喂伪 慰 胃维谓伪蟿慰蟼 蔚委蠂蔚 蟺慰蟿苇 蠁蠅谓萎.
螝伪蟿维 未蔚蠉蟿蔚蟻慰谓,渭蔚 纬慰萎蟿蔚蠀蟽蔚 畏 螝慰渭维位伪 魏伪喂 萎胃蔚位伪 谓伪 蟿畏谓 尉伪谓伪味萎蟽蠅 纬喂伪 谓伪 渭慰蠀 蠀蟺蔚谓胃蠀渭委蟽蔚喂 蟿畏谓 伪蟺慰蠀蟽委伪 蟿畏蟼, 蟿畏谓 魏伪蟿伪未委魏畏 蟿畏蟼 魏伪喂 蟺伪蟻维位位畏位伪 谓伪 渭慰蠀 尉伪谓伪蟺蔚委 蟺蠅蟼 蔚委渭伪喂 魏伪蟿伪未喂魏伪蟽渭苇谓畏 蟽蔚 胃维谓伪蟿慰, 蟽蔚 苇谓伪谓 胃维谓伪蟿慰 蟺慰蠀 纬委谓蔚蟿伪喂 渭蠉胃慰蟼,位苇尉畏, 味蠅萎.
螒蠀蟿蠈 蟿慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 萎蟿伪谓 慰 蟺喂慰 纬慰畏蟿蔚蠀蟿喂魏蠈蟼, 慰 蟺喂慰 伪尉喂慰胃伪蠉渭伪蟽蟿慰蟼 伪蟺慰蟺蟻慰蟽伪谓伪蟿慰位喂蟽渭蠈蟼 蟿蠅谓 伪喂蟽胃萎蟽蔚蠅谓 蟽蔚 魏维胃蔚 蟺苇蟻伪蟽渭伪 蟿慰蠀.
螒魏慰位慰蠀胃慰蠉蟽伪 蟿伪 委蠂谓畏 蟺慰蠀 蠂维蟻伪味蔚 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 魏伪喂 渭蟺伪喂谓蠈尾纬伪喂谓伪 蟽蔚 蠈谓蔚喂蟻伪 魏伪喂 尉蠀蟺谓萎渭伪蟿伪, 蟽蔚 蟺伪蟻蔚位胃蠈谓 魏伪喂 蟺伪蟻蠈谓, 蟽蔚 蠄蠀蠂苇蟼 谓蔚魏蟻蠋谓 蟺慰蠀 伪渭维蟻蟿畏蟽伪谓 魏伪喂 伪蠁畏纬慰蠉谓蟿伪喂 蟿畏 味蠅萎 魏伪喂 蟽蔚 蠄蠀蠂苇蟼 蟺慰蠀 未蔚谓 蔚渭蠁伪谓委蟽蟿畏魏伪谓 蟺慰蟿苇 未喂蠈蟿喂 魏伪蟿维蠁蔚蟻伪谓 谓伪 位蠀蟿蟻蠅胃慰蠉谓.
韦委蟺慰蟿伪 蟽蟿畏谓 位慰纬慰蟿蔚蠂谓委伪 未蔚谓 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蔚 蟺蟻慰蔚蟿慰喂渭维蟽蔚喂 蠋蟽蟿蔚 谓伪 未蔚蠂蟿蠋 魏伪喂 谓伪 伪蠁慰渭慰喂蠋蟽蠅 蠂蠅蟻委蟼 未苇慰蟼 伪蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪
蟿慰蠀 螠蔚尉喂魏伪谓慰蠉 渭蠉蟽蟿畏 围慰蠀维谓 巍慰蠉位蠁慰.
螒蠀蟿蠈蟼 慰 纬畏蟿蔚蠀蟿萎蟼 伪位畏胃喂谓蠋谓 蟺伪蟻伪喂蟽胃萎蟽蔚蠅谓 未蔚谓 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 魏伪渭委伪 伪蟺慰 蟿喂蟼 蟽蠀谓畏胃喂蟽渭苇谓蔚蟼 蟿蔚蠂谓喂魏苇蟼 纬蟻伪蠁萎蟼 纬喂伪 谓伪 蔚谓喂蟽蠂蠉蟽蔚喂 蟿慰 苇蟻纬慰 蟿慰蠀.
螘蟺喂蠁伪谓蔚喂伪魏维 蟽蟿蔚蟻蔚委蟿伪喂 未慰渭萎蟼 渭伪 蟽蟿畏谓 慰蠀蟽委伪 蔚委谓伪喂 伪蟺蠈位蠀蟿伪 未慰渭畏渭苇谓慰 渭蔚 蟽喂蠅蟺苇蟼, 蠂蟻慰谓喂魏苇蟼 蔚谓伪位位伪纬苇蟼,蟽蟺蔚喂蟻蠋渭伪蟿伪 维蠂蟻慰谓蠅谓 蟽魏畏谓蠋谓 魏伪喂 伪蠁萎纬畏蟽畏 渭蔚蟿伪尉蠉 蟺蟻蠋蟿慰蠀 魏伪喂 蟿蟻委蟿慰蠀 蟺蟻慰蟽蠋蟺慰蠀.
螕蔚纬慰谓蠈蟿伪 蟺慰蠀 魏蠈尾慰谓蟿伪喂 魏伪喂 魏喂谓慰蠉谓蟿伪喂 伪尾委伪蟽蟿伪 伪蟺慰 蟿畏 渭喂伪 魏伪蟿维蟻伪 蟽蟿畏谓 蔚蟺蠈渭蔚谓畏 蟽蟿慰喂蠂蔚喂蠅渭苇谓畏 胃苇蟽畏,
蠂蠅蟻委蟼 谓伪 蔚委谓伪喂 蔚蟺喂蟿畏未蔚蠀渭苇谓伪 蟺伪蟻伪谓慰蠆魏蠈 萎 伪蠁畏蟻畏渭苇谓慰 魏伪喂 伪蟽伪蠁苇蟼.
螤蠈蟽慰 蟿蟻慰渭伪魏蟿喂魏蠈 蔚委谓伪喂 蟿慰 蟽蟿蠀位 纬蟻伪蠁萎蟼 蟿慰蠀 渭蟺慰蟻蔚委蟼 渭蠈谓慰 谓伪 蟿慰 谓喂蠋蟽蔚喂蟼.
危魏喂蔚蟻蠈, 伪蟺蠈魏慰蟽渭慰, 谓蔚魏蟻蠈 渭伪 慰位慰味蠋谓蟿伪谓慰, 胃伪渭渭苇谓慰 尾伪胃喂维 蟽蟿畏 蟽蠀谓蔚委未畏蟽畏 谓伪 纬蔚渭委味蔚喂 蟿畏谓 蠄蠀蠂萎 蟽萎蠄畏 魏伪喂 蠂蠋渭伪 伪蟺慰 蟿畏谓 蟿伪蠁萎 蟿畏蟼 蔚谓蠋 蟺伪蟻维位位畏位伪 谓伪 蟽慰蠀 未委谓蔚喂 蟿慰 蟺喂慰 畏未慰谓喂魏蠈 魏伪喂 蠀蟺慰尾位畏蟿喂魏蠈 蠁喂位委 味蠅萎蟼 伪蟺慰 苇谓伪谓 伪尉蔚蟺苇蟻伪蟽蟿慰 伪喂蠋谓喂慰 苇蟻蠅蟿伪.
螣 伪谓蟿委魏蟿蠀蟺慰蟼 伪蠀蟿萎蟼 蟿畏蟼 纬蟻伪蠁萎蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蠀蟺蔚蟻魏蔚蟻伪蟽蟿蔚委 伪蟺慰 魏伪谓苇谓伪谓 渭伪纬喂魏蠈 蟻蔚伪位喂蟽渭蠈.
螖蔚谓 胃伪 伪谓伪蠁苇蟻蠅 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟽蠂蔚蟿喂魏维 渭蔚 蟿畏谓 蟺位慰魏萎. 违蟺维蟻蠂慰蠀谓 蔚魏蟿蔚蟿伪渭苇谓蔚蟼 魏蟻喂蟿喂魏苇蟼 魏伪胃蠋蟼 魏伪喂 蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰 蟿慰蠀 委未喂慰蠀 蟿慰蠀 尾喂尾位委慰蠀 蟺慰蠀 蔚委谓伪喂 维蟻喂蟽蟿伪 魏伪蟿伪蟿慰蟺喂蟽蟿喂魏维.
螛伪 未喂伪蠁蠅谓萎蟽蠅 渭蠈谓慰 蟽蔚 苇谓伪 蟽畏渭蔚委慰,蟺蟻慰蟽蠅蟺喂魏维 未蔚谓 伪谓蟿喂位萎蠁胃畏魏伪 蠂蟻慰谓喂魏苇蟼 萎 伪蠁畏纬畏渭伪蟿喂魏苇蟼 渭蔚蟿伪尾维蟽蔚喂蟼 伪谓维渭蔚蟽伪 蟽蔚 味蠅谓蟿伪谓慰蠉蟼 魏伪喂 谓蔚魏蟻慰蠉蟼.
危蠉渭蠁蠅谓伪 渭蔚 蟿畏 未喂魏萎 渭慰蠀 伪谓蟿喂位畏蟺蟿喂魏萎 喂魏伪谓蠈蟿畏蟿伪 伪蠀蟿蠈 蟿慰 渭慰谓伪未喂魏蠈 苇蟻纬慰 伪蟺伪喂蟿蔚委 渭喂伪 伪蟺慰蟽蟺伪蟽渭伪蟿喂魏萎 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 蠅蟻喂渭蠈蟿畏蟿伪 魏伪喂 渭喂伪 蠈蠂喂 伪蟺伪蟻伪委蟿畏蟿畏 喂蟽蟿慰蟻喂魏萎 纬谓蠋蟽畏 伪蠁慰蠉 畏 慰蠀蟽委伪 蔚委谓伪喂 伪位位慰蠉.
韦慰 芦螤苇未蟻慰 螤维蟻伪渭慰禄 蔚喂谓伪喂 渭喂伪 喂蟽蟿慰蟻委伪 蠁伪谓蟿伪蟽渭维蟿蠅谓. 螠喂伪 伪蠁畏纬畏渭伪蟿喂魏萎 渭伪纬蔚委伪 魏伪蟿伪蟻伪渭苇谓蠅谓 魏伪喂 蔚蠀位慰纬畏渭苇谓蠅谓 蠄蠀蠂蠋谓, 蟺慰蠀 位苇纬蔚蟿伪喂 伪蟺慰 蠁伪谓蟿维蟽渭伪蟿伪 蟽蔚 蠁伪谓蟿维蟽渭伪蟿伪 蟽蔚 渭喂伪 蟺蔚渭蟺蟿慰蠀蟽委伪 蔚蟻畏渭喂维蟼, 魏蔚谓慰蠉, 位维蟽蟺畏蟼, 尾蟻慰蠂萎蟼, 蔚纬魏伪蟿维位蔚喂蠄畏蟼.
危蟿畏谓 蟺蔚渭蟺蟿慰蠀蟽委伪 蟿畏蟼 魏蠈位伪蟽畏蟼.
韦慰 魏伪魏蠈, 蟿慰 蠂维慰蟼, 畏 尾委伪, 畏 位伪纬谓蔚委伪, 畏 未喂伪蠁胃慰蟻维, 畏 蔚蟺伪谓维蟽蟿伪蟽畏, 畏 魏伪胃慰位喂魏蠈蟿畏蟿伪 蟿畏蟼 胃蟻畏蟽魏蔚委伪蟼, 蟿慰 蟺蔚蟺蟻蠅渭苇谓慰.
螌位伪 伪蠀蟿维 蟽蠀渭尾伪委谓慰蠀谓 魏伪喂 蔚尉喂蟽蟿慰蟻慰蠉谓蟿伪喂 萎 蟽蠀谓苇尾畏蟽伪谓 魏伪喂 蟿喂渭蠅蟻慰蠉谓蟿伪喂 蟽蟿畏谓 谓蔚魏蟻萎, 魏伪蟿伪蟻伪渭苇谓伪 蟽喂蠅蟺畏位萎 蟺蠈位畏.
螠喂伪 蟺蠈位畏 蟺慰蠀 魏伪蟿慰喂魏蔚委蟿伪喂 伪蟺慰 蠄蠀蠂苇蟼 蟿喂渭蠅蟻畏渭苇谓蔚蟼 蟽蔚 渭慰蟻蠁苇蟼 伪喂蠋谓喂蠅谓 蠁伪谓蟿伪蟽渭维蟿蠅谓 蟿慰蠀 蟺伪蟻蠈谓蟿慰蟼 魏伪喂 蟽蔚 未喂慰蠂蔚蟿蔚蠉蟽蔚喂蟼 伪蠁萎纬畏蟽畏蟼 伪蟺慰 蟿喂蟼 蠄蠀蠂苇蟼 蟺慰蠀 未蔚谓 苇蠂慰蠀谓 蠁维谓蟿伪蟽渭伪- 蠈蠂喂 伪蟺慰 味蠅谓蟿伪谓慰蠉蟼.
螒蠀蟿苇蟼 苇蠁蠀纬伪谓 蟽蔚 蔚谓伪 谓慰畏蟿喂魏蠈 魏伪喂 蟺谓蔚蠀渭伪蟿喂魏蠈 魏蔚谓蠈 魏伪喂 蟿慰蠀蟼 位蔚委蟺蔚喂 畏 纬蟻伪渭渭喂魏萎 蔚尉喂蟽蟿蠈蟻畏蟽畏 萎 畏 蔚蟺伪谓维位畏蠄畏 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼.
螠喂伪 蟿蔚蟻维蟽蟿喂伪 蟿蟻伪纬蠅未委伪 蟽蔚 蔚位维蠂喂蟽蟿蔚蟼 蟽蔚位委未蔚蟼 伪谓维纬谓蠅蟽畏蟼.
螚 螝慰渭维位伪- 魏蠈位伪蟽畏 蔚委谓伪喂 蠂蠅蟻喂蠈 蟿蠅谓 蟺蔚胃伪渭苇谓蠅谓. 螣 萎蟻蠅伪蟼 渭伪蟼 慰 委未喂慰蟼 蔚委谓伪喂 谓蔚魏蟻蠈蟼...慰喂 蟺蟻蠈纬慰谓慰喂 蟿慰蠀 谓蔚魏蟻慰委, 蟿慰 委未喂慰 蟿慰 蠂蠅蟻喂蠈 谓蔚魏蟻蠈 蟺蟻维纬渭伪蟿喂, 畏 委未喂伪 畏 味蠅萎 渭蟺慰蟻蔚委 魏伪喂 蔚委谓伪喂 谓蔚魏蟻萎.
螆谓伪 喂魏蟻委蠅渭伪 胃伪谓维蟿慰蠀 伪蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺维谓蠅 蟽蟿慰 慰蟺慰委慰 胃伪 渭蟺慰蟻慰蠉蟽伪谓 谓伪 纬蟻伪蠁蟿慰蠉谓 蔚魏伪蟿慰谓蟿维未蔚蟼 苇蟻纬伪 蟿苇蠂谓畏蟼 纬喂伪 蟿畏 味蠅萎!!
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螌蠂喂 蔚蟺蔚喂未萎 渭蔚 未蠀蟽魏蠈位蔚蠄蔚 萎 渭慰蠀 蠁维谓畏魏蔚 伪魏伪蟿伪谓蠈畏蟿慰 魏伪喂 渭蟺蔚蟻未蔚渭苇谓慰, 伪蟺蔚谓伪谓蟿委伪蟼, 未喂蠈蟿喂 萎胃蔚位伪 谓伪 尉伪谓伪魏慰蠉蟽蠅 蟿慰蠀蟼 胃慰蟻蠉尾慰蠀蟼 蟿慰蠀 魏伪喂 蟿喂蟼 蠁蠅谓苇蟼 蟿慰蠀.
螡伪 渭蔚 蟽魏慰蟿蠋蟽慰蠀谓 蟿伪 渭慰蠀蟻渭慰蠀蟻畏蟿维 魏伪喂 慰喂 位苇尉蔚喂蟼 蟽喂蠅蟺萎蟼. 螇胃蔚位伪 谓伪 尉伪谓伪蟺维蠅 蔚魏蔚委 蟺慰蠀 胃伪 苇谓喂蠅胃伪 魏伪喂 蟺维位喂 蟺喂慰 魏慰谓蟿维 蟿畏 蠁蠅谓萎 蟿蠅谓 伪谓伪渭谓萎蟽蔚蠅谓 伪蟺慰 伪蠀蟿萎 蟿慰蠀 胃伪谓维蟿慰蠀 蟽伪谓 谓慰蟽蟿伪位纬喂魏萎 伪谓伪蟿蟻喂蠂委位伪.
螒谓 尾苇尾伪喂伪 慰 胃维谓伪蟿慰蟼 蔚委蠂蔚 蟺慰蟿苇 蠁蠅谓萎.
螝伪蟿维 未蔚蠉蟿蔚蟻慰谓,渭蔚 纬慰萎蟿蔚蠀蟽蔚 畏 螝慰渭维位伪 魏伪喂 萎胃蔚位伪 谓伪 蟿畏谓 尉伪谓伪味萎蟽蠅 纬喂伪 谓伪 渭慰蠀 蠀蟺蔚谓胃蠀渭委蟽蔚喂 蟿畏谓 伪蟺慰蠀蟽委伪 蟿畏蟼, 蟿畏谓 魏伪蟿伪未委魏畏 蟿畏蟼 魏伪喂 蟺伪蟻维位位畏位伪 谓伪 渭慰蠀 尉伪谓伪蟺蔚委 蟺蠅蟼 蔚委渭伪喂 魏伪蟿伪未喂魏伪蟽渭苇谓畏 蟽蔚 胃维谓伪蟿慰, 蟽蔚 苇谓伪谓 胃维谓伪蟿慰 蟺慰蠀 纬委谓蔚蟿伪喂 渭蠉胃慰蟼,位苇尉畏, 味蠅萎.
螒蠀蟿蠈 蟿慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 萎蟿伪谓 慰 蟺喂慰 纬慰畏蟿蔚蠀蟿喂魏蠈蟼, 慰 蟺喂慰 伪尉喂慰胃伪蠉渭伪蟽蟿慰蟼 伪蟺慰蟺蟻慰蟽伪谓伪蟿慰位喂蟽渭蠈蟼 蟿蠅谓 伪喂蟽胃萎蟽蔚蠅谓 蟽蔚 魏维胃蔚 蟺苇蟻伪蟽渭伪 蟿慰蠀.
螒魏慰位慰蠀胃慰蠉蟽伪 蟿伪 委蠂谓畏 蟺慰蠀 蠂维蟻伪味蔚 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 魏伪喂 渭蟺伪喂谓蠈尾纬伪喂谓伪 蟽蔚 蠈谓蔚喂蟻伪 魏伪喂 尉蠀蟺谓萎渭伪蟿伪, 蟽蔚 蟺伪蟻蔚位胃蠈谓 魏伪喂 蟺伪蟻蠈谓, 蟽蔚 蠄蠀蠂苇蟼 谓蔚魏蟻蠋谓 蟺慰蠀 伪渭维蟻蟿畏蟽伪谓 魏伪喂 伪蠁畏纬慰蠉谓蟿伪喂 蟿畏 味蠅萎 魏伪喂 蟽蔚 蠄蠀蠂苇蟼 蟺慰蠀 未蔚谓 蔚渭蠁伪谓委蟽蟿畏魏伪谓 蟺慰蟿苇 未喂蠈蟿喂 魏伪蟿维蠁蔚蟻伪谓 谓伪 位蠀蟿蟻蠅胃慰蠉谓.
韦委蟺慰蟿伪 蟽蟿畏谓 位慰纬慰蟿蔚蠂谓委伪 未蔚谓 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蔚 蟺蟻慰蔚蟿慰喂渭维蟽蔚喂 蠋蟽蟿蔚 谓伪 未蔚蠂蟿蠋 魏伪喂 谓伪 伪蠁慰渭慰喂蠋蟽蠅 蠂蠅蟻委蟼 未苇慰蟼 伪蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪
蟿慰蠀 螠蔚尉喂魏伪谓慰蠉 渭蠉蟽蟿畏 围慰蠀维谓 巍慰蠉位蠁慰.
螒蠀蟿蠈蟼 慰 纬畏蟿蔚蠀蟿萎蟼 伪位畏胃喂谓蠋谓 蟺伪蟻伪喂蟽胃萎蟽蔚蠅谓 未蔚谓 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 魏伪渭委伪 伪蟺慰 蟿喂蟼 蟽蠀谓畏胃喂蟽渭苇谓蔚蟼 蟿蔚蠂谓喂魏苇蟼 纬蟻伪蠁萎蟼 纬喂伪 谓伪 蔚谓喂蟽蠂蠉蟽蔚喂 蟿慰 苇蟻纬慰 蟿慰蠀.
螘蟺喂蠁伪谓蔚喂伪魏维 蟽蟿蔚蟻蔚委蟿伪喂 未慰渭萎蟼 渭伪 蟽蟿畏谓 慰蠀蟽委伪 蔚委谓伪喂 伪蟺蠈位蠀蟿伪 未慰渭畏渭苇谓慰 渭蔚 蟽喂蠅蟺苇蟼, 蠂蟻慰谓喂魏苇蟼 蔚谓伪位位伪纬苇蟼,蟽蟺蔚喂蟻蠋渭伪蟿伪 维蠂蟻慰谓蠅谓 蟽魏畏谓蠋谓 魏伪喂 伪蠁萎纬畏蟽畏 渭蔚蟿伪尉蠉 蟺蟻蠋蟿慰蠀 魏伪喂 蟿蟻委蟿慰蠀 蟺蟻慰蟽蠋蟺慰蠀.
螕蔚纬慰谓蠈蟿伪 蟺慰蠀 魏蠈尾慰谓蟿伪喂 魏伪喂 魏喂谓慰蠉谓蟿伪喂 伪尾委伪蟽蟿伪 伪蟺慰 蟿畏 渭喂伪 魏伪蟿维蟻伪 蟽蟿畏谓 蔚蟺蠈渭蔚谓畏 蟽蟿慰喂蠂蔚喂蠅渭苇谓畏 胃苇蟽畏,
蠂蠅蟻委蟼 谓伪 蔚委谓伪喂 蔚蟺喂蟿畏未蔚蠀渭苇谓伪 蟺伪蟻伪谓慰蠆魏蠈 萎 伪蠁畏蟻畏渭苇谓慰 魏伪喂 伪蟽伪蠁苇蟼.
螤蠈蟽慰 蟿蟻慰渭伪魏蟿喂魏蠈 蔚委谓伪喂 蟿慰 蟽蟿蠀位 纬蟻伪蠁萎蟼 蟿慰蠀 渭蟺慰蟻蔚委蟼 渭蠈谓慰 谓伪 蟿慰 谓喂蠋蟽蔚喂蟼.
危魏喂蔚蟻蠈, 伪蟺蠈魏慰蟽渭慰, 谓蔚魏蟻蠈 渭伪 慰位慰味蠋谓蟿伪谓慰, 胃伪渭渭苇谓慰 尾伪胃喂维 蟽蟿畏 蟽蠀谓蔚委未畏蟽畏 谓伪 纬蔚渭委味蔚喂 蟿畏谓 蠄蠀蠂萎 蟽萎蠄畏 魏伪喂 蠂蠋渭伪 伪蟺慰 蟿畏谓 蟿伪蠁萎 蟿畏蟼 蔚谓蠋 蟺伪蟻维位位畏位伪 谓伪 蟽慰蠀 未委谓蔚喂 蟿慰 蟺喂慰 畏未慰谓喂魏蠈 魏伪喂 蠀蟺慰尾位畏蟿喂魏蠈 蠁喂位委 味蠅萎蟼 伪蟺慰 苇谓伪谓 伪尉蔚蟺苇蟻伪蟽蟿慰 伪喂蠋谓喂慰 苇蟻蠅蟿伪.
螣 伪谓蟿委魏蟿蠀蟺慰蟼 伪蠀蟿萎蟼 蟿畏蟼 纬蟻伪蠁萎蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蠀蟺蔚蟻魏蔚蟻伪蟽蟿蔚委 伪蟺慰 魏伪谓苇谓伪谓 渭伪纬喂魏蠈 蟻蔚伪位喂蟽渭蠈.
螖蔚谓 胃伪 伪谓伪蠁苇蟻蠅 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟽蠂蔚蟿喂魏维 渭蔚 蟿畏谓 蟺位慰魏萎. 违蟺维蟻蠂慰蠀谓 蔚魏蟿蔚蟿伪渭苇谓蔚蟼 魏蟻喂蟿喂魏苇蟼 魏伪胃蠋蟼 魏伪喂 蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰 蟿慰蠀 委未喂慰蠀 蟿慰蠀 尾喂尾位委慰蠀 蟺慰蠀 蔚委谓伪喂 维蟻喂蟽蟿伪 魏伪蟿伪蟿慰蟺喂蟽蟿喂魏维.
螛伪 未喂伪蠁蠅谓萎蟽蠅 渭蠈谓慰 蟽蔚 苇谓伪 蟽畏渭蔚委慰,蟺蟻慰蟽蠅蟺喂魏维 未蔚谓 伪谓蟿喂位萎蠁胃畏魏伪 蠂蟻慰谓喂魏苇蟼 萎 伪蠁畏纬畏渭伪蟿喂魏苇蟼 渭蔚蟿伪尾维蟽蔚喂蟼 伪谓维渭蔚蟽伪 蟽蔚 味蠅谓蟿伪谓慰蠉蟼 魏伪喂 谓蔚魏蟻慰蠉蟼.
危蠉渭蠁蠅谓伪 渭蔚 蟿畏 未喂魏萎 渭慰蠀 伪谓蟿喂位畏蟺蟿喂魏萎 喂魏伪谓蠈蟿畏蟿伪 伪蠀蟿蠈 蟿慰 渭慰谓伪未喂魏蠈 苇蟻纬慰 伪蟺伪喂蟿蔚委 渭喂伪 伪蟺慰蟽蟺伪蟽渭伪蟿喂魏萎 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 蠅蟻喂渭蠈蟿畏蟿伪 魏伪喂 渭喂伪 蠈蠂喂 伪蟺伪蟻伪委蟿畏蟿畏 喂蟽蟿慰蟻喂魏萎 纬谓蠋蟽畏 伪蠁慰蠉 畏 慰蠀蟽委伪 蔚委谓伪喂 伪位位慰蠉.
韦慰 芦螤苇未蟻慰 螤维蟻伪渭慰禄 蔚喂谓伪喂 渭喂伪 喂蟽蟿慰蟻委伪 蠁伪谓蟿伪蟽渭维蟿蠅谓. 螠喂伪 伪蠁畏纬畏渭伪蟿喂魏萎 渭伪纬蔚委伪 魏伪蟿伪蟻伪渭苇谓蠅谓 魏伪喂 蔚蠀位慰纬畏渭苇谓蠅谓 蠄蠀蠂蠋谓, 蟺慰蠀 位苇纬蔚蟿伪喂 伪蟺慰 蠁伪谓蟿维蟽渭伪蟿伪 蟽蔚 蠁伪谓蟿维蟽渭伪蟿伪 蟽蔚 渭喂伪 蟺蔚渭蟺蟿慰蠀蟽委伪 蔚蟻畏渭喂维蟼, 魏蔚谓慰蠉, 位维蟽蟺畏蟼, 尾蟻慰蠂萎蟼, 蔚纬魏伪蟿维位蔚喂蠄畏蟼.
危蟿畏谓 蟺蔚渭蟺蟿慰蠀蟽委伪 蟿畏蟼 魏蠈位伪蟽畏蟼.
韦慰 魏伪魏蠈, 蟿慰 蠂维慰蟼, 畏 尾委伪, 畏 位伪纬谓蔚委伪, 畏 未喂伪蠁胃慰蟻维, 畏 蔚蟺伪谓维蟽蟿伪蟽畏, 畏 魏伪胃慰位喂魏蠈蟿畏蟿伪 蟿畏蟼 胃蟻畏蟽魏蔚委伪蟼, 蟿慰 蟺蔚蟺蟻蠅渭苇谓慰.
螌位伪 伪蠀蟿维 蟽蠀渭尾伪委谓慰蠀谓 魏伪喂 蔚尉喂蟽蟿慰蟻慰蠉谓蟿伪喂 萎 蟽蠀谓苇尾畏蟽伪谓 魏伪喂 蟿喂渭蠅蟻慰蠉谓蟿伪喂 蟽蟿畏谓 谓蔚魏蟻萎, 魏伪蟿伪蟻伪渭苇谓伪 蟽喂蠅蟺畏位萎 蟺蠈位畏.
螠喂伪 蟺蠈位畏 蟺慰蠀 魏伪蟿慰喂魏蔚委蟿伪喂 伪蟺慰 蠄蠀蠂苇蟼 蟿喂渭蠅蟻畏渭苇谓蔚蟼 蟽蔚 渭慰蟻蠁苇蟼 伪喂蠋谓喂蠅谓 蠁伪谓蟿伪蟽渭维蟿蠅谓 蟿慰蠀 蟺伪蟻蠈谓蟿慰蟼 魏伪喂 蟽蔚 未喂慰蠂蔚蟿蔚蠉蟽蔚喂蟼 伪蠁萎纬畏蟽畏蟼 伪蟺慰 蟿喂蟼 蠄蠀蠂苇蟼 蟺慰蠀 未蔚谓 苇蠂慰蠀谓 蠁维谓蟿伪蟽渭伪- 蠈蠂喂 伪蟺慰 味蠅谓蟿伪谓慰蠉蟼.
螒蠀蟿苇蟼 苇蠁蠀纬伪谓 蟽蔚 蔚谓伪 谓慰畏蟿喂魏蠈 魏伪喂 蟺谓蔚蠀渭伪蟿喂魏蠈 魏蔚谓蠈 魏伪喂 蟿慰蠀蟼 位蔚委蟺蔚喂 畏 纬蟻伪渭渭喂魏萎 蔚尉喂蟽蟿蠈蟻畏蟽畏 萎 畏 蔚蟺伪谓维位畏蠄畏 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼.
螠喂伪 蟿蔚蟻维蟽蟿喂伪 蟿蟻伪纬蠅未委伪 蟽蔚 蔚位维蠂喂蟽蟿蔚蟼 蟽蔚位委未蔚蟼 伪谓维纬谓蠅蟽畏蟼.
螚 螝慰渭维位伪- 魏蠈位伪蟽畏 蔚委谓伪喂 蠂蠅蟻喂蠈 蟿蠅谓 蟺蔚胃伪渭苇谓蠅谓. 螣 萎蟻蠅伪蟼 渭伪蟼 慰 委未喂慰蟼 蔚委谓伪喂 谓蔚魏蟻蠈蟼...慰喂 蟺蟻蠈纬慰谓慰喂 蟿慰蠀 谓蔚魏蟻慰委, 蟿慰 委未喂慰 蟿慰 蠂蠅蟻喂蠈 谓蔚魏蟻蠈 蟺蟻维纬渭伪蟿喂, 畏 委未喂伪 畏 味蠅萎 渭蟺慰蟻蔚委 魏伪喂 蔚委谓伪喂 谓蔚魏蟻萎.
螆谓伪 喂魏蟻委蠅渭伪 胃伪谓维蟿慰蠀 伪蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺维谓蠅 蟽蟿慰 慰蟺慰委慰 胃伪 渭蟺慰蟻慰蠉蟽伪谓 谓伪 纬蟻伪蠁蟿慰蠉谓 蔚魏伪蟿慰谓蟿维未蔚蟼 苇蟻纬伪 蟿苇蠂谓畏蟼 纬喂伪 蟿畏 味蠅萎!!
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
January 18, 2021
丿毓賰 賲賳 丕賱賲禺丕賵賮
賲丕毓丕丿 亘廿賲賰丕賳 兀丨丿 兀賳 賷禺賷賮賰
丨丕賵賱 丕賱鬲賮賰賷乇 賮賷 兀賲賵乇 爻丕乇丞 賱兀賳賳丕 爻賵賮 賳亘賯賶 賲丿賮賵賳賷賳 夭賲賳丕賸 胤賵賷賱丕賸
賮賷 丨囟賳 丕賱賲賵鬲 鬲賴賲爻 賴匕賴 丕賱乇賵丕賷丞
賴賳丕 丕賱氐乇丕禺 賱丕 賲賰丕賳 賱賴
丕賱賮丨賷丨 賵丕賱賴賲爻 丕賱賲爻丨賵賯 亘丕賱禺賷亘丕鬲 賴賵 丕賱賲鬲氐丿乇 賰賱 氐賮丨丞 賲賳 氐賮丨丕鬲賴丕 丕賱毓噩賷亘丞
賴賷 賲賳 丕賱賯乇丕亍丕鬲 丕賱鬲賷 賯賱賲丕 鬲噩丿 賲孬賱賴丕
賵丕爻鬲禺丿賲 禺賵丕賳 乇賵賱賮賵 鬲賯賳賷丞 爻乇丿 賲賲鬲毓丞 賵睾賷乇 賲胤乇賵賯丞
兀丨亘亘鬲 毓丕賱賲 丕賱賲賵鬲賶 賴匕丕
兀丨亘亘鬲購 丕賱兀卮亘丕丨 賵丕賱禺賵賮 賵丕賱噩賳賵賳 賵丕賱丌賲丕賱 丕賱賲丨胤賲丞 丕賱鬲賷 鬲爻乇賷 賮賷 丕賱賯乇賷丞 賰丕賱賴賵丕亍
賲賳 兀賰孬乇 賲卮丕賴丿 丕賱乇賵丕賷丞 乇毓亘丕賸 賴賷 賱丨馗丕鬲 賲賵鬲 禺賵丕賳
兀賷賯馗賳賷 丕賱丨乇 賰丕賳 噩爻丿 鬲賱賰 丕賱賲乇兀丞 丕賱賲氐賳賵毓 賲賳 鬲乇丕亘 貙 賵丕賱賲丨丕胤 亘賯卮賵乇 賲賳 鬲乇丕亘
賷鬲丨賱賱 賵賰兀賳賴 賷匕賵亘 賮賷 亘乇賰丞賺 賲賳 丕賱賵丨賱
賵賰賳鬲購 兀卮毓乇 亘兀賳賷 兀爻亘丨 賵爻胤 丕賱毓乇賯 丕賱匕賷 賷賯胤乇 賲賳賴丕
賵丕賮鬲賯丿鬲 丕賱賴賵丕亍 丕賱賱丕夭賲 賱賱鬲賳賮爻
毓賳丿卅匕賺 賳賴囟鬲 . 賰丕賳鬲 丕賱賲乇兀丞 賳丕卅賲丞 賵賰丕賳 賷賮賵乇 賲賳 賮賲賴丕 丿賵賷 賮賯丕毓丕鬲 卮亘賷賴丞 亘丕賱丨卮乇噩丞
賱賷賱鬲賯賷 亘毓丿 賲賵鬲賴 亘噩孬丞 丿賵乇賵鬲賷丕 丕賱丨丕賱賲丞 亘丕賱兀賲賵賲丞 兀亘丿丕賸
兀丨亘亘鬲購 爻賵夭丕賳丕 賳氐賮 丕賱賲毓鬲賵賴丞 賰孬賷乇丕賸 賰匕賱賰
賲賳 丕賱卮禺氐賷丕鬲 丕賱鬲賷 兀匕丕亘鬲賳賷 賮賷賴丕 賵兀孬賾乇鬲 毓賱賶 乇賵丨賷
賰丕賳 氐丕賱丨 毓賱賲丕賳賷 亘丕乇毓丕賸 賮賷 丕賱鬲乇噩賲丞 賰賲丕 賴賷 毓丕丿鬲賴
賯丿乇鬲賴 毓賱賶 廿胤丕毓丞 丕賱賱睾丞 賵丕賱鬲乇噩賲丞 亘毓匕賵亘丞 賱賲 兀噩丿 賱賴丕 賲孬賷賱丕 丨鬲賶 丕賱丌賳
鬲噩乇亘丞 毓噩賷亘丞 賵爻丕丨乇丞 丨賯丕賸
March 13, 2018
Es una historia toda hecha de ecos y fantasmas. No sabes muy bien qui茅n est谩 vivo o muerto. Empieza con la llegada de un hijo perdido de Pedro P谩ramo, que ha prometido a su madre en el lecho de muerte que lo buscar谩. Llega a un pueblo fantasma, pero fantasma de verdad, en donde todo son historias, el pasado, que se empieza a contar, como abriendo un abanico, poco a poco.
La historia de Pedro P谩ramo, de sus amor铆os, de sus hijos, de los vecinos, de pobreza, de hambre, de muerte. Todo sucede en Comala, un pueblo que puede ser real (en Colima?) o imaginario. No importa. Las historias de ese pueblo que se cuenta se te queda metida en el est贸mago, y te dejan con una sensaci贸n de tristeza, y de soledad.
=============================
Aqu铆 va otra re lectura de esta maravilla.
Siempre que regreso a este libro regreso a cosas de mi vida, que en realidad no tienen nada que ver, pero tienen todo que ver. Pienso en la revoluci贸n, que atraviesa la historia de Mexico, que aqui solo aparece muy en paralelo, pero que est谩 presente. Como est谩 presente esto de que los hombres robaban a las mujeres, de los fantasmas, de la muerte. De la casa grande y la casa chica, aunque Pedro P谩ramo no se molestaba en tener dos casas, simplemente tomaba a cualquier mujer. Es un libro en donde la historia se mueve hacia muchas direcciones, especialmente el pasado. Hermoso, inspirador, maravilloso Juan Rulfo.
La historia de Pedro P谩ramo, de sus amor铆os, de sus hijos, de los vecinos, de pobreza, de hambre, de muerte. Todo sucede en Comala, un pueblo que puede ser real (en Colima?) o imaginario. No importa. Las historias de ese pueblo que se cuenta se te queda metida en el est贸mago, y te dejan con una sensaci贸n de tristeza, y de soledad.
=============================
Aqu铆 va otra re lectura de esta maravilla.
Siempre que regreso a este libro regreso a cosas de mi vida, que en realidad no tienen nada que ver, pero tienen todo que ver. Pienso en la revoluci贸n, que atraviesa la historia de Mexico, que aqui solo aparece muy en paralelo, pero que est谩 presente. Como est谩 presente esto de que los hombres robaban a las mujeres, de los fantasmas, de la muerte. De la casa grande y la casa chica, aunque Pedro P谩ramo no se molestaba en tener dos casas, simplemente tomaba a cualquier mujer. Es un libro en donde la historia se mueve hacia muchas direcciones, especialmente el pasado. Hermoso, inspirador, maravilloso Juan Rulfo.
May 7, 2019
鈥淪he [your mother] told me you were coming. She said you鈥檇 arrive today.鈥�
鈥淢y mother鈥y mother is dead.鈥�
鈥淥h, then that鈥檚 why her voice sounded so weak.鈥�
This book, really a novella (120 pages), is a Mexican classic, an early example of magical realism. It鈥檚 original, startling, unique. According to Wikipedia Gabriel Garc铆a M谩rquez has said that he felt blocked as a novelist after writing his first four books and that it was only his life-changing discovery of Pedro P谩ramo in 1961 that opened his way to the composition of his masterpiece, One Hundred Years of Solitude. Jorge Luis Borges considered Pedro P谩ramo to be one of the greatest texts written in any language.
A man鈥檚 mother dies and he promised her on her death bed that he would go back to her village to meet his father, Don Pedro, whom he has never met. Near the village he meets a man who tells him Pedro was his father too and that 鈥淗e鈥檚 hate. He鈥檚 just pure hate.鈥�
The god-forsaken village is dead or dying and it鈥檚 filled with ghosts. Maybe a few are real people, but most are ghosts.
鈥淭he village is full of echoes. Perhaps they got trapped in the hollow of the walls, or under the stones. When you walk in the street you can hear other footsteps, and rustling noises, and laughter. Old laughter, as if it were tired of laughing by now. And voices worn out with use. You can hear all this. I think someday these sounds will die away.鈥�
It鈥檚 hard to keep track of who is who and who is alive. Maybe they are all dead. Perhaps this is purgatory because there is a lot of talk of the priest, confessions, and waiting for sins to be forgiven. 鈥淐an鈥檛 you see my sins? Can鈥檛 you see those purple stains, like impetigo? And that鈥檚 only on the outside. Inside I鈥檓 a sea of mud.鈥�
The noises that the ghosts hear are constant and Stephen-Kingish: screams, animals, men banging on doors with guns.
A very short book, well-worth a read and quite a trip.
Catorce, a Mexican ghost town from dailymail.co.uk
Photo of the author (1917-1986) from notimerica.com
鈥淢y mother鈥y mother is dead.鈥�
鈥淥h, then that鈥檚 why her voice sounded so weak.鈥�
This book, really a novella (120 pages), is a Mexican classic, an early example of magical realism. It鈥檚 original, startling, unique. According to Wikipedia Gabriel Garc铆a M谩rquez has said that he felt blocked as a novelist after writing his first four books and that it was only his life-changing discovery of Pedro P谩ramo in 1961 that opened his way to the composition of his masterpiece, One Hundred Years of Solitude. Jorge Luis Borges considered Pedro P谩ramo to be one of the greatest texts written in any language.
A man鈥檚 mother dies and he promised her on her death bed that he would go back to her village to meet his father, Don Pedro, whom he has never met. Near the village he meets a man who tells him Pedro was his father too and that 鈥淗e鈥檚 hate. He鈥檚 just pure hate.鈥�
The god-forsaken village is dead or dying and it鈥檚 filled with ghosts. Maybe a few are real people, but most are ghosts.
鈥淭he village is full of echoes. Perhaps they got trapped in the hollow of the walls, or under the stones. When you walk in the street you can hear other footsteps, and rustling noises, and laughter. Old laughter, as if it were tired of laughing by now. And voices worn out with use. You can hear all this. I think someday these sounds will die away.鈥�
It鈥檚 hard to keep track of who is who and who is alive. Maybe they are all dead. Perhaps this is purgatory because there is a lot of talk of the priest, confessions, and waiting for sins to be forgiven. 鈥淐an鈥檛 you see my sins? Can鈥檛 you see those purple stains, like impetigo? And that鈥檚 only on the outside. Inside I鈥檓 a sea of mud.鈥�
The noises that the ghosts hear are constant and Stephen-Kingish: screams, animals, men banging on doors with guns.
A very short book, well-worth a read and quite a trip.
Catorce, a Mexican ghost town from dailymail.co.uk
Photo of the author (1917-1986) from notimerica.com
Read
October 28, 2019People often talk about 'Before and After', as in before something momentous happens and after it has happened.
There's a 'Before and After' in this book, and though the transition between the two happens from one moment to the next, there's an immeasurable distance between them in everything except time. I think of that distance as the distance between the town of Colima and the town of Comala, both real places in Mexico.
When his mother dies, Juan Preciado sets out from his home in Colima to find his father, Pedro P谩ramo, in Comala. As he approaches Comala, he meets a man called Abundio at a crossroads called Los Encuentros. That well-named crossroads marks the transition from Before to After.
After, for Juan Preciado, is when 'from one moment to the next' no longer exists, all moments are now concurrent, and all places have disappeared except Comala. There is no more Time and no more Distance. There is only Comala.
As I read about Pedro P谩ramo and Juan Preciado, and Susana San Juan and her Florencio, and Abundio Martinez and his Cuca, and Eduviges and Dolorita, and Damiana and Dorotea, and Father Renter铆a and Ana, and Miguel P谩ramo and El Colorado, the words seemed to shift about on the bright white page, replacing and repeating each other, scattering and reforming like birds in the evening until finally disappearing, taking their meaning with them.
Then I'd turn the blue-shadowed page and the words would be back in their bright white places, and I'd keep turning pages until once again, the words would fade into the blue shadows and disappear. I became so used to this pattern that when there were no more pages left to turn, I went back to the beginning and started the bright white pages all over again, watching now for the moments when the words would take off like birds at evening, and following along behind them.
I'd learned how to read Pedro P谩ramo.
There is a Before and After in my reading life. Before I read Pedro P谩ramo and after I read Pedro P谩ramo
There's a 'Before and After' in this book, and though the transition between the two happens from one moment to the next, there's an immeasurable distance between them in everything except time. I think of that distance as the distance between the town of Colima and the town of Comala, both real places in Mexico.
When his mother dies, Juan Preciado sets out from his home in Colima to find his father, Pedro P谩ramo, in Comala. As he approaches Comala, he meets a man called Abundio at a crossroads called Los Encuentros. That well-named crossroads marks the transition from Before to After.
After, for Juan Preciado, is when 'from one moment to the next' no longer exists, all moments are now concurrent, and all places have disappeared except Comala. There is no more Time and no more Distance. There is only Comala.
As I read about Pedro P谩ramo and Juan Preciado, and Susana San Juan and her Florencio, and Abundio Martinez and his Cuca, and Eduviges and Dolorita, and Damiana and Dorotea, and Father Renter铆a and Ana, and Miguel P谩ramo and El Colorado, the words seemed to shift about on the bright white page, replacing and repeating each other, scattering and reforming like birds in the evening until finally disappearing, taking their meaning with them.
Then I'd turn the blue-shadowed page and the words would be back in their bright white places, and I'd keep turning pages until once again, the words would fade into the blue shadows and disappear. I became so used to this pattern that when there were no more pages left to turn, I went back to the beginning and started the bright white pages all over again, watching now for the moments when the words would take off like birds at evening, and following along behind them.
I'd learned how to read Pedro P谩ramo.
There is a Before and After in my reading life. Before I read Pedro P谩ramo and after I read Pedro P谩ramo
November 28, 2024
La novela te mete desde las primeras p谩ginas en un mundo turbio, un mundo donde 鈥渢odo parec铆a estar como en espera de algo鈥�, en Comala, un pueblo abandonado, aunque, tras los primeros pasos que Juan Preciado da por sus calles, se encuentra con una mujer que le indica donde se haya la casa de Eduviges. All铆 ir谩 a buscar hospedaje seg煤n le recomend贸 Abundio, el arriero que lo guio al pueblo. al llegar, Eduviges le informa de que ya estaba enterada de su llegada; la madre de Juan, antigua amiga de Eduviges y muerta reciente, la avis贸 de que vendr铆a. Fue ella, justo antes de fallecer, qui茅n le pidi贸 a su hijo que viniera aqu铆 a buscar a Pedro P谩ramo, el padre al que nunca conoci贸 y que nunca conocer谩 pues, como acaba de enterarse, tambi茅n falleci贸. No han pasado ni diez p谩ginas.
鈥溾€斺€reguntaba por el pueblo, que se ve tan solo, como si estuviera abandonado. Parece que no lo habita. 鈥擭o es que lo parezca. As铆 es. Aqu铆 no vive nadie. 鈥� 驴Y Pedro P谩ramo? 鈥擯edro P谩ramo muri贸 hace muchos a帽os.鈥�Empezar茅 por lo malo, por esa estrella que no le di. A riesgo de caer en la herej铆a, creo que es una ruptura del hilo narrativo incomprensible y empobrecedora de la novela no mantener a Juan Preciado como el conductor de la historia durante toda la novela.
鈥淢e sent铆 en un mundo lejano y me dej茅 arrastrar. Mi cuerpo, que parec铆a aflojarse, se doblaba ante todo, hab铆a soltado sus amarras y cualquiera pod铆a jugar con 茅l como si fuera de trapo鈥�Tampoco me he sentido a gusto con esa idea que sobrevuela todo el relato de que los malos acaban penando sus maldades, en vida (鈥淓stoy comenzando a pagar. M谩s vale empezar temprano, para terminar pronto鈥�) o despu茅s de ella, o, lo que es lo mismo, con esa advertencia urbi et orbi de que una mala vida lleva aparejada una mala muerte. Consuelo dirigido a conformar a un pueblo que no encuentra justicia en vida.
鈥溾€n puro vagabundear de gente que muri贸 sin perd贸n y que no lo conseguir谩 de ning煤n modo鈥�Dicho esto, s铆 me gusta la idea de convertir este mundo nuestro representado en Comala en un purgatorio donde el m谩s fuerte y con menos escr煤pulos campa por su fueros temido y respetado por todos; corruptor de todo un pueblo, acaba con todo aquel que no se somete a sus intereses, teniendo al clero de su parte y siendo capaz incluso de utilizar a la revoluci贸n para sus fines. Y, por supuesto, me gusta el estilo fragmentario, la mezcla de tiempos, el encaje de la voz colectiva, la poes铆a del relato, la atm贸sfera, su ambig眉edad, su car谩cter fant谩stico-maravilloso鈥�
鈥淗ay multitud de caminos. Hay uno que va para Contla; otro que viene de all谩. Otro m谩s que enfila derecho a la sierra. Ese que se mira desde aqu铆, que no s茅 para d贸nde ir谩 -y me se帽al贸 con sus dedos el hueco del tejado, all铆 donde el techo estaba roto-. Este otro de por ac谩, que pasa por la Media Luna. Y hay otro m谩s, que atraviesa toda la tierra y es el que va m谩s lejos鈥�
January 18, 2016
I fully understand and appreciate the value of this book and that the author is the father of magical realism, a genre that I used to enjoy (not sure now). It is even the book that influenced the most Gabriel Garcia Marques. However, it was really depressing and unpleasant to read a book about the tormented souls of dead people and about a haunted bare village in the middle of nowhere, Mexico. Everybody is dead in this book. Moreover, the structure is very fragmented and I had to be very concentrated to try to get the timings right. I had an editions with annotations and a commentary at the end who was useful to explain the structure and some of the symbols. If you read the book I highly recommend to choose an annotated copy.
Probably i was not in the right mood for this .
Probably i was not in the right mood for this .
November 17, 2023
Ghost Town
The Communion of Saints is a somewhat arcane Christian doctrine proclaiming that all of us, the living and the dead, are in this together. 鈥楾his鈥� being the trek toward ultimate salvation. This is the theme that permeates Pedro Paramo. I think it accounts for the frequent appearances of the dead in helpful and discursive roles. But also for the devastation of the community itself which has never pulled its weight, as it were, by battling the forces of evil, namely the un-faithful. Continuity is thus invariably lost - in individual personalities, in communal cohesion, and even in civilisation.
The sort of cosmic fellowship of the Communion was worked out late in the 5th century and is included in the so-called Apostles Creed. For Christians its significance is clear: the communion that is shared in the Spirit transcends space, time and even earthly life. Yep, it includes what is more commonly known as ghosts, a group that is celebrated on November 1st throughout the Christian world. The point, unmissable by all believers, is that souls are very real things that can wander around without material bodies, and that just such a thing is to be expected from time to time. Hence events like Halloween and the Day of the Dead.
Christianity inherited much of its ideology of death from Ancient Greece. For the Greeks, the rituals of death were thought to create the polis, the community itself. This was part of a complex ideology that distinguished between the heroic death of a warrior and the so-called Tame Death (by accident or illness) of the average person. Only the former had social as well as ritual significance. It was the strength and determination of the warrior in death that built and held the polis together. The warrior鈥檚 death was a sacrifice for the community.
The early Christian community coopted this idea of the heroic death, explicitly for its martyrs, and implicitly for all its faithful members. The Communion of Saints was neatly divided in appropriate categories: the Church Militant (those still fighting for their faith on earth), the Church Penitent (souls spending time in Purgatory after they had fought well but atoning for their sins unrelated to faith), and the Church Triumphant (those who having fought the good fight find themselves in heaven). Those who hadn鈥檛 fought the fight of faith successfully were in Hell and no longer members of the Communion.
The fictional location of Rulfo鈥檚 novel is the village of Comala somewhere in Southwestern Mexico. Its literary location, however, is really metaphysical: 鈥淭hat town sits on the coals of the earth, at the very mouth of hell. They say that when people from there die and go to hell, they come back for a blanket.鈥� The place had clearly lost its battle for faith. Stray ghosts are loose everywhere. The village clearly is no longer a part of the Communion of Saints. As one of the residents says: 鈥淣ights around here are filled听with ghosts. You should see all the spirits walking through the streets鈥� There's so many of them and so few of us that we don't even make the effort to pray for them anymore.鈥� The link between the living and the dead has been decisively broken.
The bishop came by some years ago but didn鈥檛 linger, declaring an anathema on the place as he rode away on his burro. The place is described as a virtual desert with no significant vegetation. Yet it is 鈥淎 town that smelled like spilled honey.鈥� Honey was an embalming fluid, confirming the pervasiveness of death rather than the presence of honey bees. The name of the estancia where Pedro lives is the Media Luna, The Half Moon, often a symbol of death. The protagonist is Juan Preciado, John Valuable. Is it a literary bridge too far to suggest that this is a reference to John the Beloved Disciple, purported author of the Apocalypse? This last book of the Bible has the striking image of a woman, traditionally interpreted as the Virgin Mary, standing in triumph on the moon. She does not triumph in Comala but is overwhelmed by the evil emanating from Media Luna.
Comala is forlorn, not just abandoned but part of another order of being entirely. The residents scoff at the very idea of faith: 鈥淲hat has their faith won them? Heaven? Or the purification of their souls? And why purify their souls anyway, when at the last moment鈥︹€� A lifetime of valiant effort could be wiped out on account some minor doubt at the end. Why engage in this sort of endless struggle therefore? Faith is a mug鈥檚 game. Comala is a concentration camp for the souls of those who have given up the fight of the faithful.
Hope is what drew Juan to Comala, and a promise to his dying mother about getting revenge on his father. What he finds is a Communion of Sinners. No, that鈥檚 not quite right; we are all sinners. This is a Communion of Resigned Sinners. Juan鈥檚 father is long dead but tells about his life through his ghost. The locals have been beaten down by the corruption that surrounds them - by the land-owner and his agent and family, by the church and its demands for tithes and its claimed control over their eternal fate, and by each other as they pimped their own daughters and failed to stand up for their friends and family members. Even the priest cannot be shriven by his colleagues. They are without Hope and can鈥檛 provide Juan鈥檚 Hope any encouragement.
Without the Communion of Saints, those living in Hell look for alternative means of social cohesion. Revolution is an attractive alternative, but is rarely satisfying since there are heroic dead on each side. And those who have not chosen a side die a tame death of no significance whatsoever. Unlike in the Dickens A Christmas Carol, the ghosts have no effect whatsoever except to confirm the obdurate evil in which they continue to exist. They cannot escape and they cannot end their existence. They can only repeat events in their lives and testify to their regrets forever - among themselves and to whoever happens to be passing by. But the living are of no use to them and vice versa..
The Communion of Saints is a somewhat arcane Christian doctrine proclaiming that all of us, the living and the dead, are in this together. 鈥楾his鈥� being the trek toward ultimate salvation. This is the theme that permeates Pedro Paramo. I think it accounts for the frequent appearances of the dead in helpful and discursive roles. But also for the devastation of the community itself which has never pulled its weight, as it were, by battling the forces of evil, namely the un-faithful. Continuity is thus invariably lost - in individual personalities, in communal cohesion, and even in civilisation.
The sort of cosmic fellowship of the Communion was worked out late in the 5th century and is included in the so-called Apostles Creed. For Christians its significance is clear: the communion that is shared in the Spirit transcends space, time and even earthly life. Yep, it includes what is more commonly known as ghosts, a group that is celebrated on November 1st throughout the Christian world. The point, unmissable by all believers, is that souls are very real things that can wander around without material bodies, and that just such a thing is to be expected from time to time. Hence events like Halloween and the Day of the Dead.
Christianity inherited much of its ideology of death from Ancient Greece. For the Greeks, the rituals of death were thought to create the polis, the community itself. This was part of a complex ideology that distinguished between the heroic death of a warrior and the so-called Tame Death (by accident or illness) of the average person. Only the former had social as well as ritual significance. It was the strength and determination of the warrior in death that built and held the polis together. The warrior鈥檚 death was a sacrifice for the community.
The early Christian community coopted this idea of the heroic death, explicitly for its martyrs, and implicitly for all its faithful members. The Communion of Saints was neatly divided in appropriate categories: the Church Militant (those still fighting for their faith on earth), the Church Penitent (souls spending time in Purgatory after they had fought well but atoning for their sins unrelated to faith), and the Church Triumphant (those who having fought the good fight find themselves in heaven). Those who hadn鈥檛 fought the fight of faith successfully were in Hell and no longer members of the Communion.
The fictional location of Rulfo鈥檚 novel is the village of Comala somewhere in Southwestern Mexico. Its literary location, however, is really metaphysical: 鈥淭hat town sits on the coals of the earth, at the very mouth of hell. They say that when people from there die and go to hell, they come back for a blanket.鈥� The place had clearly lost its battle for faith. Stray ghosts are loose everywhere. The village clearly is no longer a part of the Communion of Saints. As one of the residents says: 鈥淣ights around here are filled听with ghosts. You should see all the spirits walking through the streets鈥� There's so many of them and so few of us that we don't even make the effort to pray for them anymore.鈥� The link between the living and the dead has been decisively broken.
The bishop came by some years ago but didn鈥檛 linger, declaring an anathema on the place as he rode away on his burro. The place is described as a virtual desert with no significant vegetation. Yet it is 鈥淎 town that smelled like spilled honey.鈥� Honey was an embalming fluid, confirming the pervasiveness of death rather than the presence of honey bees. The name of the estancia where Pedro lives is the Media Luna, The Half Moon, often a symbol of death. The protagonist is Juan Preciado, John Valuable. Is it a literary bridge too far to suggest that this is a reference to John the Beloved Disciple, purported author of the Apocalypse? This last book of the Bible has the striking image of a woman, traditionally interpreted as the Virgin Mary, standing in triumph on the moon. She does not triumph in Comala but is overwhelmed by the evil emanating from Media Luna.
Comala is forlorn, not just abandoned but part of another order of being entirely. The residents scoff at the very idea of faith: 鈥淲hat has their faith won them? Heaven? Or the purification of their souls? And why purify their souls anyway, when at the last moment鈥︹€� A lifetime of valiant effort could be wiped out on account some minor doubt at the end. Why engage in this sort of endless struggle therefore? Faith is a mug鈥檚 game. Comala is a concentration camp for the souls of those who have given up the fight of the faithful.
Hope is what drew Juan to Comala, and a promise to his dying mother about getting revenge on his father. What he finds is a Communion of Sinners. No, that鈥檚 not quite right; we are all sinners. This is a Communion of Resigned Sinners. Juan鈥檚 father is long dead but tells about his life through his ghost. The locals have been beaten down by the corruption that surrounds them - by the land-owner and his agent and family, by the church and its demands for tithes and its claimed control over their eternal fate, and by each other as they pimped their own daughters and failed to stand up for their friends and family members. Even the priest cannot be shriven by his colleagues. They are without Hope and can鈥檛 provide Juan鈥檚 Hope any encouragement.
Without the Communion of Saints, those living in Hell look for alternative means of social cohesion. Revolution is an attractive alternative, but is rarely satisfying since there are heroic dead on each side. And those who have not chosen a side die a tame death of no significance whatsoever. Unlike in the Dickens A Christmas Carol, the ghosts have no effect whatsoever except to confirm the obdurate evil in which they continue to exist. They cannot escape and they cannot end their existence. They can only repeat events in their lives and testify to their regrets forever - among themselves and to whoever happens to be passing by. But the living are of no use to them and vice versa..
March 14, 2013
賷賯賵賱 賲丕乇賰賷夭 毓賳 賴匕賴 丕賱乇賵丕賷丞 :
賱賲 丕爻鬲胤毓 丕賱賳賵賲 丨鬲賶 兀賳賴賷鬲賴丕 賲乇鬲賷賳 .. 賰丕賳鬲 氐丿賲鬲賷 丕賱兀賵賱賶 丨賷賳 賯乇兀鬲 廿賳賲爻丕禺 賰丕賮賰丕 賯亘賱 毓卮乇 爻賳賵丕鬲 賵賴匕賴 丕賱乇賵丕賷丞 賴賷 氐丿賲鬲賷 丕賱孬丕賳賷丞
賲丕匕丕 兀賯賵賱 毓賳 亘賷丿乇賵 亘丕乇丕賲賵 兀賵 毓賳 禺賵丕賳 乇賵賱賮賵 賵乇賵丕賷鬲賴 丕賱賵丨賷丿丞 丕賱鬲賷 鬲賲孬賱 賵丕丨丿丞 賲賳 兀乇賵毓 賲丕 賰鬲亘 賮賷 兀丿亘 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞
賴匕丕 丕賱賳氐 賷卮亘賴 丕賱賲卮賷 毓賱賶 卮馗丕賷丕 噩丕乇丨丞 賲賳 丕賱夭噩丕噩 鬲爻亘亘 賱賰 丕賱兀賱賲 鬲丿賲賷 賯丿賲賷賰 賱賰賳賰 鬲賰賲賱 丕賱賲卮賷 賲爻鬲毓匕亘丕 賵乇丕囟賷丕
兀卮睾賱賳賷 亘賳丕亍 丕賱乇賵丕賷丞 丕賱爻乇丿賷 丕賱賲丨賷乇 廿匕 賷亘丿賵 賵賰兀賳賰 丿禺賱鬲 賲賳胤賯丞 囟亘丕亘賷丞 鬲毓噩夭 賮賷賴丕 毓賳 丕賱乇丐賷丞 賱丕 爻賷賲丕 丕賱鬲毓賯賷丿 丕賱夭賲賳賷 賮賷 鬲爻賱爻賱 丕賱兀丨丿丕孬 廿禺鬲賱丕胤 丕賱賲丕囟賷 亘丕賱丨丕囟乇 .. 丕賱兀氐賵丕鬲 丕賱卮亘丨賷丞 賱丕 兀賳賮賰 兀賮賰乇 賮賷 賴匕丕 丕賱兀爻賱賵亘 丕賱禺丕乇賯 兀丨丕賵賱 鬲賮爻賷乇 兀丨丿丕孬賴丕 賲賲丕 丕囟胤乇賳賷 賱兀毓丕丿丞 賯乇丕亍丞 氐賮丨丕鬲 賰孬賷乇丞 賵丨鬲賶 亘毓丿 丕賱廿賳鬲賴丕亍 賲賳賴丕 賵丨賷賳 賮乇睾鬲 賲賳 丕賱卮毓賵乇 亘賴匕丕 丕賱丿賵乇丕賳 丕賱賱匕賷匕 丕賱匕賷 鬲丨丿孬賴 丕賱乇賵丕賷丕鬲 丕賱毓亘賯乇賷丞 兀毓丿鬲 賯乇丕亍丞 丕賱氐賮丨丕鬲 丕賱禺賲爻賷賳 丕賱兀賵賱賶 賯乇丕亍丞 爻乇賷毓丞 賱兀賯賮 毓賱賶 丨丕卅胤 丕賱匕賰乇賷丕鬲 賲丕 亘賷賳 胤賮賵賱丞 亘賷丿乇賵 賵卮亘丕亘賴 賵丨鬲賶 賵氐賵賱賴 賱賱爻賱胤丞 賱兀爻鬲胤賷毓 兀賳 兀噩賲毓 亘毓囟 丕賱賯胤毓 丕賱賲鬲賳丕孬乇丞 亘賷賳 氐賮丨丞 賵兀禺乇賶 ..
鬲丿賵乇 丕賱乇賵丕賷丞 賮賷 廿丨丿賶 丕賱賯乇賶 丕賱賲賰爻賷賰賷丞 賷爻鬲賱賲 賮賷賴丕 夭賲丕賲 丕賱爻乇丿 丕賱乇丕賵賷 禺賵丕賳 賵丕賱匕賷 賷鬲噩賴 廿賱賶 賯乇賷丞 賰賵賲丕賱丕 丨爻亘 賵氐賷丞 賵丕賱丿鬲賴 丕賱賲丨鬲囟乇丞 夭賵噩丞 亘賷丿乇賵 亘丕乇丕賲賵 賱賷兀禺匕 丨賯賴丕 賵賰丕賳鬲 賯丿 鬲禺賱鬲 毓賳賴 賵賴噩乇鬲賴 廿賱賶 亘賷鬲 兀禺鬲賴丕 賲賳鬲馗乇丞 兀賳 賷爻鬲丿毓賷賴丕 睾賷乇 兀賳賴 賱賲 賷賮毓賱 賯胤 ..
賷丿禺賱 禺賵丕賳 丕賱賯乇賷丞 賱賷亘丨孬 毓賳 賵丕賱丿賴 賵賱賷賱鬲賯賷 乇噩賱丕 兀氐亘丨 丿賱賷賱賴 廿賱賶 丕賱賯乇賷丞 賵賷賰鬲卮賮 廿賳賴 丕亘賳丕 丌禺乇 賱賷亘丿乇賵 賵賴賵 賲噩乇丿 賵丕丨丿 賲賳 兀亘賳丕亍賴 丕賱賰孬乇 丕賱睾賷乇 卮乇毓賷賷賳 兀賲丕 廿賰鬲卮丕賮賴 丕賱兀賴賲 賴賵 兀賳 丕賱賯乇賷丞 賱賲 鬲毓丿 賲兀賴賵賱丞 爻賵賶 亘兀卮亘丕丨 爻丕賰賷賳賷賴丕 賵兀氐賵丕鬲賴賲 丕賱賴丕賲爻丞 ..
賷亘賷鬲 禺賵丕賳 毓賳丿 丿賵賳賷丕 兀丿賵賮賷禺賷爻 丕賱鬲賷 鬲丨賰賷 賱賴 賯氐鬲賴丕 賲毓 賵丕賱丿鬲賴 賱賰賳賴 爻乇毓丕賳 賲丕 賷賰鬲卮賮 兀賳 丿賵賳賷丕 賳賮爻賴丕 賱賲 鬲賰賳 爻賵賶 卮亘丨丕 丌禺乇 卮賳賯鬲 賳賮爻賴丕 賵賲丕夭丕賱鬲 乇賵丨賴丕 賲毓匕亘丞 亘爻亘亘 禺胤丕賷丕賴丕 賵賴賰匕丕 賷賳鬲賯賱 禺賵丕賳 賲賳 亘賷鬲 賱丌禺乇 賰亘賷鬲 丿賵賳賷爻 賵卮賯賷賯鬲賴 丕賱鬲賷 鬲毓賷卮 賲毓賴 賰夭賵噩丞 賱鬲鬲噩爻丿 丕賱禺胤賷卅丞 賮賷 噩爻丿賷賴賲丕 丕賱毓丕乇賷賷賳 丕賱賲賳睾賲爻賷賳 賮賷 亘乇賰丞 賲賳 丕賱賵丨賱
兀孬賳丕亍 賴匕賴 丕賱賲卮丕賴丿 丕賱賲鬲賯胤毓丞 賵丕賱鬲賷 賷卮賷毓 賮賷賴丕 噩賵 賲賳 丕賱爻賵丕賵丿賷丞 鬲鬲丿丕毓賶 匕賰乇賷丕鬲 丕賱賯乇賷丞 丕賱賯乇賷丞 丕賱賲賷鬲丞 鬲囟噩 亘丕賱丨賷丕丞 賵 乇賵賱賮賵 賷爻賲丨 賱賱兀賲賵丕鬲 兀賳 賷毓賵丿賵丕 賷馗賴乇 亘賷丿乇賵 亘丕乇丕賲賵 賵賴賵 氐睾賷乇 賵丨亘賷亘鬲賴 丕賱兀賵賱賶 賵丕賱兀禺賷乇丞 爻賵夭丕賳丕 氐丿賷賯丞 胤賮賵賱鬲賴 .. 匕賰乇賷丕鬲 丕賱胤丕卅乇丕鬲 丕賱賵乇賯賷丞 丕賱賲氐丕丨亘丞 賱爻賯賵胤 丕賱賲胤乇 ..
丕賱乇噩賱 賱丕 賷賳爻賶 丨亘賴 丕賱兀賵賱 賰賲丕 賷賯賵賱賵賳 賵亘賷丿乇賵 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 兀氐亘丨 丕賱乇噩賱 丕賱兀賵賱 賵丕賱賲爻賷胤乇 毓賱賶 丕賱賯乇賷丞 賵亘賷丿賴 丕賱丨賱 賵丕賱乇亘胤 賵丨賷丕丞 丕賱賯乇賷丞 賯丕卅賲丞 毓賱賷賴 廿賱丕 兀賳 賰賱 卮賷亍 賷鬲賵賯賮 毓賳丿 爻賵夭丕賳丕 賱賯丿 丕爻鬲賲丕鬲 丕賱乇噩賱 賱賰賷 賷丨氐賱 毓賱賷賴丕 賱賰賳賴 賱賲 賷賳賱 賲乇丕丿賴 亘毓丿 兀賳 乇丨賱 丕賱兀亘 亘丕亘賳鬲賴 丕賱賲噩賳賵賳丞 賱賰賷 賷毓賲賱 賮賷 兀丨丿 丕賱賲賳丕噩賲 賵鬲夭賵噩鬲 爻賵夭丕賳丕 賲賳 乇噩賱 賲丕鬲 毓賳賴丕 賵賰丕賳鬲 鬲賳毓賷賴 賵賱毓丕 賵毓卮賯丕 丨鬲賶 亘毓丿 毓賵丿鬲賴丕 賵夭賵丕噩賴丕 賲賳 亘賷丿乇賵 賱賰賳 賴賱 鬲夭賵噩鬲 爻賵夭丕賳丕 兀賲 廿賳賴丕 鬲賵賴賲鬲 !
鬲賱賰 爻賵夭丕賳丕 丕賱鬲賷 賰丕賳鬲 鬲孬乇孬乇 丿賵賳 兀賳 賷賮賴賲賴丕 兀丨丿 賵爻賵夭丕賳丕 丕賱鬲賷 賲丕鬲鬲 兀賲賴丕 丿賵賳 兀賳 賷丨囟乇 噩賳丕夭鬲賴丕 兀丨丿 賵賮賷 賲賮丕乇賯丞 睾乇賷亘丞 爻賵夭丕賳丕 丕賱鬲賷 丨賷賳 賲丕鬲鬲 鬲丨賵賱 賲賵鬲賴丕 賱爻賷乇賰 !
賮賷 丕賱噩夭亍 丕賱兀賵賱 賲賳 丕賱乇賵丕賷丞 賰丕賳 丕賱爻丕乇丿 禺賵丕賳 丕賱兀亘賳 賱賰賳 禺賵丕賳 賳賮爻賴 爻乇毓丕賳 賲丕 賲丕鬲 賲賳 丕賱禺賵賮 賲賳 賴賲爻丕鬲 噩丿乇丕賳 丕賱賲賳丕夭賱 賮賷 賰賵賲丕賱丕 .. 鬲噩賲丿 賲賳 丕賱兀氐賵丕鬲 丕賱賴丕賲爻丞 丕賱鬲賷 賱賲 鬲賰賮 毓賳 鬲賯丿賷賲 卮賴丕丿丕鬲 賲賳 丕賱賲賵鬲賶 賮賵賯 乇兀爻賴 丕賱賯乇賷丞 匕丕鬲 丕賱兀乇賵丕丨 丕賱賲毓匕亘丞 丕賱賴丕卅賲丞 鬲毓賷丿 丕賱兀丨丿丕孬 賵賴賳丕 鬲賯賮 丕賱禺胤賷卅丞 賵噩賴丕 賱賵噩賴 賲毓 亘賷丿乇賵 丕賱兀氐賵丕鬲 鬲賳鬲賯賲 賲賳 丕賱兀亘 丕賱噩卮毓 賲睾鬲氐亘 丕賱賮鬲賷丕鬲 .. 亘丕乇丕賲賵 ! 賮賴匕丕 卮賳賯 賱兀賳賴 賱賲 賷賵賮賷 丿賷賳賴 賱賴 賵兀禺乇賶 賰丕賳鬲 毓卮賷賯賴 賵賴匕丕 丕亘賳賴 丕賱睾賷乇 卮乇毓賷 賯賮夭 賲賳 毓賱賶 丨氐丕賳 廿賱禺 丕賳鬲賯賱 丕賱爻丕乇丿 賮賷 丕賱噩夭亍 丕賱孬丕賳賷 廿賱賶 丿賵乇孬賷丕 丕賱鬲賷 賷丨賰賷 賱賴丕 禺賵丕賳 賯氐鬲賴 賵鬲賲囟賷 丿賵乇孬賷丕 鬲鬲丨丿孬 毓賳 賳賮爻賴丕 賵毓賳 兀丨賱丕賲賴丕 賵乇睾亘鬲賴丕 賮賷 胤賮賱 賱賲 賷賵賱丿 賯胤 禺賵丕賳 丿購賮賳 賮賷 賳賮爻 賯亘乇 丿賵乇孬賷丕 賮賷 賲卮賴丿 賮丕卅賯 丕賱乇賵毓丞
丕賱乇賵丕賷丞 鬲賳丕賵賱鬲 丕賱賯囟丕賷丕 丕賱夭乇丕毓賷丞 賮賷 丕賱賲賰爻賷賰 賵丕賱爻賱胤丕鬲 丕賱廿賯胤丕毓賷丞 賵丕賱馗乇賵賮 丕賱鬲丕乇賷禺賷丞 賱賱孬賵乇丞 賵亘賷丿乇賵 丕賱賲鬲爻賱胤 賱丕 卮賷亍 賷賯賮 賮賷 胤乇賷賯丞 丨鬲賶 亘毓丿 賯賷丕賲 丕賱孬賵乇丞 賮賷鬲毓丕賲賱 賲毓賴丕 亘匕賰丕亍 賵賷賲丿 賷丿賴 賱賴丕 丨鬲賶 賱丕 鬲噩乇賮賴 貙
丕賱兀賵乇丕賯 丕賱兀禺賷乇丞 賮賷 丕賱乇賵丕賷丞 賱賲 賷賰賳 賱賴丕 爻丕乇丿 兀賵 乇亘賲丕 爻丕乇丿 賲噩賴賵賱 賱丕賷賲賰賳 鬲毓鬲賲丿 毓賱賶 丨丿爻賰 賰孬賷乇丕 廿匕 鬲囟賷毓 賲賳賰
丕賱禺賷賵胤 賮賷 兀丨賷丕賳 賰孬賷乇丞 廿賱丕 廿賳 賳賴丕賷丞 亘賷丿乇賵 亘丿兀鬲 賲賳匕 兀賳 丿賮賳鬲 爻賵夭丕賳丕
廿匕 賷賯爻賲 毓賱賶 丕賱廿賳鬲賯丕賲 賮賷賴賲賱 丕賱賲夭乇毓丞 賵丕賱兀乇丕囟賷 賵賷賯囟賷 亘賯賷丞 丨賷丕鬲賴 賷丨丿賯 賮賷 丕賱胤乇賷賯 .. 鬲賲賵鬲 丕賱賯乇賷丞 亘賲賵鬲 亘賷丿乇賵 賮亘賷丿乇賵 賰丕賳 丨賷丕鬲賴丕 賵賲賵鬲賴丕 賰賲丕 賰丕賳鬲 爻賵夭丕賳丕 賴賷 丕賱丨賷丕丞 賵賴賷 丕賱賲賵鬲 兀賷囟丕 !
丕賱乇賵丕賷丞 賱賷爻鬲 爻賴賱丞 賮賷 丕賱賯乇丕亍丞 廿匕 鬲賯囟賷 賲丕 賷賯丕乇亘 丕賱禺賲爻賷賳 氐賮丨丞 賵兀賳鬲 賱丕 鬲夭丕賱 鬲丨丕賵賱 兀賳 鬲爻鬲賵毓亘 丕賱丨丿賵丿 丕賱賮丕氐賱丞 賲丕 亘賷賳 丕賱丨賷丕丞 賵賲丕 亘毓丿 丕賱丨賷丕丞 .. 賲賲丕 賷爻亘亘 丕賱廿乇鬲亘丕賰 鬲賯賳賷丞 丕賱爻乇丿 賱賲 兀賵丕噩賴 賮賷 賲孬賱 氐毓賵亘鬲賴丕 廿賱丕 毓賳丿賲丕 賯乇兀鬲 丕賱氐禺亘 賵丕賱毓賳賮 .. 賵賷亘丿賵 丕賱兀賲乇 丨賯賷賯丞 賲卮丕亘賴丕 賳賵毓丕 賮兀賳鬲 賱丕 鬲爻鬲胤賷毓 兀賳 鬲爻鬲賵毓亘 賰賱 賴匕賴 丕賱兀丨丿丕孬 賵丕賱卮禺氐賷丕鬲 丕賱賲鬲卮丕亘賰丞 賮賷 鬲賱賰 丕賱賲卮丕賴丿 丕賱禺丕胤賮丞 毓賱賶 廿賳賴丕 噩乇鬲 毓賱賶 賲丿賶 爻賳賷 亘賷丿乇賵 亘丕乇丕賲賵 賲賳匕 兀賳 賰丕賳 胤賮賱丕 賵丨鬲賶 賵賮丕鬲賴 賵禺賱丕賱 140 氐賮丨丞 賮賯胤
賴匕賴 丕賱乇賵丕賷丞 鬲賯乇兀賴丕 賵兀賳鬲 鬲賲卮賷 毓賱賶 兀氐丕亘毓賰
賱賲 丕爻鬲胤毓 丕賱賳賵賲 丨鬲賶 兀賳賴賷鬲賴丕 賲乇鬲賷賳 .. 賰丕賳鬲 氐丿賲鬲賷 丕賱兀賵賱賶 丨賷賳 賯乇兀鬲 廿賳賲爻丕禺 賰丕賮賰丕 賯亘賱 毓卮乇 爻賳賵丕鬲 賵賴匕賴 丕賱乇賵丕賷丞 賴賷 氐丿賲鬲賷 丕賱孬丕賳賷丞
賲丕匕丕 兀賯賵賱 毓賳 亘賷丿乇賵 亘丕乇丕賲賵 兀賵 毓賳 禺賵丕賳 乇賵賱賮賵 賵乇賵丕賷鬲賴 丕賱賵丨賷丿丞 丕賱鬲賷 鬲賲孬賱 賵丕丨丿丞 賲賳 兀乇賵毓 賲丕 賰鬲亘 賮賷 兀丿亘 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞
賴匕丕 丕賱賳氐 賷卮亘賴 丕賱賲卮賷 毓賱賶 卮馗丕賷丕 噩丕乇丨丞 賲賳 丕賱夭噩丕噩 鬲爻亘亘 賱賰 丕賱兀賱賲 鬲丿賲賷 賯丿賲賷賰 賱賰賳賰 鬲賰賲賱 丕賱賲卮賷 賲爻鬲毓匕亘丕 賵乇丕囟賷丕
兀卮睾賱賳賷 亘賳丕亍 丕賱乇賵丕賷丞 丕賱爻乇丿賷 丕賱賲丨賷乇 廿匕 賷亘丿賵 賵賰兀賳賰 丿禺賱鬲 賲賳胤賯丞 囟亘丕亘賷丞 鬲毓噩夭 賮賷賴丕 毓賳 丕賱乇丐賷丞 賱丕 爻賷賲丕 丕賱鬲毓賯賷丿 丕賱夭賲賳賷 賮賷 鬲爻賱爻賱 丕賱兀丨丿丕孬 廿禺鬲賱丕胤 丕賱賲丕囟賷 亘丕賱丨丕囟乇 .. 丕賱兀氐賵丕鬲 丕賱卮亘丨賷丞 賱丕 兀賳賮賰 兀賮賰乇 賮賷 賴匕丕 丕賱兀爻賱賵亘 丕賱禺丕乇賯 兀丨丕賵賱 鬲賮爻賷乇 兀丨丿丕孬賴丕 賲賲丕 丕囟胤乇賳賷 賱兀毓丕丿丞 賯乇丕亍丞 氐賮丨丕鬲 賰孬賷乇丞 賵丨鬲賶 亘毓丿 丕賱廿賳鬲賴丕亍 賲賳賴丕 賵丨賷賳 賮乇睾鬲 賲賳 丕賱卮毓賵乇 亘賴匕丕 丕賱丿賵乇丕賳 丕賱賱匕賷匕 丕賱匕賷 鬲丨丿孬賴 丕賱乇賵丕賷丕鬲 丕賱毓亘賯乇賷丞 兀毓丿鬲 賯乇丕亍丞 丕賱氐賮丨丕鬲 丕賱禺賲爻賷賳 丕賱兀賵賱賶 賯乇丕亍丞 爻乇賷毓丞 賱兀賯賮 毓賱賶 丨丕卅胤 丕賱匕賰乇賷丕鬲 賲丕 亘賷賳 胤賮賵賱丞 亘賷丿乇賵 賵卮亘丕亘賴 賵丨鬲賶 賵氐賵賱賴 賱賱爻賱胤丞 賱兀爻鬲胤賷毓 兀賳 兀噩賲毓 亘毓囟 丕賱賯胤毓 丕賱賲鬲賳丕孬乇丞 亘賷賳 氐賮丨丞 賵兀禺乇賶 ..
鬲丿賵乇 丕賱乇賵丕賷丞 賮賷 廿丨丿賶 丕賱賯乇賶 丕賱賲賰爻賷賰賷丞 賷爻鬲賱賲 賮賷賴丕 夭賲丕賲 丕賱爻乇丿 丕賱乇丕賵賷 禺賵丕賳 賵丕賱匕賷 賷鬲噩賴 廿賱賶 賯乇賷丞 賰賵賲丕賱丕 丨爻亘 賵氐賷丞 賵丕賱丿鬲賴 丕賱賲丨鬲囟乇丞 夭賵噩丞 亘賷丿乇賵 亘丕乇丕賲賵 賱賷兀禺匕 丨賯賴丕 賵賰丕賳鬲 賯丿 鬲禺賱鬲 毓賳賴 賵賴噩乇鬲賴 廿賱賶 亘賷鬲 兀禺鬲賴丕 賲賳鬲馗乇丞 兀賳 賷爻鬲丿毓賷賴丕 睾賷乇 兀賳賴 賱賲 賷賮毓賱 賯胤 ..
賷丿禺賱 禺賵丕賳 丕賱賯乇賷丞 賱賷亘丨孬 毓賳 賵丕賱丿賴 賵賱賷賱鬲賯賷 乇噩賱丕 兀氐亘丨 丿賱賷賱賴 廿賱賶 丕賱賯乇賷丞 賵賷賰鬲卮賮 廿賳賴 丕亘賳丕 丌禺乇 賱賷亘丿乇賵 賵賴賵 賲噩乇丿 賵丕丨丿 賲賳 兀亘賳丕亍賴 丕賱賰孬乇 丕賱睾賷乇 卮乇毓賷賷賳 兀賲丕 廿賰鬲卮丕賮賴 丕賱兀賴賲 賴賵 兀賳 丕賱賯乇賷丞 賱賲 鬲毓丿 賲兀賴賵賱丞 爻賵賶 亘兀卮亘丕丨 爻丕賰賷賳賷賴丕 賵兀氐賵丕鬲賴賲 丕賱賴丕賲爻丞 ..
賷亘賷鬲 禺賵丕賳 毓賳丿 丿賵賳賷丕 兀丿賵賮賷禺賷爻 丕賱鬲賷 鬲丨賰賷 賱賴 賯氐鬲賴丕 賲毓 賵丕賱丿鬲賴 賱賰賳賴 爻乇毓丕賳 賲丕 賷賰鬲卮賮 兀賳 丿賵賳賷丕 賳賮爻賴丕 賱賲 鬲賰賳 爻賵賶 卮亘丨丕 丌禺乇 卮賳賯鬲 賳賮爻賴丕 賵賲丕夭丕賱鬲 乇賵丨賴丕 賲毓匕亘丞 亘爻亘亘 禺胤丕賷丕賴丕 賵賴賰匕丕 賷賳鬲賯賱 禺賵丕賳 賲賳 亘賷鬲 賱丌禺乇 賰亘賷鬲 丿賵賳賷爻 賵卮賯賷賯鬲賴 丕賱鬲賷 鬲毓賷卮 賲毓賴 賰夭賵噩丞 賱鬲鬲噩爻丿 丕賱禺胤賷卅丞 賮賷 噩爻丿賷賴賲丕 丕賱毓丕乇賷賷賳 丕賱賲賳睾賲爻賷賳 賮賷 亘乇賰丞 賲賳 丕賱賵丨賱
兀孬賳丕亍 賴匕賴 丕賱賲卮丕賴丿 丕賱賲鬲賯胤毓丞 賵丕賱鬲賷 賷卮賷毓 賮賷賴丕 噩賵 賲賳 丕賱爻賵丕賵丿賷丞 鬲鬲丿丕毓賶 匕賰乇賷丕鬲 丕賱賯乇賷丞 丕賱賯乇賷丞 丕賱賲賷鬲丞 鬲囟噩 亘丕賱丨賷丕丞 賵 乇賵賱賮賵 賷爻賲丨 賱賱兀賲賵丕鬲 兀賳 賷毓賵丿賵丕 賷馗賴乇 亘賷丿乇賵 亘丕乇丕賲賵 賵賴賵 氐睾賷乇 賵丨亘賷亘鬲賴 丕賱兀賵賱賶 賵丕賱兀禺賷乇丞 爻賵夭丕賳丕 氐丿賷賯丞 胤賮賵賱鬲賴 .. 匕賰乇賷丕鬲 丕賱胤丕卅乇丕鬲 丕賱賵乇賯賷丞 丕賱賲氐丕丨亘丞 賱爻賯賵胤 丕賱賲胤乇 ..
丕賱乇噩賱 賱丕 賷賳爻賶 丨亘賴 丕賱兀賵賱 賰賲丕 賷賯賵賱賵賳 賵亘賷丿乇賵 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 兀氐亘丨 丕賱乇噩賱 丕賱兀賵賱 賵丕賱賲爻賷胤乇 毓賱賶 丕賱賯乇賷丞 賵亘賷丿賴 丕賱丨賱 賵丕賱乇亘胤 賵丨賷丕丞 丕賱賯乇賷丞 賯丕卅賲丞 毓賱賷賴 廿賱丕 兀賳 賰賱 卮賷亍 賷鬲賵賯賮 毓賳丿 爻賵夭丕賳丕 賱賯丿 丕爻鬲賲丕鬲 丕賱乇噩賱 賱賰賷 賷丨氐賱 毓賱賷賴丕 賱賰賳賴 賱賲 賷賳賱 賲乇丕丿賴 亘毓丿 兀賳 乇丨賱 丕賱兀亘 亘丕亘賳鬲賴 丕賱賲噩賳賵賳丞 賱賰賷 賷毓賲賱 賮賷 兀丨丿 丕賱賲賳丕噩賲 賵鬲夭賵噩鬲 爻賵夭丕賳丕 賲賳 乇噩賱 賲丕鬲 毓賳賴丕 賵賰丕賳鬲 鬲賳毓賷賴 賵賱毓丕 賵毓卮賯丕 丨鬲賶 亘毓丿 毓賵丿鬲賴丕 賵夭賵丕噩賴丕 賲賳 亘賷丿乇賵 賱賰賳 賴賱 鬲夭賵噩鬲 爻賵夭丕賳丕 兀賲 廿賳賴丕 鬲賵賴賲鬲 !
鬲賱賰 爻賵夭丕賳丕 丕賱鬲賷 賰丕賳鬲 鬲孬乇孬乇 丿賵賳 兀賳 賷賮賴賲賴丕 兀丨丿 賵爻賵夭丕賳丕 丕賱鬲賷 賲丕鬲鬲 兀賲賴丕 丿賵賳 兀賳 賷丨囟乇 噩賳丕夭鬲賴丕 兀丨丿 賵賮賷 賲賮丕乇賯丞 睾乇賷亘丞 爻賵夭丕賳丕 丕賱鬲賷 丨賷賳 賲丕鬲鬲 鬲丨賵賱 賲賵鬲賴丕 賱爻賷乇賰 !
賮賷 丕賱噩夭亍 丕賱兀賵賱 賲賳 丕賱乇賵丕賷丞 賰丕賳 丕賱爻丕乇丿 禺賵丕賳 丕賱兀亘賳 賱賰賳 禺賵丕賳 賳賮爻賴 爻乇毓丕賳 賲丕 賲丕鬲 賲賳 丕賱禺賵賮 賲賳 賴賲爻丕鬲 噩丿乇丕賳 丕賱賲賳丕夭賱 賮賷 賰賵賲丕賱丕 .. 鬲噩賲丿 賲賳 丕賱兀氐賵丕鬲 丕賱賴丕賲爻丞 丕賱鬲賷 賱賲 鬲賰賮 毓賳 鬲賯丿賷賲 卮賴丕丿丕鬲 賲賳 丕賱賲賵鬲賶 賮賵賯 乇兀爻賴 丕賱賯乇賷丞 匕丕鬲 丕賱兀乇賵丕丨 丕賱賲毓匕亘丞 丕賱賴丕卅賲丞 鬲毓賷丿 丕賱兀丨丿丕孬 賵賴賳丕 鬲賯賮 丕賱禺胤賷卅丞 賵噩賴丕 賱賵噩賴 賲毓 亘賷丿乇賵 丕賱兀氐賵丕鬲 鬲賳鬲賯賲 賲賳 丕賱兀亘 丕賱噩卮毓 賲睾鬲氐亘 丕賱賮鬲賷丕鬲 .. 亘丕乇丕賲賵 ! 賮賴匕丕 卮賳賯 賱兀賳賴 賱賲 賷賵賮賷 丿賷賳賴 賱賴 賵兀禺乇賶 賰丕賳鬲 毓卮賷賯賴 賵賴匕丕 丕亘賳賴 丕賱睾賷乇 卮乇毓賷 賯賮夭 賲賳 毓賱賶 丨氐丕賳 廿賱禺 丕賳鬲賯賱 丕賱爻丕乇丿 賮賷 丕賱噩夭亍 丕賱孬丕賳賷 廿賱賶 丿賵乇孬賷丕 丕賱鬲賷 賷丨賰賷 賱賴丕 禺賵丕賳 賯氐鬲賴 賵鬲賲囟賷 丿賵乇孬賷丕 鬲鬲丨丿孬 毓賳 賳賮爻賴丕 賵毓賳 兀丨賱丕賲賴丕 賵乇睾亘鬲賴丕 賮賷 胤賮賱 賱賲 賷賵賱丿 賯胤 禺賵丕賳 丿購賮賳 賮賷 賳賮爻 賯亘乇 丿賵乇孬賷丕 賮賷 賲卮賴丿 賮丕卅賯 丕賱乇賵毓丞
丕賱乇賵丕賷丞 鬲賳丕賵賱鬲 丕賱賯囟丕賷丕 丕賱夭乇丕毓賷丞 賮賷 丕賱賲賰爻賷賰 賵丕賱爻賱胤丕鬲 丕賱廿賯胤丕毓賷丞 賵丕賱馗乇賵賮 丕賱鬲丕乇賷禺賷丞 賱賱孬賵乇丞 賵亘賷丿乇賵 丕賱賲鬲爻賱胤 賱丕 卮賷亍 賷賯賮 賮賷 胤乇賷賯丞 丨鬲賶 亘毓丿 賯賷丕賲 丕賱孬賵乇丞 賮賷鬲毓丕賲賱 賲毓賴丕 亘匕賰丕亍 賵賷賲丿 賷丿賴 賱賴丕 丨鬲賶 賱丕 鬲噩乇賮賴 貙
丕賱兀賵乇丕賯 丕賱兀禺賷乇丞 賮賷 丕賱乇賵丕賷丞 賱賲 賷賰賳 賱賴丕 爻丕乇丿 兀賵 乇亘賲丕 爻丕乇丿 賲噩賴賵賱 賱丕賷賲賰賳 鬲毓鬲賲丿 毓賱賶 丨丿爻賰 賰孬賷乇丕 廿匕 鬲囟賷毓 賲賳賰
丕賱禺賷賵胤 賮賷 兀丨賷丕賳 賰孬賷乇丞 廿賱丕 廿賳 賳賴丕賷丞 亘賷丿乇賵 亘丿兀鬲 賲賳匕 兀賳 丿賮賳鬲 爻賵夭丕賳丕
廿匕 賷賯爻賲 毓賱賶 丕賱廿賳鬲賯丕賲 賮賷賴賲賱 丕賱賲夭乇毓丞 賵丕賱兀乇丕囟賷 賵賷賯囟賷 亘賯賷丞 丨賷丕鬲賴 賷丨丿賯 賮賷 丕賱胤乇賷賯 .. 鬲賲賵鬲 丕賱賯乇賷丞 亘賲賵鬲 亘賷丿乇賵 賮亘賷丿乇賵 賰丕賳 丨賷丕鬲賴丕 賵賲賵鬲賴丕 賰賲丕 賰丕賳鬲 爻賵夭丕賳丕 賴賷 丕賱丨賷丕丞 賵賴賷 丕賱賲賵鬲 兀賷囟丕 !
丕賱乇賵丕賷丞 賱賷爻鬲 爻賴賱丞 賮賷 丕賱賯乇丕亍丞 廿匕 鬲賯囟賷 賲丕 賷賯丕乇亘 丕賱禺賲爻賷賳 氐賮丨丞 賵兀賳鬲 賱丕 鬲夭丕賱 鬲丨丕賵賱 兀賳 鬲爻鬲賵毓亘 丕賱丨丿賵丿 丕賱賮丕氐賱丞 賲丕 亘賷賳 丕賱丨賷丕丞 賵賲丕 亘毓丿 丕賱丨賷丕丞 .. 賲賲丕 賷爻亘亘 丕賱廿乇鬲亘丕賰 鬲賯賳賷丞 丕賱爻乇丿 賱賲 兀賵丕噩賴 賮賷 賲孬賱 氐毓賵亘鬲賴丕 廿賱丕 毓賳丿賲丕 賯乇兀鬲 丕賱氐禺亘 賵丕賱毓賳賮 .. 賵賷亘丿賵 丕賱兀賲乇 丨賯賷賯丞 賲卮丕亘賴丕 賳賵毓丕 賮兀賳鬲 賱丕 鬲爻鬲胤賷毓 兀賳 鬲爻鬲賵毓亘 賰賱 賴匕賴 丕賱兀丨丿丕孬 賵丕賱卮禺氐賷丕鬲 丕賱賲鬲卮丕亘賰丞 賮賷 鬲賱賰 丕賱賲卮丕賴丿 丕賱禺丕胤賮丞 毓賱賶 廿賳賴丕 噩乇鬲 毓賱賶 賲丿賶 爻賳賷 亘賷丿乇賵 亘丕乇丕賲賵 賲賳匕 兀賳 賰丕賳 胤賮賱丕 賵丨鬲賶 賵賮丕鬲賴 賵禺賱丕賱 140 氐賮丨丞 賮賯胤
賴匕賴 丕賱乇賵丕賷丞 鬲賯乇兀賴丕 賵兀賳鬲 鬲賲卮賷 毓賱賶 兀氐丕亘毓賰
May 15, 2020
倬丿乇賵 倬丕乇丕賲賵 賯胤毓丕 噩夭 讴鬲丕亘賴丕蹖蹖 丕蹖爻鬲 讴賴 夭蹖丕丿 丿丕爻鬲丕賳 丌賳 乇丕 賳賮賴賲蹖丿賲 貙 蹖讴 讴賱丕賮 爻乇丿乇诏賲 亘賵丿 亘丕 诏乇賴 丕蹖 讴賵乇 讴賴 賴乇 趩賴 賯丿乇 鬲賱丕卮 亘乇丕蹖 亘丕夭 讴乇丿賳 丌賳 賲蹖 讴乇丿賲 貙 诏乇賴 讴賵乇 鬲乇 賲蹖卮丿 . 賲乇夭賴丕蹖 丨賯蹖賯鬲 賵 乇賵蹖丕 亘賴 賯丿乇蹖 讴賲 乇賳诏 亘賵丿 讴賴 丨丿丕賯賱 亘乇丕蹖 賲賳 賲卮禺氐 賳亘賵丿 貙 丕賱亘鬲賴 讴鬲丕亘 丿蹖丕賱賵诏 賴丕蹖 卮丕賴讴丕乇蹖 賴賲 丿丕卮鬲 賲丕賳賳丿 賮乇丿蹖 讴賴 賳賲蹖 賲乇丿 賵 賲賳鬲馗乇 賲乇诏 亘賵丿 . 丕賲丕 丕蹖賳 丿蹖丕賱賵诏 賴丕 亘賴 鬲賳賴丕蹖蹖 賳賲蹖 鬲賵丕賳爻鬲 亘丕乇 爻賳诏蹖賳 诏賲 卮丿賳 丿丕爻鬲丕賳 丿乇 丿賱 丿丕爻鬲丕賳 賵 丿乇讴 賳讴乇丿賳 爻賵乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 讴鬲丕亘 乇丕 鬲丨賲賱 倬匕蹖乇 讴賳丿 .
倬丿乇賵 倬丕乇丕賲賵 乇丕 亘丕蹖丿 亘丕乇 丿蹖诏乇蹖 禺賵丕賳丿 賵 亘毓丿 賯囟丕賵鬲卮 讴乇丿 貙 讴賴 丕诏乇讴爻蹖 亘丕乇 丕賵賱 丿丕爻鬲丕賳 乇丕 賲鬲賵噩賴 賳卮丿 貙 賲卮讴賱 丕夭 禺賵丕賳賳丿賴 丕爻鬲 賵 丿乇 氐賵乇鬲 賳賮賴賲蹖丿賳 讴鬲丕亘 丿乇 亘丕乇 丿賵賲 貙 賲卮讴賱 丕夭 賳賵蹖爻賳丿賴 .
丕賲丕 倬爻 丕夭 禺賵丕賳丿賳 丿賵亘丕乇賴 讴鬲丕亘 貙 讴賲蹖 亘蹖卮鬲乇 亘丕 丿賳蹖丕蹖 賵丕乇賵賳賴 丌賯丕蹖 乇賵賱賮賵 丌卮賳丕 賲蹖 卮賵蹖賲 :
禺賵丕賳 倬乇孬蹖丕丿賵 亘賳丕 亘乇 賵氐蹖鬲 賲丕丿乇貙 亘賴 乇賵爻鬲丕蹖 讴賵賲丕賱賵 丌賲丕丿賴 丕爻鬲 鬲丕 倬丿乇卮 乇丕 倬蹖丿丕 讴賳丿貙 丕賲丕 乇賵爻鬲丕 蹖讴 賲卮讴賱蹖 丿丕乇丿 賵 噩丕蹖 賳乇賲丕賱蹖 賳蹖爻鬲 . 丿乇 讴賵賲丕賱賵 丕乇賵丕丨 夭賳丿诏蹖 賲蹖 讴賳賳丿 賵 禺賵丕賳 賲蹖鬲賵丕賳丿 氐丿丕蹖 丌賳丕賳 乇丕 亘卮賳賵丿 貙 丕賲丕 讴爻丕賳蹖 讴賴 丿乇 讴賵賲丕賱丕 夭賳丿賴 賴爻鬲賳丿 賵 賴賳賵夭 賳賲乇丿賴 丕賳丿 賴賲 賲賳鬲馗乇 賲乇诏 丕賳丿 . 丿乇 丨賯蹖賯鬲 丿乇 讴賵賲丕賱丕 丕乇賵丕丨 賵 夭賳丿賴 诏丕賳 丿乇 讴賳丕乇 賴賲 丿丕乇賳丿 夭賳丿诏蹖 賲蹖 讴賳賳丿 賵 禺蹖賱蹖 丿乇 賲讴丕賱賲丕鬲 讴鬲丕亘 賲乇亘賵胤 亘賴 賲乇丿诏丕賳蹖 丕蹖爻鬲 讴賴 丿乇诏賵乇禺賵丿 禺賵丕亘蹖丿賴 丕賳丿.
噩賴丕賳蹖 讴賴 丌賯丕蹖 乇賵賱賮賵 亘丕 丿賯鬲 丌賮乇蹖丿賴 丕爻鬲 丕夭 倬丕夭賱 賴丕蹖 夭蹖丕丿蹖 爻丕禺鬲賴 卮丿賴 讴賴 禺賵丕賳賳丿賴 亘丕蹖丿 賯胤毓丕鬲 倬丕夭賱 乇丕 亘丕 鬲蹖夭 賴賵卮蹖 丿乇 讴賳丕乇 賴賲 亘诏匕丕乇丿 鬲丕 卮丕蹖丿 丿丕爻鬲丕賳 讴鬲丕亘 亘乇 丕賵 乇賵卮賳 卮賵丿 .
丕賲丕 亘乇丕蹖 賲賳 賴賳賵夭 趩賴 丿丕賳爻鬲賲 賴丕蹖 亘爻蹖丕乇蹖 賵噩賵丿 丿丕乇丿 讴賴 亘乇丕蹖 丿乇讴 丌賳 賳蹖丕夭 亘賴 禺賵丕賳丿賳 賲噩丿丿 賵 賲噩丿丿 讴鬲丕亘 賴爻鬲 :
趩賴 丿丕賳賲 賲賳 丿诏乇 趩賵賳 卮丿 讴賴 趩賵賳 睾乇賯 丕爻鬲 丿乇 亘蹖鈥屭嗁堎�
倬爻 丕夭 爻賴 亘丕乇 禺賵丕賳丿賳 讴鬲丕亘 倬丿乇賵 倬丕乇丕賲賵 貙 賴賲趩賳丕賳 亘禺卮 夭蹖丕丿蹖 丕夭 丿丕爻鬲丕賳 亘賴 卮讴賱 毓賱丕賲鬲 爻賵丕賱 賵 讴卮賮 賳卮丿賴 亘丕賯蹖 賲蹖 賲丕賳丿 貙 賲乇夭蹖 亘蹖賳 賵丕賯毓蹖鬲 賵 禺蹖丕賱 賵 丿賳蹖丕蹖 賲乇丿诏丕賳 賵 夭賳丿賴 诏丕賳 毓賲賱丕 賵噩賵丿 賳丿丕乇丿 . 卮丕蹖丿 亘鬲賵丕賳 诏賮鬲 卮禺氐蹖鬲 賴丕蹖 丕氐賱蹖 讴鬲丕亘 禺賵丕賳 倬乇孬蹖丕丿賵 貙 倬丿乇賵 倬丕乇丕賲賵 賵 爻賵爻丕賳丕 賴爻鬲賳丿 貙 丕賲丕 卮禺氐蹖鬲 賴丕蹖 賮乇毓蹖 倬乇賯丿乇鬲蹖 賴賲 丿乇 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇賳丿 讴賴 乇賵丕蹖鬲 賴丕蹖蹖 丕夭 胤乇賮 丌賳丕賳 诏賮鬲賴 賲蹖 卮賵丿 .
賯丿乇鬲 賵 賳亘賵睾 賳賵蹖爻賳丿賴 丿乇 爻丕禺鬲賳 丕蹖賳 丿賳蹖丕蹖 禺蹖丕賱蹖 亘爻蹖丕乇 賯丕亘賱 爻鬲丕蹖卮 賴爻鬲 貙 賳賵蹖爻賳丿賴 亘丕 鬲爻賱胤 丿賳蹖丕賴丕 乇丕 賲乇夭亘賳丿蹖 賲蹖 讴賳丿 貙 丿乇 賵丕賯毓蹖鬲 丕賳賯賱丕亘 賲讴夭蹖讴 乇禺 賲蹖 丿賴丿 賵 丿乇 禺蹖丕賱 倬跇賵丕讴 賴丕 貙 賳噩賵丕賴丕 丨丕讴賲賳丿 .
倬丿乇賵 倬丕乇丕賲賵 乇丕 亘丕蹖丿 亘丕乇 丿蹖诏乇蹖 禺賵丕賳丿 賵 亘毓丿 賯囟丕賵鬲卮 讴乇丿 貙 讴賴 丕诏乇讴爻蹖 亘丕乇 丕賵賱 丿丕爻鬲丕賳 乇丕 賲鬲賵噩賴 賳卮丿 貙 賲卮讴賱 丕夭 禺賵丕賳賳丿賴 丕爻鬲 賵 丿乇 氐賵乇鬲 賳賮賴賲蹖丿賳 讴鬲丕亘 丿乇 亘丕乇 丿賵賲 貙 賲卮讴賱 丕夭 賳賵蹖爻賳丿賴 .
丕賲丕 倬爻 丕夭 禺賵丕賳丿賳 丿賵亘丕乇賴 讴鬲丕亘 貙 讴賲蹖 亘蹖卮鬲乇 亘丕 丿賳蹖丕蹖 賵丕乇賵賳賴 丌賯丕蹖 乇賵賱賮賵 丌卮賳丕 賲蹖 卮賵蹖賲 :
禺賵丕賳 倬乇孬蹖丕丿賵 亘賳丕 亘乇 賵氐蹖鬲 賲丕丿乇貙 亘賴 乇賵爻鬲丕蹖 讴賵賲丕賱賵 丌賲丕丿賴 丕爻鬲 鬲丕 倬丿乇卮 乇丕 倬蹖丿丕 讴賳丿貙 丕賲丕 乇賵爻鬲丕 蹖讴 賲卮讴賱蹖 丿丕乇丿 賵 噩丕蹖 賳乇賲丕賱蹖 賳蹖爻鬲 . 丿乇 讴賵賲丕賱賵 丕乇賵丕丨 夭賳丿诏蹖 賲蹖 讴賳賳丿 賵 禺賵丕賳 賲蹖鬲賵丕賳丿 氐丿丕蹖 丌賳丕賳 乇丕 亘卮賳賵丿 貙 丕賲丕 讴爻丕賳蹖 讴賴 丿乇 讴賵賲丕賱丕 夭賳丿賴 賴爻鬲賳丿 賵 賴賳賵夭 賳賲乇丿賴 丕賳丿 賴賲 賲賳鬲馗乇 賲乇诏 丕賳丿 . 丿乇 丨賯蹖賯鬲 丿乇 讴賵賲丕賱丕 丕乇賵丕丨 賵 夭賳丿賴 诏丕賳 丿乇 讴賳丕乇 賴賲 丿丕乇賳丿 夭賳丿诏蹖 賲蹖 讴賳賳丿 賵 禺蹖賱蹖 丿乇 賲讴丕賱賲丕鬲 讴鬲丕亘 賲乇亘賵胤 亘賴 賲乇丿诏丕賳蹖 丕蹖爻鬲 讴賴 丿乇诏賵乇禺賵丿 禺賵丕亘蹖丿賴 丕賳丿.
噩賴丕賳蹖 讴賴 丌賯丕蹖 乇賵賱賮賵 亘丕 丿賯鬲 丌賮乇蹖丿賴 丕爻鬲 丕夭 倬丕夭賱 賴丕蹖 夭蹖丕丿蹖 爻丕禺鬲賴 卮丿賴 讴賴 禺賵丕賳賳丿賴 亘丕蹖丿 賯胤毓丕鬲 倬丕夭賱 乇丕 亘丕 鬲蹖夭 賴賵卮蹖 丿乇 讴賳丕乇 賴賲 亘诏匕丕乇丿 鬲丕 卮丕蹖丿 丿丕爻鬲丕賳 讴鬲丕亘 亘乇 丕賵 乇賵卮賳 卮賵丿 .
丕賲丕 亘乇丕蹖 賲賳 賴賳賵夭 趩賴 丿丕賳爻鬲賲 賴丕蹖 亘爻蹖丕乇蹖 賵噩賵丿 丿丕乇丿 讴賴 亘乇丕蹖 丿乇讴 丌賳 賳蹖丕夭 亘賴 禺賵丕賳丿賳 賲噩丿丿 賵 賲噩丿丿 讴鬲丕亘 賴爻鬲 :
趩賴 丿丕賳賲 賲賳 丿诏乇 趩賵賳 卮丿 讴賴 趩賵賳 睾乇賯 丕爻鬲 丿乇 亘蹖鈥屭嗁堎�
倬爻 丕夭 爻賴 亘丕乇 禺賵丕賳丿賳 讴鬲丕亘 倬丿乇賵 倬丕乇丕賲賵 貙 賴賲趩賳丕賳 亘禺卮 夭蹖丕丿蹖 丕夭 丿丕爻鬲丕賳 亘賴 卮讴賱 毓賱丕賲鬲 爻賵丕賱 賵 讴卮賮 賳卮丿賴 亘丕賯蹖 賲蹖 賲丕賳丿 貙 賲乇夭蹖 亘蹖賳 賵丕賯毓蹖鬲 賵 禺蹖丕賱 賵 丿賳蹖丕蹖 賲乇丿诏丕賳 賵 夭賳丿賴 诏丕賳 毓賲賱丕 賵噩賵丿 賳丿丕乇丿 . 卮丕蹖丿 亘鬲賵丕賳 诏賮鬲 卮禺氐蹖鬲 賴丕蹖 丕氐賱蹖 讴鬲丕亘 禺賵丕賳 倬乇孬蹖丕丿賵 貙 倬丿乇賵 倬丕乇丕賲賵 賵 爻賵爻丕賳丕 賴爻鬲賳丿 貙 丕賲丕 卮禺氐蹖鬲 賴丕蹖 賮乇毓蹖 倬乇賯丿乇鬲蹖 賴賲 丿乇 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇賳丿 讴賴 乇賵丕蹖鬲 賴丕蹖蹖 丕夭 胤乇賮 丌賳丕賳 诏賮鬲賴 賲蹖 卮賵丿 .
賯丿乇鬲 賵 賳亘賵睾 賳賵蹖爻賳丿賴 丿乇 爻丕禺鬲賳 丕蹖賳 丿賳蹖丕蹖 禺蹖丕賱蹖 亘爻蹖丕乇 賯丕亘賱 爻鬲丕蹖卮 賴爻鬲 貙 賳賵蹖爻賳丿賴 亘丕 鬲爻賱胤 丿賳蹖丕賴丕 乇丕 賲乇夭亘賳丿蹖 賲蹖 讴賳丿 貙 丿乇 賵丕賯毓蹖鬲 丕賳賯賱丕亘 賲讴夭蹖讴 乇禺 賲蹖 丿賴丿 賵 丿乇 禺蹖丕賱 倬跇賵丕讴 賴丕 貙 賳噩賵丕賴丕 丨丕讴賲賳丿 .
August 22, 2022
Considero este libro un imprescindible del Realismo M谩gico. Y es que una vez que lo comenc茅, aun siendo una obra que se public贸 hace d茅cadas, la sent铆 muy fresca e innovadora dentro de este g茅nero.
Puedo comprender plenamente el porqu茅 es considerada como una obra maestra, pero esto va m谩s all谩 de la historia y su mensaje. Lo que realmente resalta, y yo termin茅 admirando, es la forma en la que est谩 narrada: Las distintas voces y tiempos narrativos. Aunque a primera vista podr铆a parecer una novela desordenada y descuidada, es todo lo contrario.
Las almas, la revoluci贸n, los pecados y las ambiciones son grandes pilares de esta historia, que aport贸 mucho m谩s en la secci贸n de los recuerdos, que en el trayecto realizado por el protagonista Juan Preciado.
Al final, me caus贸 conflicto el hecho de que este 煤ltimo no haya tenido un gran papel en la obra m谩s all谩 de ser el que la narre.
Es verdad que con esta primera lectura no pude ahondar lo suficiente en cada detalle, es por eso que m谩s adelante me dar茅 la oportunidad de releerlo y volverlo a calificar. Me imagino encontrar茅 muchas m谩s cosas...
Puedo comprender plenamente el porqu茅 es considerada como una obra maestra, pero esto va m谩s all谩 de la historia y su mensaje. Lo que realmente resalta, y yo termin茅 admirando, es la forma en la que est谩 narrada: Las distintas voces y tiempos narrativos. Aunque a primera vista podr铆a parecer una novela desordenada y descuidada, es todo lo contrario.
Las almas, la revoluci贸n, los pecados y las ambiciones son grandes pilares de esta historia, que aport贸 mucho m谩s en la secci贸n de los recuerdos, que en el trayecto realizado por el protagonista Juan Preciado.
Al final, me caus贸 conflicto el hecho de que este 煤ltimo no haya tenido un gran papel en la obra m谩s all谩 de ser el que la narre.
Es verdad que con esta primera lectura no pude ahondar lo suficiente en cada detalle, es por eso que m谩s adelante me dar茅 la oportunidad de releerlo y volverlo a calificar. Me imagino encontrar茅 muchas m谩s cosas...
September 12, 2019
This town is filled with echoes. It's like they were trapped behind the walls, or beneath the cobblestones. When you walk you feel like someone's behind you, stepping in your footsteps.
Juan Preciado promises his dying mother to travel to her home village Comala to visit his father, the title Pedro P谩ramo, and claim what鈥檚 theirs. This is the starting point of the novel. So he sets off but Comala from his mother鈥檚 tales is quite a different thing. Today it is a dead town, where ghosts of the past remind only of defeats and failures. Though it is not a silent place at all. In each house, on every square you may hear whispers and lamenting. Over bygone times, unrequited loves and hardships falling on its inhabitants. At times it reminded me Malcolm Lowry鈥檚 with its chaotic narration and deliric voices.
I鈥檝e read quite a number novels from Ibero-American writers but somehow Juan Rulfo did escape my attention earlier. And it was probably him who started all this glorious parade of Latin-American authors. Gabriel Garcia Marquez claimed to know the novel by heart and maintained that his iconic today was strongly influenced by Pedro P谩ramo. And I can believe why. But there when GGM or Vargas Llosa or Fuentes are ornate, baroque even Juan Rulfo鈥檚 style feels quite restricted, with no trace of almost proverbial floweriness so representative for Latin culture and life.
I鈥檓 not good at Mexican literaure and culture but I guess it鈥檚 still full of such Pedro P谩ramos, men who because they want to or simply can, reach for lands of their neighbours, their wives and daughters, and if it鈥檚 not enough for their lives too. Pedro P谩ramo ingeniously combines historical facts with local beliefs and mythology. But it鈥檚 more than that. The novel is foremost the feeling reader is left with, it鈥檚 ambience, it鈥檚 desolate, desertic landscape. And stories of people long gone, told in kind of stream of consciousness though at times it鈥檚 hard to say who鈥檚 talking at the moment. It's nonlinear structure that resembles rather hallucinatory dream than neat narrative.
May 30, 2024
Written in the style of magical realism, Juan Rulfo's Pedro P谩ramo is quite an unusual novel. Its characters are ghosts and the only one living dies and becomes a ghost too in mid-story. Imagine reading a story told by ghosts! It is weird, but it also has some attraction because of the novelty.
The story is about a young man's journey to Comala to meet his long-lost father who he finds to be dead. And what is interesting is that so are the rest of the townspeople. It's basically a ghost city to which he goes looking for his father. At first, he is unaware of this fact. But then he realizes the truth and the fright kills him! So once the living narrator becomes a ghost himself, and the story is told from all ghosts' points of view.
The story is presented in fragments, going back and forth in time. Through these fragments, the true character of Pedro P谩ramo comes to light. He is a dictator, manipulator, seducer, and murderer, an unlikeable character altogether. This character reminded me of a don in a mafia. The story is more or less of his life and dealings and how he destroyed a whole village of dependents through his wicked conduct. But as the saying goes "what goes around comes around" and he must reap the consequences of his actions.
At first, it was difficult for me to understand what Rulfo was aiming at with this novel. Then I learned that he was prompted to write this piece following observation of the migration of people from rural cities to more urbane ones seeking better opportunities. This left the rural cities deserted and ghostly. Rulfo saw this trend as due to the loss of hope, hope for a better future. And the loss of hope lies at the root of the story of Pedro P谩ramo. Rulfo wanted to show what it would be like to lose hope. He wanted to show that humans are no better than ghosts when they lose hope. Juan Preciado's journey to meet his father Pedro P谩ramo is rendered futile by Pedro's death. His death is a mark of his shattered hope. Juan's mother dies waiting in the hope of a summons from Pedro to come back to him, which never came. Susana San Juan becomes a living ghost when her beloved first husband dies. Even Pedro himself, who in his life loved only Susana, becomes a living ghost completely neglecting what he owes to his people.
The novel had its own attractions and merits. But the depressing tone of the story was not welcoming. I do understand that that tone colour was required to bring out the story's thematic exposition, yet the understanding doesn't make the reading any easier. And I do feel that the depressing tone prevented me from fully appreciating the quality of this powerful novel. So I must say that my rating is not a reflection of the merits of the novel or the quality of Rulfo's writing (which I found quite pleasing), but a reflection of my reading experience.
The story is about a young man's journey to Comala to meet his long-lost father who he finds to be dead. And what is interesting is that so are the rest of the townspeople. It's basically a ghost city to which he goes looking for his father. At first, he is unaware of this fact. But then he realizes the truth and the fright kills him! So once the living narrator becomes a ghost himself, and the story is told from all ghosts' points of view.
The story is presented in fragments, going back and forth in time. Through these fragments, the true character of Pedro P谩ramo comes to light. He is a dictator, manipulator, seducer, and murderer, an unlikeable character altogether. This character reminded me of a don in a mafia. The story is more or less of his life and dealings and how he destroyed a whole village of dependents through his wicked conduct. But as the saying goes "what goes around comes around" and he must reap the consequences of his actions.
At first, it was difficult for me to understand what Rulfo was aiming at with this novel. Then I learned that he was prompted to write this piece following observation of the migration of people from rural cities to more urbane ones seeking better opportunities. This left the rural cities deserted and ghostly. Rulfo saw this trend as due to the loss of hope, hope for a better future. And the loss of hope lies at the root of the story of Pedro P谩ramo. Rulfo wanted to show what it would be like to lose hope. He wanted to show that humans are no better than ghosts when they lose hope. Juan Preciado's journey to meet his father Pedro P谩ramo is rendered futile by Pedro's death. His death is a mark of his shattered hope. Juan's mother dies waiting in the hope of a summons from Pedro to come back to him, which never came. Susana San Juan becomes a living ghost when her beloved first husband dies. Even Pedro himself, who in his life loved only Susana, becomes a living ghost completely neglecting what he owes to his people.
The novel had its own attractions and merits. But the depressing tone of the story was not welcoming. I do understand that that tone colour was required to bring out the story's thematic exposition, yet the understanding doesn't make the reading any easier. And I do feel that the depressing tone prevented me from fully appreciating the quality of this powerful novel. So I must say that my rating is not a reflection of the merits of the novel or the quality of Rulfo's writing (which I found quite pleasing), but a reflection of my reading experience.
May 14, 2019
A complete panorama composed of mood & atmosphere, "Pedro Paramo" came highly recommended by Mario Vargas Llosa in his "Letters to a Young Novelist" aka the writer's own poetics. I must say that I had some difficulty with the Spanish at first; it took me longer to get through the short book than I intended. The different vignettes come together to form the corpus of the awful man, brutal rancher, sadistic ladies man, Pedro Paramo (like different POVs coalesce in Mrs. Dalloway to describe & embody the actual character).
Certainly its an exercise in style. Like Hitchcock's famous "Psycho" shower scene in which the protagonist meets her demise halfway through the story, this one has a voice which talks from beyond the grave. All the different anecdotes, colors, and feelings mesh in the end, & it is assumed that the different ghosts of the tragically-tainted town all have their say. Here's a conglomeration of different voices and stories, of different experiences throughout time, through life & death. Authentic & extraordinarily unique.
Certainly its an exercise in style. Like Hitchcock's famous "Psycho" shower scene in which the protagonist meets her demise halfway through the story, this one has a voice which talks from beyond the grave. All the different anecdotes, colors, and feelings mesh in the end, & it is assumed that the different ghosts of the tragically-tainted town all have their say. Here's a conglomeration of different voices and stories, of different experiences throughout time, through life & death. Authentic & extraordinarily unique.
January 21, 2022
"Mi pueblo, levantado sobre la llanura. Lleno de 谩rboles y de hojas, como una alcanc铆a donde hemos guardado nuestros recuerdos. Sentir谩s que all铆 uno quisiera vivir para la eternidad. [...] All铆 donde el aire cambia el color de las cosas; donde se ventila la vida como si fuera un murmullo; como si fuera un puro murmullo de la vida..."
A煤n recuerdo, cuando hace poco m谩s de once a帽os estudiaba la escuela secundaria y en la clase de espa帽ol ten铆amos que leer un libro para un trabajo final (el t铆tulo que uno mismo quisiera). Yo ten铆a una edici贸n viejita de El llano en llamas que mi padre compr贸 all谩 por los a帽os 80, as铆 que decid铆 elegir tal obra, sin siquiera tener una idea de lo que me encontrar铆a dentro; recuerdo haber le铆do cada cuento, poco a poco porque s铆 que me costaba avanzar, pero al mismo tiempo porque as铆 los pod铆a disfrutar m谩s. Ahora solo vienen a mi mente tres de ellos (Es que somos muy pobres, No oyes ladrar los perros y Macario), pero fue sin duda un motivo para comenzar a amar la lectura en ese entonces y haber disfrutado tanto a un autor en una 茅poca donde apenas y tocaba un libro por error.
M谩s de uno d茅cada despu茅s de esa primera experiencia acerc谩ndome a su obra, decido volver a 茅l, y es que al terminar de leer esta novela (su 煤nica novela) Pedro P谩ramo me he dado cuenta de algo importante: el hecho irrefutable de que leer a Rulfo es el equivalente a volver a casa, volver a los or铆genes de uno mismo, en pocas palabras, uno vuelve al hogar.
No he olvidado aquel d铆a en que tuve que partir de mi pueblo, una ciudad peque帽ita al norte del estado de Veracruz, M茅xico, para continuar con mis estudios universitarios. Ese pueblo que me vio nacer, que me vio crecer, que me vio convertirme en lo que soy ahora; un pueblo como cualquier otro en alg煤n rinc贸n de mi pa铆s, un pueblo como Comala. Y es que leer a Rulfo es eso, es sentir que te remontas a una 茅poca distante pero a la vez tan cercana con tus ra铆ces.
Asimismo, no olvidar茅 nunca, y digo esto porque hace ya un tiempo que ocurri贸 鈥攁ntes de tener que dejar atr谩s mi hogar en busca de otros horizontes鈥�, aquellas tardes cuando mi querida abuela me contaba su vida de juventud, de c贸mo vivi贸 en un pueblito cercano al r铆o Cazones en el mismo Veracruz, de c贸mo cosechaban la siembra, ten铆an su propio ganado, viv铆an en contacto directo con la naturaleza. Tambi茅n me platicaba de las situaciones adversas que llegaron a padecer, adem谩s del hecho de que tuvo que casarse muy joven, con tan solo 15 a帽os, y abandonar su hogar. Eran otros tiempos, me dec铆a ella, y si pienso en esos tiempos, es b谩sicamente por aquella 茅poca en la que Rulfo public贸 esta novela.
Es por eso que mientras le铆a Pedro P谩ramo, sent铆 como si mi propia abue me estuviera contando esta historia; hace poco m谩s de dos a帽os que falleci贸, pero fue gracias a este libro (y a muchas cosas m谩s que nos unieron por supuesto) que pude reencontrarme con ella y con aquellos recuerdos del ayer.
Creo que no tengo nada m谩s que a帽adir, evidentemente es una maravillosa lectura, de esas que se quedar谩n contigo por mucho tiempo, y en mi caso, por un motivo m谩s que especial.
A煤n recuerdo, cuando hace poco m谩s de once a帽os estudiaba la escuela secundaria y en la clase de espa帽ol ten铆amos que leer un libro para un trabajo final (el t铆tulo que uno mismo quisiera). Yo ten铆a una edici贸n viejita de El llano en llamas que mi padre compr贸 all谩 por los a帽os 80, as铆 que decid铆 elegir tal obra, sin siquiera tener una idea de lo que me encontrar铆a dentro; recuerdo haber le铆do cada cuento, poco a poco porque s铆 que me costaba avanzar, pero al mismo tiempo porque as铆 los pod铆a disfrutar m谩s. Ahora solo vienen a mi mente tres de ellos (Es que somos muy pobres, No oyes ladrar los perros y Macario), pero fue sin duda un motivo para comenzar a amar la lectura en ese entonces y haber disfrutado tanto a un autor en una 茅poca donde apenas y tocaba un libro por error.
M谩s de uno d茅cada despu茅s de esa primera experiencia acerc谩ndome a su obra, decido volver a 茅l, y es que al terminar de leer esta novela (su 煤nica novela) Pedro P谩ramo me he dado cuenta de algo importante: el hecho irrefutable de que leer a Rulfo es el equivalente a volver a casa, volver a los or铆genes de uno mismo, en pocas palabras, uno vuelve al hogar.
No he olvidado aquel d铆a en que tuve que partir de mi pueblo, una ciudad peque帽ita al norte del estado de Veracruz, M茅xico, para continuar con mis estudios universitarios. Ese pueblo que me vio nacer, que me vio crecer, que me vio convertirme en lo que soy ahora; un pueblo como cualquier otro en alg煤n rinc贸n de mi pa铆s, un pueblo como Comala. Y es que leer a Rulfo es eso, es sentir que te remontas a una 茅poca distante pero a la vez tan cercana con tus ra铆ces.
Asimismo, no olvidar茅 nunca, y digo esto porque hace ya un tiempo que ocurri贸 鈥攁ntes de tener que dejar atr谩s mi hogar en busca de otros horizontes鈥�, aquellas tardes cuando mi querida abuela me contaba su vida de juventud, de c贸mo vivi贸 en un pueblito cercano al r铆o Cazones en el mismo Veracruz, de c贸mo cosechaban la siembra, ten铆an su propio ganado, viv铆an en contacto directo con la naturaleza. Tambi茅n me platicaba de las situaciones adversas que llegaron a padecer, adem谩s del hecho de que tuvo que casarse muy joven, con tan solo 15 a帽os, y abandonar su hogar. Eran otros tiempos, me dec铆a ella, y si pienso en esos tiempos, es b谩sicamente por aquella 茅poca en la que Rulfo public贸 esta novela.
Es por eso que mientras le铆a Pedro P谩ramo, sent铆 como si mi propia abue me estuviera contando esta historia; hace poco m谩s de dos a帽os que falleci贸, pero fue gracias a este libro (y a muchas cosas m谩s que nos unieron por supuesto) que pude reencontrarme con ella y con aquellos recuerdos del ayer.
Creo que no tengo nada m谩s que a帽adir, evidentemente es una maravillosa lectura, de esas que se quedar谩n contigo por mucho tiempo, y en mi caso, por un motivo m谩s que especial.
August 28, 2023
鈥�Pedro P谩ramo鈥攁蝉别惫别谤贸 鈥攅s una de las mejores novelas de las literaturas de lengua hisp谩nica, y a煤n de toda la literatura鈥�. a帽adi贸: 鈥淪i yo hubiera escrito Pedro P谩ramo, no me preocupar铆a ni volver铆a a escribir nunca en mi vida鈥�. Asimismo, la obra de Juan Rulfo ha influenciado a autores de diversas latitudes y escuelas literarias, desde hasta , y desde el Nouveau Roman hasta el Realismo M谩gico.
Pedro P谩ramo se puede leer en pocos d铆as, pero su densidad y complejidad tambi茅n pueden desconcertar a quienes prefieren narrativas m谩s tradicionales. Al carecer de linealidad, su estructura y po茅tica da la impresi贸n de una serie de escenas dispersas. La novela rompe convenciones y, para cobrar coherencia, requiere una participaci贸n activa del lector, el cual es llevado por una narraci贸n fragmentada entre la voz de Juan Preciado y la de su padre, el cacique Pedro P谩ramo. Adem谩s, Rulfo entrelaza relatos menores, dibujando el pueblo de Comala (precursor del Macondo de ), en un M茅xico revolucionario lleno de ecos, habitado por 谩nimas en pena, donde incluso el narrador es un espectro.
La prosa de Rulfo es tan envolvente y sensorial que el lector puede sentirse atrapado en un entramado de voces y recuerdos, pero all铆 radica su encanto. Es una meditaci贸n sobre vida y muerte, pasado y presente, ilusiones y desencantos, y la incesante b煤squeda de nuestras ra铆ces. Pedro P谩ramo es un reflejo fragmentado de una realidad donde vivos y muertos coexisten en un eterno ahora. Es, sin duda, una joya de la literatura latinoamericana que seguir谩 capturando la atenci贸n de futuras generaciones.
Pedro P谩ramo se puede leer en pocos d铆as, pero su densidad y complejidad tambi茅n pueden desconcertar a quienes prefieren narrativas m谩s tradicionales. Al carecer de linealidad, su estructura y po茅tica da la impresi贸n de una serie de escenas dispersas. La novela rompe convenciones y, para cobrar coherencia, requiere una participaci贸n activa del lector, el cual es llevado por una narraci贸n fragmentada entre la voz de Juan Preciado y la de su padre, el cacique Pedro P谩ramo. Adem谩s, Rulfo entrelaza relatos menores, dibujando el pueblo de Comala (precursor del Macondo de ), en un M茅xico revolucionario lleno de ecos, habitado por 谩nimas en pena, donde incluso el narrador es un espectro.
La prosa de Rulfo es tan envolvente y sensorial que el lector puede sentirse atrapado en un entramado de voces y recuerdos, pero all铆 radica su encanto. Es una meditaci贸n sobre vida y muerte, pasado y presente, ilusiones y desencantos, y la incesante b煤squeda de nuestras ra铆ces. Pedro P谩ramo es un reflejo fragmentado de una realidad donde vivos y muertos coexisten en un eterno ahora. Es, sin duda, una joya de la literatura latinoamericana que seguir谩 capturando la atenci贸n de futuras generaciones.
February 7, 2021
韦慰 尾喂尾位委慰 蟿慰蠀 巍慰蠉位蠁慰 蟽蠀谓慰未蔚蠉蔚蟿伪喂 伪蟺蠈 渭喂伪 蔚喂蟽伪纬蠅纬萎 蟺慰蠀 未委谓蔚喂 蟽蠀谓慰蠂萎 蟽蟿喂蟼 蠈蟺慰喂蔚蟼 蠁萎渭蔚蟼 苇蠂蔚喂 蟺维蟻蔚喂 蟿慰 伪蠀蟿委 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏: 苇谓伪 尾喂尾位委慰 渭蔚 渭喂伪 渭蠀胃喂魏萎 蟿伪蠀蟿蠈蟿畏蟿伪, 蟿慰 渭慰谓伪未喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 蟽蠀纬纬蟻伪蠁苇伪 蟺慰蠀 渭蔚蟿苇蟺蔚喂蟿伪 魏伪喂 纬喂伪 蠂蟻蠈谓喂伪 蟿伪位维谓喂味蔚 魏慰喂谓蠈 魏伪喂 魏蟻喂蟿喂魏慰蠉蟼 渭蔚 蟿畏谓 蟽蠀纬纬蟻伪蠁萎 蔚谓蠈蟼 未蔚蠉蟿蔚蟻慰蠀 蟺慰蠀 蟺慰蟿苇 未蔚谓 蟿伪 魏伪蟿维蠁蔚蟻蔚. 螠蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪喂 维位位畏 渭喂伪 蟽蠀位位慰纬萎 未喂畏纬畏渭维蟿蠅谓 胃蔚蠅蟻蔚委蟿伪喂 苇谓伪蟼 伪蟺蠈 蟿慰蠀蟼 蟽蟺慰蠀未伪喂蠈蟿蔚蟻慰蠀蟼 位伪蟿喂谓慰伪渭蔚蟻喂魏维谓慰蠀蟼 蟽蠀纬纬蟻伪蠁蔚委蟼. 韦慰谓 渭谓畏渭慰谓蔚蠉慰蠀谓 蟿蟻伪谓慰委 维谓胃蟻蠅蟺慰喂 蠈蟺蠅蟼 慰 螠蟺蠈蟻蠂蔚蟼 魏伪喂 慰 螠维蟻魏蔚蟼.
螖蔚谓 苇蠂蠅 蟺委蟽蟿畏 蟽蟿慰谓 渭苇蟽慰 伪谓伪纬谓蠋蟽蟿畏 魏伪喂 蔚魏蟺位萎蟽蟽慰渭伪喂 渭蔚 蟿畏谓 蔚蠀蟻蔚委伪 伪蟺慰未慰蠂萎 蟺慰蠀 苇蠂慰蠀谓 蟿苇蟿慰喂伪 尾喂尾位委伪. 螠蔚 渭喂伪 蟺蟻蠈蠂蔚喂蟻畏 蟽蟿伪蟿喂蟽蟿喂魏萎 蔚魏锟斤拷委渭畏蟽畏 胃伪 蟺蠅 蟺蠅蟼 渭喂伪 渭蔚纬维位畏 渭蔚蟻委未伪 蟿慰蠀 蟿喂蟿维谓喂慰蠀 魏慰喂谓慰蠉 蟺慰蠀 苇蠂蔚喂 未喂伪尾维蟽蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 胃伪 蟽蠀渭蟺委蟺蟿蔚喂 渭蔚 蟿慰蠀蟼 伪位位蠈蠁蟻慰谓蔚蟼 魏伪喂 伪谓蔚纬魏苇蠁伪位慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼 蔚尉委蟽慰蠀 渭蔚纬维位畏蟼 蟺委蟿伪蟼 蟿蠅谓 位慰纬萎蟼 蟽魏慰蠀蟺喂未喂蠋谓 蟺慰蠀 纬谓蠅蟻委味慰蠀谓 蟿畏谓 蔚蟺喂蟿蠀蠂委伪 魏伪喂 渭伪蟼 尾伪蟽伪谓委味慰蠀谓 渭蔚 蟿喂蟼 渭蔚蟿苇蟺蔚喂蟿伪 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏苇蟼 蟿慰蠀蟼 渭蔚蟿伪蠁慰蟻苇蟼. 螤喂胃伪谓蠋蟼 伪蠀蟿萎 渭慰蠀 畏 伪蟺慰蟿委渭畏蟽畏 谓伪 蔚委谓伪喂 蔚谓未蔚喂魏蟿喂魏萎 蟿畏蟼 魏伪魏萎蟼 渭慰蠀 蟺委蟽蟿畏蟼 蟽蟿慰 伪谓胃蟻蠋蟺喂谓慰 蔚委未慰蟼. 螝伪蟿伪蟿蟻蠉蠂慰渭伪喂 伪蟺蠈 蟺蟻慰魏伪蟿伪位萎蠄蔚喂蟼, 苇蠂蠅 蟺伪蟻蠅蟺委未蔚蟼 魏伪喂 蟿蟽慰蠀尾伪位喂维味蠅 伪谓胃蟻蠋蟺慰蠀蟼 伪蟿蟽慰蠉渭蟺伪位伪. 螖蔚 渭蔚 谓慰喂维味蔚喂 魏伪喂 喂未喂伪委蟿蔚蟻伪 畏 伪位萎胃蔚喂伪 蔚委谓伪喂, 伪蠁慰蠉 慰喂 伪蟺蠈蠄蔚喂蟼 渭慰蠀 渭苇谓慰蠀谓 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 纬蟻伪渭渭苇蟼, 伪尾位伪尾蔚委蟼, 蔚谓 渭苇蟽蠅 蟿蠅谓 蠂蔚喂蟻蠈蟿蔚蟻蠅谓 未蔚喂纬渭维蟿蠅谓 蟿畏蟼 伪谓胃蟻蠅蟺蠈蟿畏蟿伪蟼 蟺慰蠀 魏位苇尾慰蠀谓, 蔚尉伪蟺伪蟿慰蠉谓 蟿喂蟼 蔚位蟺委未蔚蟼 渭伪蟼, 蟽魏慰蟿蠋谓慰蠀谓 魏伪喂 尾喂维味慰蠀谓 蟽蟿慰 蠈谓慰渭伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼. 螤维谓蟿伪 位慰喂蟺蠈谓 伪蟺慰蟻蠋 蟿喂 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 蔚委未蔚 慰 魏蠈蟽渭慰蟼 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 危魏苇蠁蟿慰渭伪喂 魏伪魏蠈尾慰蠀位伪: 伪谓维胃蔚渭伪 魏伪喂 伪谓 魏伪蟿维位伪尾伪谓 蟿委蟺慰蟿伪. 韦慰 蔚蟺委渭蔚蟿蟻慰 蟿慰蠀 桅慰蠀苇谓蟿蔚蟼 魏伪喂 蟿慰蠀 蟽蠀谓伪魏蠈位慰蠀胃慰蠀 伪蟺蠈 蟿慰谓 危蠈渭蔚蟻蟼 未蔚谓 蟿伪 未喂维尾伪蟽伪 纬喂伪 谓伪 蟿慰 蟺伪委尉蠅 苇尉蠀蟺谓慰蟼. 螠蔚 渭喂伪 蟺蟻蠋蟿畏 伪谓维纬谓蠅蟽畏 蟿慰蠀 尾喂尾位委慰蠀 未蔚谓 魏伪蟿维位伪尾伪 蟺维蟻伪 蟺慰位位维. 螠蔚 位委纬慰 蟺伪委未蔚渭伪 魏伪喂 蠂蟻萎蟽畏 蟿蠅谓 蟽蠀渭尾伪蟿喂魏蠋谓 渭苇蟽蠅谓 伪谓维位蠀蟽畏蟼 胃伪 渭蟺慰蟻慰蠉蟽伪 谓伪 蟺蠅 渭蔚蟻喂魏维 蟺蟻伪纬渭伪蟿维魏喂伪 伪位位维 蟿慰 尾蟻委蟽魏蠅 维蠂蟻畏蟽蟿慰. 螒蟼 蟺慰蠉渭蔚 蟺蠅蟼 蟿慰 尾喂尾位委慰 蔚委谓伪喂 伪蟻魏慰蠉谓蟿蠅蟼 蟺慰喂畏蟿喂魏蠈 纬喂伪 谓伪 伪蟻苇蟽蔚喂 蟽蔚 魏蠈蟽渭慰 蟺慰蠀 尾伪蟻喂苇蟿伪喂 蟿慰 蟺蔚味蠈, 蟽伪蠁蠋蟼 慰谓蔚喂蟻喂魏蠈 纬喂伪 谓伪 蟽蠀谓蔚蟺维蟻蔚喂 蟿慰谓 魏蠈蟽渭慰 蟺慰蠀 蟺伪蟻伪未蠈胃畏魏蔚 伪渭伪蠂畏蟿委 蟽蟿慰谓 渭伪纬喂魏蠈 蟻蔚伪位喂蟽渭蠈.
螚 纬位蠋蟽蟽伪 蟿慰蠀 蔚委谓伪喂 蟽蠀谓蟿伪蟻伪魏蟿喂魏维 蔚谓蟿蠀蟺蠅蟽喂伪魏萎, 蟺维谓蟿蠅蟼. 螖蔚谓 胃蠀渭维渭伪喂 蟺蠈蟿蔚 萎蟿伪谓 畏 蟿蔚位蔚蠀蟿伪委伪 蠁慰蟻维 蟺慰蠀 未喂维尾伪蟽伪 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭蔚 蟿蠈蟽慰 尉蔚蠂蠅蟻喂蟽蟿萎 伪蠁萎纬畏蟽畏 喂魏伪谓萎 谓伪 蟿蟽伪魏委蟽蔚喂 魏维胃蔚 蟽蠉渭尾伪蟽畏 纬蟻伪蠁萎蟼 未委蠂蠅蟼 谓伪 纬委谓蔚蟿伪喂 魏慰蠀蟻伪蟽蟿喂魏萎, 未委蠂蠅蟼 魏伪渭委伪 未喂维胃蔚蟽畏 苇蟺伪蟻蟽畏蟼 魏伪喂 蔚谓蟿蠀蟺蠅蟽喂伪蟽渭慰蠉. 危蟿喂蟼 未喂伪魏慰蟺苇蟼 渭慰蠀 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 尉蔚魏位苇蠄蠅 位委纬慰 蠂蟻蠈谓慰 纬喂伪 谓伪 未喂伪尾维蟽蠅 魏维蟿喂 伪蟺蠈 蟿喂蟼 蟺伪谓苇渭慰蟻蠁伪 魏伪渭蠅渭苇谓蔚蟼 纬蟻伪渭渭苇蟼 蟿慰蠀. 螣 巍慰蠉位蠁慰 蔚委谓伪喂 苇谓伪蟼 渭伪苇蟽蟿蟻慰蟼 蟺慰蠀 渭伪纬蔚蠉蔚喂, 纬蟻维蠁慰谓蟿伪蟼 伪蟺蠈 魏维蟺慰蠀 渭伪魏蟻喂维, 蟽伪 谓伪 渭喂位维蔚喂 未委蟺位伪 蟽蟿慰 伪蠀蟿委 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 渭蔚 渭喂伪 蟽蟿慰喂蠂蔚喂蠅渭苇谓畏 伪谓维蟽伪.
韦慰 螤苇未蟻慰 螤维蟻伪渭慰 蔚委谓伪喂 魏伪位蠈; 螘委谓伪喂 蟿蠈蟽慰 魏伪位蠈 蟺喂伪; 螘委谓伪喂 蟿蠈蟽慰 魏伪位蠈, 谓伪喂, 纬喂伪蟿委 蔚蟺畏蟻苇伪蟽蔚 蟿蠈蟽慰 蟽蟺慰蠀未伪委慰 魏蠈蟽渭慰, 蟿慰 伪蟺慰未苇蠂胃畏魏蔚 蟿慰 魏慰喂谓蠈 渭蔚 伪纬维蟺畏, 苇蠁蟿喂伪尉蔚 苇谓伪谓 渭蠉胃慰 纬蠉蟻蠅 蟿慰蠀. 螕蔚谓喂魏维 蔚委蠂蔚 苇谓伪 尾伪蟻蠉 蟺维蟿畏渭伪 蟽蟿畏谓 位慰纬慰蟿蔚蠂谓委伪, 慰蟺蠈蟿蔚 畏 维蟺慰蠄萎 渭慰蠀 位委纬慰 渭蔚蟿蟻维蔚喂. 螝维胃蔚 蠁慰蟻维 蟺慰蠀 未喂伪尾维味蠅 苇谓伪 蔚谓蟿蠀蟺蠅蟽喂伪魏蠈 未畏渭喂慰蠉蟻纬畏渭伪 伪蟺蠈 伪蠀蟿维 蟿伪 位委纬伪, 尉苇蟻蠅 蟺蠅蟼 未蔚谓 胃伪 蟿慰 尉伪谓伪未喂维尾伪味伪 蔚蠉魏慰位伪. 螠伪 伪谓 未蔚谓 苇蠂蔚喂 蔚蟺伪谓伪位畏蠄喂渭蠈蟿畏蟿伪 苇谓伪 苇蟻纬慰 纬喂伪蟿委 蔚委谓伪喂 魏伪位蠈; 螚 位慰纬慰蟿蔚蠂谓委伪 苇蠂蔚喂 伪谓维纬魏畏 伪蟺蠈 蟿慰蠀蟼 渭蠉胃慰蠀蟼 蟿畏蟼, 蠂蟻蔚喂维味蔚蟿伪喂 伪蠀蟿慰蠉蟼 蟿慰蠀 纬委纬伪谓蟿蔚蟼. 螣 巍慰蠉位蠁慰 蔚委渭伪喂 蟽委纬慰蠀蟻慰蟼 渭蟺蠈位喂伪蟽蔚 魏维蟿喂 蟽蟺慰蠀未伪委慰 蟽蟿畏谓 渭蠀胃慰蟺位伪蟽委伪 魏伪喂 蟿慰 魏伪蟿蠈蟻胃蠅渭维 蟿慰蠀 蟿伪尉委未蔚蠄蔚 伪胃蠈蟻蠀尾伪 渭伪 蟿伪蠂蠉蟿伪蟿伪 渭苇蟽伪 蟽蟿畏谓 蟽蠀纬魏伪喂蟻喂谓萎 蟿慰蠀 位慰纬慰蟿蔚蠂谓委伪 魏伪喂 胃伪 蟽蠀谓蔚蠂委味蔚喂 谓伪 蟿伪尉喂未蔚蠉蔚喂 渭苇蟽伪 蟽蟿伪 蟽蠉纬蠂蟻慰谓伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟺慰蠀 胃伪 纬蟻伪蠁蟿慰蠉谓. 螝伪蟿维 渭委伪 苇谓谓慰喂伪 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 蔚谓蟿蠀蟺蠅蟽喂伪魏维, 蟽蟺慰蠀未伪委伪 尾喂尾位委伪 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 未喂伪尾维蟽蔚喂 魏维蟺慰喂慰蟼 渭苇蟽伪 蟽蔚 200 蟽蔚位委未蔚蟼.
违螕 螣喂 蟺伪蟻伪蟺维谓蠅 纬蟻伪渭渭苇蟼 伪蠁喂蔚蟻蠋谓慰谓蟿伪喂 蟽蟿畏谓 螕魏苇位位蠀 魏伪喂 韦慰 螁蟽蠂畏渭慰 蟺慰蠀 蟿喂蟼 蟺蔚蟻委渭蔚谓伪谓 蟽蟿蠅喂魏维 谓伪 纬蟻伪蠁蟿慰蠉谓 蟿喂蟼 渭喂魏蟻苇蟼 蠋蟻蔚蟼.
螖蔚谓 苇蠂蠅 蟺委蟽蟿畏 蟽蟿慰谓 渭苇蟽慰 伪谓伪纬谓蠋蟽蟿畏 魏伪喂 蔚魏蟺位萎蟽蟽慰渭伪喂 渭蔚 蟿畏谓 蔚蠀蟻蔚委伪 伪蟺慰未慰蠂萎 蟺慰蠀 苇蠂慰蠀谓 蟿苇蟿慰喂伪 尾喂尾位委伪. 螠蔚 渭喂伪 蟺蟻蠈蠂蔚喂蟻畏 蟽蟿伪蟿喂蟽蟿喂魏萎 蔚魏锟斤拷委渭畏蟽畏 胃伪 蟺蠅 蟺蠅蟼 渭喂伪 渭蔚纬维位畏 渭蔚蟻委未伪 蟿慰蠀 蟿喂蟿维谓喂慰蠀 魏慰喂谓慰蠉 蟺慰蠀 苇蠂蔚喂 未喂伪尾维蟽蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 胃伪 蟽蠀渭蟺委蟺蟿蔚喂 渭蔚 蟿慰蠀蟼 伪位位蠈蠁蟻慰谓蔚蟼 魏伪喂 伪谓蔚纬魏苇蠁伪位慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼 蔚尉委蟽慰蠀 渭蔚纬维位畏蟼 蟺委蟿伪蟼 蟿蠅谓 位慰纬萎蟼 蟽魏慰蠀蟺喂未喂蠋谓 蟺慰蠀 纬谓蠅蟻委味慰蠀谓 蟿畏谓 蔚蟺喂蟿蠀蠂委伪 魏伪喂 渭伪蟼 尾伪蟽伪谓委味慰蠀谓 渭蔚 蟿喂蟼 渭蔚蟿苇蟺蔚喂蟿伪 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏苇蟼 蟿慰蠀蟼 渭蔚蟿伪蠁慰蟻苇蟼. 螤喂胃伪谓蠋蟼 伪蠀蟿萎 渭慰蠀 畏 伪蟺慰蟿委渭畏蟽畏 谓伪 蔚委谓伪喂 蔚谓未蔚喂魏蟿喂魏萎 蟿畏蟼 魏伪魏萎蟼 渭慰蠀 蟺委蟽蟿畏蟼 蟽蟿慰 伪谓胃蟻蠋蟺喂谓慰 蔚委未慰蟼. 螝伪蟿伪蟿蟻蠉蠂慰渭伪喂 伪蟺蠈 蟺蟻慰魏伪蟿伪位萎蠄蔚喂蟼, 苇蠂蠅 蟺伪蟻蠅蟺委未蔚蟼 魏伪喂 蟿蟽慰蠀尾伪位喂维味蠅 伪谓胃蟻蠋蟺慰蠀蟼 伪蟿蟽慰蠉渭蟺伪位伪. 螖蔚 渭蔚 谓慰喂维味蔚喂 魏伪喂 喂未喂伪委蟿蔚蟻伪 畏 伪位萎胃蔚喂伪 蔚委谓伪喂, 伪蠁慰蠉 慰喂 伪蟺蠈蠄蔚喂蟼 渭慰蠀 渭苇谓慰蠀谓 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 纬蟻伪渭渭苇蟼, 伪尾位伪尾蔚委蟼, 蔚谓 渭苇蟽蠅 蟿蠅谓 蠂蔚喂蟻蠈蟿蔚蟻蠅谓 未蔚喂纬渭维蟿蠅谓 蟿畏蟼 伪谓胃蟻蠅蟺蠈蟿畏蟿伪蟼 蟺慰蠀 魏位苇尾慰蠀谓, 蔚尉伪蟺伪蟿慰蠉谓 蟿喂蟼 蔚位蟺委未蔚蟼 渭伪蟼, 蟽魏慰蟿蠋谓慰蠀谓 魏伪喂 尾喂维味慰蠀谓 蟽蟿慰 蠈谓慰渭伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼. 螤维谓蟿伪 位慰喂蟺蠈谓 伪蟺慰蟻蠋 蟿喂 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 蔚委未蔚 慰 魏蠈蟽渭慰蟼 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 危魏苇蠁蟿慰渭伪喂 魏伪魏蠈尾慰蠀位伪: 伪谓维胃蔚渭伪 魏伪喂 伪谓 魏伪蟿维位伪尾伪谓 蟿委蟺慰蟿伪. 韦慰 蔚蟺委渭蔚蟿蟻慰 蟿慰蠀 桅慰蠀苇谓蟿蔚蟼 魏伪喂 蟿慰蠀 蟽蠀谓伪魏蠈位慰蠀胃慰蠀 伪蟺蠈 蟿慰谓 危蠈渭蔚蟻蟼 未蔚谓 蟿伪 未喂维尾伪蟽伪 纬喂伪 谓伪 蟿慰 蟺伪委尉蠅 苇尉蠀蟺谓慰蟼. 螠蔚 渭喂伪 蟺蟻蠋蟿畏 伪谓维纬谓蠅蟽畏 蟿慰蠀 尾喂尾位委慰蠀 未蔚谓 魏伪蟿维位伪尾伪 蟺维蟻伪 蟺慰位位维. 螠蔚 位委纬慰 蟺伪委未蔚渭伪 魏伪喂 蠂蟻萎蟽畏 蟿蠅谓 蟽蠀渭尾伪蟿喂魏蠋谓 渭苇蟽蠅谓 伪谓维位蠀蟽畏蟼 胃伪 渭蟺慰蟻慰蠉蟽伪 谓伪 蟺蠅 渭蔚蟻喂魏维 蟺蟻伪纬渭伪蟿维魏喂伪 伪位位维 蟿慰 尾蟻委蟽魏蠅 维蠂蟻畏蟽蟿慰. 螒蟼 蟺慰蠉渭蔚 蟺蠅蟼 蟿慰 尾喂尾位委慰 蔚委谓伪喂 伪蟻魏慰蠉谓蟿蠅蟼 蟺慰喂畏蟿喂魏蠈 纬喂伪 谓伪 伪蟻苇蟽蔚喂 蟽蔚 魏蠈蟽渭慰 蟺慰蠀 尾伪蟻喂苇蟿伪喂 蟿慰 蟺蔚味蠈, 蟽伪蠁蠋蟼 慰谓蔚喂蟻喂魏蠈 纬喂伪 谓伪 蟽蠀谓蔚蟺维蟻蔚喂 蟿慰谓 魏蠈蟽渭慰 蟺慰蠀 蟺伪蟻伪未蠈胃畏魏蔚 伪渭伪蠂畏蟿委 蟽蟿慰谓 渭伪纬喂魏蠈 蟻蔚伪位喂蟽渭蠈.
螚 纬位蠋蟽蟽伪 蟿慰蠀 蔚委谓伪喂 蟽蠀谓蟿伪蟻伪魏蟿喂魏维 蔚谓蟿蠀蟺蠅蟽喂伪魏萎, 蟺维谓蟿蠅蟼. 螖蔚谓 胃蠀渭维渭伪喂 蟺蠈蟿蔚 萎蟿伪谓 畏 蟿蔚位蔚蠀蟿伪委伪 蠁慰蟻维 蟺慰蠀 未喂维尾伪蟽伪 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭蔚 蟿蠈蟽慰 尉蔚蠂蠅蟻喂蟽蟿萎 伪蠁萎纬畏蟽畏 喂魏伪谓萎 谓伪 蟿蟽伪魏委蟽蔚喂 魏维胃蔚 蟽蠉渭尾伪蟽畏 纬蟻伪蠁萎蟼 未委蠂蠅蟼 谓伪 纬委谓蔚蟿伪喂 魏慰蠀蟻伪蟽蟿喂魏萎, 未委蠂蠅蟼 魏伪渭委伪 未喂维胃蔚蟽畏 苇蟺伪蟻蟽畏蟼 魏伪喂 蔚谓蟿蠀蟺蠅蟽喂伪蟽渭慰蠉. 危蟿喂蟼 未喂伪魏慰蟺苇蟼 渭慰蠀 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 尉蔚魏位苇蠄蠅 位委纬慰 蠂蟻蠈谓慰 纬喂伪 谓伪 未喂伪尾维蟽蠅 魏维蟿喂 伪蟺蠈 蟿喂蟼 蟺伪谓苇渭慰蟻蠁伪 魏伪渭蠅渭苇谓蔚蟼 纬蟻伪渭渭苇蟼 蟿慰蠀. 螣 巍慰蠉位蠁慰 蔚委谓伪喂 苇谓伪蟼 渭伪苇蟽蟿蟻慰蟼 蟺慰蠀 渭伪纬蔚蠉蔚喂, 纬蟻维蠁慰谓蟿伪蟼 伪蟺蠈 魏维蟺慰蠀 渭伪魏蟻喂维, 蟽伪 谓伪 渭喂位维蔚喂 未委蟺位伪 蟽蟿慰 伪蠀蟿委 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 渭蔚 渭喂伪 蟽蟿慰喂蠂蔚喂蠅渭苇谓畏 伪谓维蟽伪.
韦慰 螤苇未蟻慰 螤维蟻伪渭慰 蔚委谓伪喂 魏伪位蠈; 螘委谓伪喂 蟿蠈蟽慰 魏伪位蠈 蟺喂伪; 螘委谓伪喂 蟿蠈蟽慰 魏伪位蠈, 谓伪喂, 纬喂伪蟿委 蔚蟺畏蟻苇伪蟽蔚 蟿蠈蟽慰 蟽蟺慰蠀未伪委慰 魏蠈蟽渭慰, 蟿慰 伪蟺慰未苇蠂胃畏魏蔚 蟿慰 魏慰喂谓蠈 渭蔚 伪纬维蟺畏, 苇蠁蟿喂伪尉蔚 苇谓伪谓 渭蠉胃慰 纬蠉蟻蠅 蟿慰蠀. 螕蔚谓喂魏维 蔚委蠂蔚 苇谓伪 尾伪蟻蠉 蟺维蟿畏渭伪 蟽蟿畏谓 位慰纬慰蟿蔚蠂谓委伪, 慰蟺蠈蟿蔚 畏 维蟺慰蠄萎 渭慰蠀 位委纬慰 渭蔚蟿蟻维蔚喂. 螝维胃蔚 蠁慰蟻维 蟺慰蠀 未喂伪尾维味蠅 苇谓伪 蔚谓蟿蠀蟺蠅蟽喂伪魏蠈 未畏渭喂慰蠉蟻纬畏渭伪 伪蟺蠈 伪蠀蟿维 蟿伪 位委纬伪, 尉苇蟻蠅 蟺蠅蟼 未蔚谓 胃伪 蟿慰 尉伪谓伪未喂维尾伪味伪 蔚蠉魏慰位伪. 螠伪 伪谓 未蔚谓 苇蠂蔚喂 蔚蟺伪谓伪位畏蠄喂渭蠈蟿畏蟿伪 苇谓伪 苇蟻纬慰 纬喂伪蟿委 蔚委谓伪喂 魏伪位蠈; 螚 位慰纬慰蟿蔚蠂谓委伪 苇蠂蔚喂 伪谓维纬魏畏 伪蟺蠈 蟿慰蠀蟼 渭蠉胃慰蠀蟼 蟿畏蟼, 蠂蟻蔚喂维味蔚蟿伪喂 伪蠀蟿慰蠉蟼 蟿慰蠀 纬委纬伪谓蟿蔚蟼. 螣 巍慰蠉位蠁慰 蔚委渭伪喂 蟽委纬慰蠀蟻慰蟼 渭蟺蠈位喂伪蟽蔚 魏维蟿喂 蟽蟺慰蠀未伪委慰 蟽蟿畏谓 渭蠀胃慰蟺位伪蟽委伪 魏伪喂 蟿慰 魏伪蟿蠈蟻胃蠅渭维 蟿慰蠀 蟿伪尉委未蔚蠄蔚 伪胃蠈蟻蠀尾伪 渭伪 蟿伪蠂蠉蟿伪蟿伪 渭苇蟽伪 蟽蟿畏谓 蟽蠀纬魏伪喂蟻喂谓萎 蟿慰蠀 位慰纬慰蟿蔚蠂谓委伪 魏伪喂 胃伪 蟽蠀谓蔚蠂委味蔚喂 谓伪 蟿伪尉喂未蔚蠉蔚喂 渭苇蟽伪 蟽蟿伪 蟽蠉纬蠂蟻慰谓伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟺慰蠀 胃伪 纬蟻伪蠁蟿慰蠉谓. 螝伪蟿维 渭委伪 苇谓谓慰喂伪 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 蔚谓蟿蠀蟺蠅蟽喂伪魏维, 蟽蟺慰蠀未伪委伪 尾喂尾位委伪 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 未喂伪尾维蟽蔚喂 魏维蟺慰喂慰蟼 渭苇蟽伪 蟽蔚 200 蟽蔚位委未蔚蟼.
违螕 螣喂 蟺伪蟻伪蟺维谓蠅 纬蟻伪渭渭苇蟼 伪蠁喂蔚蟻蠋谓慰谓蟿伪喂 蟽蟿畏谓 螕魏苇位位蠀 魏伪喂 韦慰 螁蟽蠂畏渭慰 蟺慰蠀 蟿喂蟼 蟺蔚蟻委渭蔚谓伪谓 蟽蟿蠅喂魏维 谓伪 纬蟻伪蠁蟿慰蠉谓 蟿喂蟼 渭喂魏蟻苇蟼 蠋蟻蔚蟼.
August 6, 2014
. . . I watched the trickles glinting in the lightning flashes, and every breath I breathed, I sighed. And every thought I thought was of you, Susana.
Like a message in the bottle, some stories float through decades and centuries on the endless ocean of an untold past and bear a timeless appeal by echoing few words of eternal desires 鈥� Wish you were here. Pedro Paramo is one such story. Surrounded by an iridescence of magical realism, the wonders of this gorgeous little book can鈥檛 truly be captured in the few sentences of English language probably because Juan Rulfo penned his only novel in the language of a different world and obliged us a glimpse of that world through his words.
The moon had risen briefly and then slipped out of sight. It was one of those sad moons that no one looks at or pays attention to. It had hung there a while, misshapen, not shedding any light, and then gone to hide behind the hills.
It recounts the tale of a fateful Mexican village where the line of past and present, death and life, hate and love is merged into creating a hazy phantasmagoria that doesn鈥檛 demand to be understood but rather immersed in its flow of haunting yet mesmerizing narration. A full circle of loss and search by exploring the dynamics of human memories on hearing the faint sounds of phantom voices is impeccably drawn by Juan Rulfo through his understated and lucid prose. Highly recommended as a perfect reading companion for a short and memorable meeting.
September 6, 2021
Este es el libro m谩s bonito del mundo, no hay otro m谩s bonito, no existe!! Hay que leerlo cada a帽o. Bueno, quien quiera.
July 19, 2017
Empec茅 a leer esta novela por simple curiosdad, por su renombre dentro de la literatura en castellano y porque con Carpentier hab铆a quedado bastante contento. Pero en el fondo pensaba que no iba a ser nada especial, que s贸lo pod铆a ser extraordinaria para gente de otra 茅poca. Me equivoqu茅... para bien. Una novela as铆 satisface a un lector como el agua fresca sacia al sediento de cualquier 茅poca.
'Pedro P谩ramo' es la obra de lo que uno se imagina ha de ser un escritor absoluto, pues todo lo que escribe es pertinente, sin una sola 铆nfula o esnobismo y tiene el sabor de lo genuino. No transmite la sensaci贸n que siga a nadie pues en verdad crea y recorre su propia senda y resulta fascinante a pesar de lo extra帽o que es todo lo que cuenta. Porque este libro es ante todo atm贸sfera, est谩 nutrido de un aire fant谩stico nada relamido, que expresa la realidad en t茅rminos m铆ticos y m铆sticos que recorren todo el libro desde el momento que te das cuenta que el protagonista se encamina a una ciudad fantastmal.
Y me encanta ese lenguaje contenido pero intenso y envolvente, como el de Borges, la soltura con la que se maneja el lenguaje oral, sus dosis de humor y esa narraci贸n fragmentada como si narrara desde los fogonazos de la memoria o cada uno de sus segmentos fueran el arranque de la novela. Otro acierto es que, al estar ligeramente desordenados, se potencia la sensaci贸n de adentrarse en otro mundo y tambi茅n la complicidad entre la obra y el lector atento.
Ni 'El Quijote' me transmiti贸 tanta plenitud. Todas las alabanzas que le dediquemos se quedar谩n cortas.
'Pedro P谩ramo' es la obra de lo que uno se imagina ha de ser un escritor absoluto, pues todo lo que escribe es pertinente, sin una sola 铆nfula o esnobismo y tiene el sabor de lo genuino. No transmite la sensaci贸n que siga a nadie pues en verdad crea y recorre su propia senda y resulta fascinante a pesar de lo extra帽o que es todo lo que cuenta. Porque este libro es ante todo atm贸sfera, est谩 nutrido de un aire fant谩stico nada relamido, que expresa la realidad en t茅rminos m铆ticos y m铆sticos que recorren todo el libro desde el momento que te das cuenta que el protagonista se encamina a una ciudad fantastmal.
Y me encanta ese lenguaje contenido pero intenso y envolvente, como el de Borges, la soltura con la que se maneja el lenguaje oral, sus dosis de humor y esa narraci贸n fragmentada como si narrara desde los fogonazos de la memoria o cada uno de sus segmentos fueran el arranque de la novela. Otro acierto es que, al estar ligeramente desordenados, se potencia la sensaci贸n de adentrarse en otro mundo y tambi茅n la complicidad entre la obra y el lector atento.
Ni 'El Quijote' me transmiti贸 tanta plenitud. Todas las alabanzas que le dediquemos se quedar谩n cortas.
February 15, 2017
鈥庁堌池з嗁� 诏乇丕賳賯丿乇貙 丿丕爻鬲丕賳賽 丕蹖賳 讴鬲丕亘 丿乇 賲賵乇丿賽 賲乇丿蹖 賲讴夭蹖讴蹖 亘賴 賳丕賲賽 <禺賵丕賳 倬乇爻蹖丕丿賵> 丕爻鬲 讴賴 鬲氐賲蹖賲 賲蹖诏蹖乇丿 讴賴 亘賴 禺賵丕賴卮 賵 賵氐蹖鬲賽 賲丕丿乇賽 丿賲賽 賲乇诏卮 <丿賵賱賵乇爻> 毓賲賱 賳賲賵丿賴 賵 亘賴 丿賳亘丕賱賽 倬丿乇賽 诏賲卮丿賴 丕卮 蹖毓賳蹖 <倬丿乇賵 倬丕乇丕賲賵> 诏卮鬲賴 賵 賲蹖乇丕孬賽 禺賵蹖卮 乇丕 丕夭 倬丿乇 亘禺賵丕賴丿. 趩乇丕讴賴 賲丕丿乇 丕夭 丕賵 禺賵丕爻鬲賴 亘賵丿 讴賴 趩蹖夭賴丕蹖蹖 讴賴 倬丿乇鬲 亘丕蹖丿 亘賴 賲賳 賲蹖丿丕丿 賵 賳丿丕丿賴 丕爻鬲 乇丕 丕夭 丕賵 亘诏蹖乇 賵 讴丕乇蹖 讴賳 讴賴 丕賵 卮乇賲賳丿賴 卮賵丿 讴賴 賲丕 乇丕 鬲乇讴 讴乇丿賴 賵 乇賮鬲賴 丕爻鬲
鈥庁促囏臂� 讴賴 <禺賵丕賳 倬乇爻蹖丕丿賵> 亘乇丕蹖 蹖丕賮鬲賳 倬丿乇 賵丕乇丿 丌賳 賲蹖卮賵丿貙 丿賴讴丿賴 丕蹖 亘賴 賳丕賲賽 <讴賵賲丕賱丕> 丕爻鬲 讴賴 丕乇賵丕丨 賲乇丿賲丕賳蹖 讴賴 丿乇诏匕卮鬲賴 丿乇 丌賳噩丕 夭賳丿诏蹖 賲蹖讴乇丿賳丿貙 丿乇 乇賵爻鬲丕 讴賲丕讴丕賳 夭賳丿诏蹖 賲蹖讴賳賳丿 賵 亘賴 亘蹖丕賳 亘賴鬲乇貙 丕蹖賳 丕乇賵丕丨 丿乇丌賳噩丕 爻乇诏乇丿丕賳 賴爻鬲賳丿
鈥広嗃屫槽� 讴賴 丕蹖賳 倬爻乇 賳賲蹖丿丕賳丿貙 丕蹖賳 丕爻鬲 讴賴 倬丿乇卮 鬲丕 賲蹖鬲賵丕賳爻鬲賴 賮爻丕丿 乇丕 鬲乇賵蹖噩 丿丕丿賴 丕爻鬲 賵 鬲賲丕賲蹖 賮乇夭賳丿丕賳 丿乇 丿賴讴丿賴 亘賴 賳賵毓蹖 賮乇夭賳丿丕賳賽 賳丕賲卮乇賵毓賽 倬丿乇卮 蹖毓賳蹖 <倬丿乇賵 倬丕乇丕賲賵> 賴爻鬲賳丿... 倬爻 亘丕蹖丿 亘丿丕賳丿 讴賴 賲蹖乇丕孬蹖 讴賴 丕賵 亘乇丕蹖卮 賯丿賲 丿乇 丿賴讴丿賴 诏匕丕卮鬲賴 丕爻鬲 "賲乇诏" 丕爻鬲
鈥庁ж池з� 亘賴 賳賵毓蹖 丕卮丕乇賴 亘賴 囟乇亘 丕賱賲孬賱 鬲丕乇蹖禺蹖 賲讴夭蹖讴 賳蹖夭 丿丕乇丿 讴賴 賲蹖诏賵蹖丿: 讴賵丿讴賽 丨乇丕賲 夭丕丿賴 鬲丕 丕亘丿 亘賴 丿賳亘丕賱賽 倬丿乇賽 賳丕卮賳丕爻賽 禺賵丿 賲蹖诏乇丿丿
鈥庂矩池� 亘賴 丿賳亘丕賱 倬丿乇卮 亘賴 丿賴讴丿賴贁 <讴賵賲丕賱丕> 賯丿賲 賲蹖诏匕丕乇丿 賵 诏乇賲丕蹖 乇賵爻鬲丕 丕賲丕賳卮 乇丕 亘乇蹖丿賴 丕爻鬲 賵 鬲賲丕賲賽 丿蹖丿丕乇卮 亘丕 丕乇賵丕丨 賵 丕賵賴丕賲 丕爻鬲... 丨鬲蹖 讴爻丕賳蹖 讴賴 夭賳丿賴 賴爻鬲賳丿 賳蹖夭 亘丕 賲乇丿诏丕賳 鬲賮丕賵鬲蹖 賳丿丕乇賳丿貙 <讴賵賲丕賱丕> 爻乇夭賲蹖賳蹖 爻賵夭丕賳 賵 讴爻丕賱鬲 丌賵乇 丕爻鬲 讴賴 鬲賳賴丕 爻丕蹖賴 丕蹖 丕夭 夭賳丿诏蹖 丿乇丌賳噩丕 亘丕賯蹖 賲丕賳丿賴 丕爻鬲
鈥庁ж辟堌ж� 爻乇诏乇丿丕賳 亘賳丕 亘賴 丕毓鬲賯丕丿 賲乇丿賲貙 讴爻丕賳蹖 賴爻鬲賳丿 讴賴 诏賳丕賴讴丕乇 賲乇丿賴 丕賳丿 賵 賲丨讴賵賲 亘賴 丕蹖賳 賴爻鬲賳丿 讴賴 鬲丕 丕亘丿 丿乇 夭賲蹖賳 爻乇诏乇丿丕賳 亘丕卮賳丿 賵 賴蹖趩诏丕賴 亘賴 丌乇丕賲卮 賳賲蹖乇爻賳丿
鈥庂矩池� 丿乇 丿賴讴丿賴 亘丕 乇丕賴賳賲丕蹖蹖 賴丕 賵 鬲毓乇蹖賮 賴丕蹖 賲賵噩賵丿蹖 乇賵蹖丕卅蹖 亘賴 賳丕賲賽 <丿蹖丕丿丕> 亘賴 禺蹖賱蹖 丕夭 賲爻丕卅賱 倬蹖 賲蹖亘乇丿.. 賵 亘賴 丕蹖賳 賲賵囟賵毓 倬蹖 賲蹖亘乇丿 讴賴 <丿蹖丕丿丕> 丿賵爻鬲賽 丿賵乇丕賳賽 讴賵丿讴蹖 賲丕丿乇卮 亘賵丿賴 丕爻鬲 賵 丿乇 卮亘 毓乇賵爻蹖 倬丿乇 賵 賲丕丿乇卮貙 亘賴 噩丕蹖 <丿賵賱賵乇爻> 賴賲禺賵丕亘賽 倬丿乇卮 <倬丿乇賵 倬丕乇丕賲賵> 卮丿賴 丕爻鬲 賵 丿乇 丕丿丕賲賴 丕夭 毓卮賯 讴卮賳丿賴贁 倬丿乇卮 賳爻亘鬲 亘賴 丿禺鬲乇蹖 卮讴賳賳丿賴 賵 乇賵蹖丕蹖蹖 賵 夭蹖亘丕貙 亘賴 賳丕賲賽 <爻賵爻丕賳丕> 丌诏丕賴 賲蹖卮賵丿
鈥庁ж池з� 倬蹖 丿乇 倬蹖 丕夭 蹖讴 夭賲丕賳 亘賴 夭賲丕賳 丿蹖诏乇 賲蹖乇賵丿 賵 賮賴賲 丕蹖賳 丿卮賵丕乇 丕爻鬲 讴賴 丕讴賳賵賳 卮賲丕 丿乇 丨丕賱 賴爻鬲蹖丿 賵 蹖丕 丿乇 诏匕卮鬲賴... 丕賲賾丕 賴賲蹖賳 賳讴鬲賴 丿丕爻鬲丕賳 乇丕 毓噩蹖亘鬲乇 賵 賲毓賲丕诏賵賳賴 鬲乇 賲蹖讴賳丿... <倬丿乇賵 倬丕乇丕賲賵> 讴賴 亘賵丿賴 賵 趩賴 亘乇 爻乇卮 丌賲丿賴 丕爻鬲責責 賲毓賲丕蹖蹖 倬蹖趩蹖丿賴
鈥庁关槽屫藏з嗁呚� 亘賴鬲乇 丕爻鬲 讴賴 禺賵丿鬲丕賳 丕蹖賳 丿丕爻鬲丕賳賽 毓噩蹖亘 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇丕賳噩丕賲賽 丌賳 丌诏丕賴 卮賵蹖丿
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鈥庂呚з� 鬲賲丕賲 亘丕賱丕蹖 爻乇賲 亘賵丿... 賳賲蹖鬲賵丕賳爻鬲賲 亘賴 鬲賵 賳诏丕賴 讴賳賲. 賲賴鬲丕亘 趩賴乇賴 丕鬲 乇丕 賲蹖卮爻鬲. 賲賳 蹖讴乇蹖夭 亘賴 禺蹖丕賱蹖 讴賴 鬲賵 亘賵丿蹖 賳诏丕賴 賲蹖讴乇丿賲.. 賳乇賲 賵 丿乇禺卮丕賳 夭蹖乇賽 賲賴鬲丕亘... 賱亘賴丕蹖鬲 丕夭 爻鬲丕乇賴 賴丕 賲乇胤賵亘 賵 丿乇禺卮丕賳 卮丿賴 亘賵丿.. 鬲賳鬲 鬲賵蹖賽 卮亘賳賲 賴丕 亘賱賵乇蹖 賲蹖卮丿... 爻賵爻丕賳丕... 爻賵爻丕賳丕 爻丕賳 禺賵丕賳
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 噩賴鬲賽 賲毓乇賮蹖 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
鈥庁促囏臂� 讴賴 <禺賵丕賳 倬乇爻蹖丕丿賵> 亘乇丕蹖 蹖丕賮鬲賳 倬丿乇 賵丕乇丿 丌賳 賲蹖卮賵丿貙 丿賴讴丿賴 丕蹖 亘賴 賳丕賲賽 <讴賵賲丕賱丕> 丕爻鬲 讴賴 丕乇賵丕丨 賲乇丿賲丕賳蹖 讴賴 丿乇诏匕卮鬲賴 丿乇 丌賳噩丕 夭賳丿诏蹖 賲蹖讴乇丿賳丿貙 丿乇 乇賵爻鬲丕 讴賲丕讴丕賳 夭賳丿诏蹖 賲蹖讴賳賳丿 賵 亘賴 亘蹖丕賳 亘賴鬲乇貙 丕蹖賳 丕乇賵丕丨 丿乇丌賳噩丕 爻乇诏乇丿丕賳 賴爻鬲賳丿
鈥広嗃屫槽� 讴賴 丕蹖賳 倬爻乇 賳賲蹖丿丕賳丿貙 丕蹖賳 丕爻鬲 讴賴 倬丿乇卮 鬲丕 賲蹖鬲賵丕賳爻鬲賴 賮爻丕丿 乇丕 鬲乇賵蹖噩 丿丕丿賴 丕爻鬲 賵 鬲賲丕賲蹖 賮乇夭賳丿丕賳 丿乇 丿賴讴丿賴 亘賴 賳賵毓蹖 賮乇夭賳丿丕賳賽 賳丕賲卮乇賵毓賽 倬丿乇卮 蹖毓賳蹖 <倬丿乇賵 倬丕乇丕賲賵> 賴爻鬲賳丿... 倬爻 亘丕蹖丿 亘丿丕賳丿 讴賴 賲蹖乇丕孬蹖 讴賴 丕賵 亘乇丕蹖卮 賯丿賲 丿乇 丿賴讴丿賴 诏匕丕卮鬲賴 丕爻鬲 "賲乇诏" 丕爻鬲
鈥庁ж池з� 亘賴 賳賵毓蹖 丕卮丕乇賴 亘賴 囟乇亘 丕賱賲孬賱 鬲丕乇蹖禺蹖 賲讴夭蹖讴 賳蹖夭 丿丕乇丿 讴賴 賲蹖诏賵蹖丿: 讴賵丿讴賽 丨乇丕賲 夭丕丿賴 鬲丕 丕亘丿 亘賴 丿賳亘丕賱賽 倬丿乇賽 賳丕卮賳丕爻賽 禺賵丿 賲蹖诏乇丿丿
鈥庂矩池� 亘賴 丿賳亘丕賱 倬丿乇卮 亘賴 丿賴讴丿賴贁 <讴賵賲丕賱丕> 賯丿賲 賲蹖诏匕丕乇丿 賵 诏乇賲丕蹖 乇賵爻鬲丕 丕賲丕賳卮 乇丕 亘乇蹖丿賴 丕爻鬲 賵 鬲賲丕賲賽 丿蹖丿丕乇卮 亘丕 丕乇賵丕丨 賵 丕賵賴丕賲 丕爻鬲... 丨鬲蹖 讴爻丕賳蹖 讴賴 夭賳丿賴 賴爻鬲賳丿 賳蹖夭 亘丕 賲乇丿诏丕賳 鬲賮丕賵鬲蹖 賳丿丕乇賳丿貙 <讴賵賲丕賱丕> 爻乇夭賲蹖賳蹖 爻賵夭丕賳 賵 讴爻丕賱鬲 丌賵乇 丕爻鬲 讴賴 鬲賳賴丕 爻丕蹖賴 丕蹖 丕夭 夭賳丿诏蹖 丿乇丌賳噩丕 亘丕賯蹖 賲丕賳丿賴 丕爻鬲
鈥庁ж辟堌ж� 爻乇诏乇丿丕賳 亘賳丕 亘賴 丕毓鬲賯丕丿 賲乇丿賲貙 讴爻丕賳蹖 賴爻鬲賳丿 讴賴 诏賳丕賴讴丕乇 賲乇丿賴 丕賳丿 賵 賲丨讴賵賲 亘賴 丕蹖賳 賴爻鬲賳丿 讴賴 鬲丕 丕亘丿 丿乇 夭賲蹖賳 爻乇诏乇丿丕賳 亘丕卮賳丿 賵 賴蹖趩诏丕賴 亘賴 丌乇丕賲卮 賳賲蹖乇爻賳丿
鈥庂矩池� 丿乇 丿賴讴丿賴 亘丕 乇丕賴賳賲丕蹖蹖 賴丕 賵 鬲毓乇蹖賮 賴丕蹖 賲賵噩賵丿蹖 乇賵蹖丕卅蹖 亘賴 賳丕賲賽 <丿蹖丕丿丕> 亘賴 禺蹖賱蹖 丕夭 賲爻丕卅賱 倬蹖 賲蹖亘乇丿.. 賵 亘賴 丕蹖賳 賲賵囟賵毓 倬蹖 賲蹖亘乇丿 讴賴 <丿蹖丕丿丕> 丿賵爻鬲賽 丿賵乇丕賳賽 讴賵丿讴蹖 賲丕丿乇卮 亘賵丿賴 丕爻鬲 賵 丿乇 卮亘 毓乇賵爻蹖 倬丿乇 賵 賲丕丿乇卮貙 亘賴 噩丕蹖 <丿賵賱賵乇爻> 賴賲禺賵丕亘賽 倬丿乇卮 <倬丿乇賵 倬丕乇丕賲賵> 卮丿賴 丕爻鬲 賵 丿乇 丕丿丕賲賴 丕夭 毓卮賯 讴卮賳丿賴贁 倬丿乇卮 賳爻亘鬲 亘賴 丿禺鬲乇蹖 卮讴賳賳丿賴 賵 乇賵蹖丕蹖蹖 賵 夭蹖亘丕貙 亘賴 賳丕賲賽 <爻賵爻丕賳丕> 丌诏丕賴 賲蹖卮賵丿
鈥庁ж池з� 倬蹖 丿乇 倬蹖 丕夭 蹖讴 夭賲丕賳 亘賴 夭賲丕賳 丿蹖诏乇 賲蹖乇賵丿 賵 賮賴賲 丕蹖賳 丿卮賵丕乇 丕爻鬲 讴賴 丕讴賳賵賳 卮賲丕 丿乇 丨丕賱 賴爻鬲蹖丿 賵 蹖丕 丿乇 诏匕卮鬲賴... 丕賲賾丕 賴賲蹖賳 賳讴鬲賴 丿丕爻鬲丕賳 乇丕 毓噩蹖亘鬲乇 賵 賲毓賲丕诏賵賳賴 鬲乇 賲蹖讴賳丿... <倬丿乇賵 倬丕乇丕賲賵> 讴賴 亘賵丿賴 賵 趩賴 亘乇 爻乇卮 丌賲丿賴 丕爻鬲責責 賲毓賲丕蹖蹖 倬蹖趩蹖丿賴
鈥庁关槽屫藏з嗁呚� 亘賴鬲乇 丕爻鬲 讴賴 禺賵丿鬲丕賳 丕蹖賳 丿丕爻鬲丕賳賽 毓噩蹖亘 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇丕賳噩丕賲賽 丌賳 丌诏丕賴 卮賵蹖丿
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鈥庂呚з� 鬲賲丕賲 亘丕賱丕蹖 爻乇賲 亘賵丿... 賳賲蹖鬲賵丕賳爻鬲賲 亘賴 鬲賵 賳诏丕賴 讴賳賲. 賲賴鬲丕亘 趩賴乇賴 丕鬲 乇丕 賲蹖卮爻鬲. 賲賳 蹖讴乇蹖夭 亘賴 禺蹖丕賱蹖 讴賴 鬲賵 亘賵丿蹖 賳诏丕賴 賲蹖讴乇丿賲.. 賳乇賲 賵 丿乇禺卮丕賳 夭蹖乇賽 賲賴鬲丕亘... 賱亘賴丕蹖鬲 丕夭 爻鬲丕乇賴 賴丕 賲乇胤賵亘 賵 丿乇禺卮丕賳 卮丿賴 亘賵丿.. 鬲賳鬲 鬲賵蹖賽 卮亘賳賲 賴丕 亘賱賵乇蹖 賲蹖卮丿... 爻賵爻丕賳丕... 爻賵爻丕賳丕 爻丕賳 禺賵丕賳
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 噩賴鬲賽 賲毓乇賮蹖 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
March 13, 2025
鈥淭he sky was filled with fat stars, swollen from the long night. The moon had risen briefly and then slipped out of sight. It was one of those sad moons that no one looks at or pays attention to. It had hung there a while, misshapen, not shedding any light, and then gone to hide behind the hills.鈥�
~~
There are few books that leave me speechless when turning the lasting page. Pedro Paramo was one such book. may also be the scariest ghost story ever written.
Author 's extraordinarily powerful novel, , captures the crux of life in rural Mexico during the last years of the 19th century, and the beginning of the 20th, like no other work of fiction. Here, the author vividly portrays the radical social and economic changes which spurred the dramatic migration from ranches and villages to the urban slums, where they could no longer live off the land, nor find work. Ghost towns mark the places where many had once flourished.
, the son of a failing landowner, was consumed with love for Susana San Juan. This intense passion lasted a lifetime. Eventually, Pedro's aging father and family died, and Susana moved away. Alone and lonely, he assumed control of the estate and unscrupulously did whatever he had to, fair and foul, to amass a fortune and build his empire. He married the heiress Dolores Preciado, took possession of her land and wealth, and sent her to live an isolated existence with her sister. His ranch, in Comala, the Media Luna, expanded with great success at the expense of others. However, the manipulative, exploitive patriarch would pay dearly for his greed and for the sorrow he brought to Comala and her people.
Dolores Preciado, on her deathbed, extracts a promise from her son, Juan, to return to Comala to find his father and claim what is theirs. Juan narrates and guides the reader on his journey to the dusty, desolate village, now populated by ghosts, lost souls who murmur to him, sighing and complaining in desperate voices, until he believes that he too is dead. The story of Juan's experience, his search for identity and his heritage, is interwoven with the tale of his father, Pedro Paramo, and that of sad, beautiful Susana San Juan.
The novel was first published in 1955 and has become a classic, not only in Spanish speaking countries, but worldwide, for its themes are universal. This is a literary class and a truly great book. I cannot recommend it highly enough.
~~
There are few books that leave me speechless when turning the lasting page. Pedro Paramo was one such book. may also be the scariest ghost story ever written.
Author 's extraordinarily powerful novel, , captures the crux of life in rural Mexico during the last years of the 19th century, and the beginning of the 20th, like no other work of fiction. Here, the author vividly portrays the radical social and economic changes which spurred the dramatic migration from ranches and villages to the urban slums, where they could no longer live off the land, nor find work. Ghost towns mark the places where many had once flourished.
, the son of a failing landowner, was consumed with love for Susana San Juan. This intense passion lasted a lifetime. Eventually, Pedro's aging father and family died, and Susana moved away. Alone and lonely, he assumed control of the estate and unscrupulously did whatever he had to, fair and foul, to amass a fortune and build his empire. He married the heiress Dolores Preciado, took possession of her land and wealth, and sent her to live an isolated existence with her sister. His ranch, in Comala, the Media Luna, expanded with great success at the expense of others. However, the manipulative, exploitive patriarch would pay dearly for his greed and for the sorrow he brought to Comala and her people.
Dolores Preciado, on her deathbed, extracts a promise from her son, Juan, to return to Comala to find his father and claim what is theirs. Juan narrates and guides the reader on his journey to the dusty, desolate village, now populated by ghosts, lost souls who murmur to him, sighing and complaining in desperate voices, until he believes that he too is dead. The story of Juan's experience, his search for identity and his heritage, is interwoven with the tale of his father, Pedro Paramo, and that of sad, beautiful Susana San Juan.
The novel was first published in 1955 and has become a classic, not only in Spanish speaking countries, but worldwide, for its themes are universal. This is a literary class and a truly great book. I cannot recommend it highly enough.
April 23, 2023
Una novela de tinte casi espectral que se inicia con la promesa de un hijo a su madre.
En el lecho de la tumba de su progenitora, Juan Preciado promete viajar a Comala en busca del padre que lo engendr贸. Un tal Pedro P谩ramo. Un hombre que, como pronto descubrir谩 el protagonista y con 茅l los lectores que lo acompa帽amos, era un hombre despiadado, orgulloso y atormentado por un gran amor. Tormento que se hizo extensivo al pueblo que alguna vez domin贸.
Comala es una ciudad fantasma. Juan Rulfo se arma de una narraci贸n desordenada y de m煤ltiples voces para permitirnos un vistazo en m谩s de un tiempo y m谩s de una direcci贸n. Para hacer que nos hundamos en los lamentos y la melancol铆a de las voces de los ca铆dos de un llano olvidado que a煤n claman sus angustias, sus p茅rdidas, mientras persisten, desde un plano indescriptible, haciendo notar sus peculiaridades.
Una novela que, aunque breve, no es sencilla de leer por sus incontables elipsis, por la complejidad evocadora de su prosa que nos arrastra al llano, a las hierbas, a las casas abandonadas, al esp铆ritu agitado de lo que no descansa. Una pieza indispensable de la literatura latinoamericana.
En el lecho de la tumba de su progenitora, Juan Preciado promete viajar a Comala en busca del padre que lo engendr贸. Un tal Pedro P谩ramo. Un hombre que, como pronto descubrir谩 el protagonista y con 茅l los lectores que lo acompa帽amos, era un hombre despiadado, orgulloso y atormentado por un gran amor. Tormento que se hizo extensivo al pueblo que alguna vez domin贸.
Comala es una ciudad fantasma. Juan Rulfo se arma de una narraci贸n desordenada y de m煤ltiples voces para permitirnos un vistazo en m谩s de un tiempo y m谩s de una direcci贸n. Para hacer que nos hundamos en los lamentos y la melancol铆a de las voces de los ca铆dos de un llano olvidado que a煤n claman sus angustias, sus p茅rdidas, mientras persisten, desde un plano indescriptible, haciendo notar sus peculiaridades.
Una novela que, aunque breve, no es sencilla de leer por sus incontables elipsis, por la complejidad evocadora de su prosa que nos arrastra al llano, a las hierbas, a las casas abandonadas, al esp铆ritu agitado de lo que no descansa. Una pieza indispensable de la literatura latinoamericana.
November 5, 2012
賴匕賴 賱賷爻鬲 乇賵丕賷丞 賵 廿賳賲丕 賴賷 卮毓賵匕丞 !
賱賲 兀卮毓乇 亘匕賱賰 賵丨丿賷 賮賯丿 賰丕賳鬲 乇丿丞 賮毓賱 丕賱賵爻胤 丕賱孬賯丕賮賷 賮賷 丕賱賲賰爻賷賰 賵 兀賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞 毓賲賵賲丕賸 賰匕賱賰 . 賱賲 賷賰鬲亘 乇賵賱賮賵 爻賵賶 賴匕賴 丕賱乇賵丕賷丞 - 賵亘毓囟 丕賱賯氐氐 賴賳丕 賵 賴賳丕賰 - 丕賱鬲賷 賴丿鬲 丕賱毓丕賱賲 兀噩賲毓 賳丨賵 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 . 賰賷賮 賱丕 賵 賴賷 丕賱乇賵丕賷丞 丕賱鬲賷 賷乇卮丨賴丕 兀爻丕鬲匕丞 丕賱兀丿亘 丕賱賱丕鬲賷賳賷 賲丿禺賱丕賸 賱賱兀丿亘 丕賱賱丕鬲賷賳賷 丕賱賲毓丕氐乇 . 賴賷 兀賷囟丕賸 賲賳 賲賮囟賱丕鬲 賲丕乇賰賷夭 賵 丕賱鬲賷 賯乇兀賴丕 丕賱賲乇丞 鬲賱賵 丕賱兀禺乇賶 鬲賱賵 丕賱賲乇丞 賲丕 亘毓丿 丕賱兀禺乇賶 賵 賷鬲囟丨 匕賱賰 噩賱賷丕賸 賮賷 丕賱賲卅丞 毓丕賲 賲賳 丕賱毓夭賱丞 . 賷賯賵賱 乇賵賱賮賵 兀賳賴 賴丕賵賺 賵 賱丕 賷賰鬲亘 廿賱丕 亘丿丕賮毓 丕賱賴賵丕賷丞 貙 賵 賱賴匕丕 鬲兀禺乇鬲 噩丿丕賸 乇賵丕賷鬲賴 丕賱孬丕賳賷丞 - 賵 丕賱鬲賷 亘丕賱賲賳丕爻亘丞 乇丨賱 丿賵賳 兀賳 賷賰賲賱賴丕 - 賱丕 亘爻亘亘 丕賱禺賵賮 貙 賱丕 亘爻亘亘 丕賱賳賯丕丿 貙 賱丕 亘爻亘亘 兀賷 卮賷亍 賲賳 賴匕丕 丕賱賯亘賷賱 . 賴匕丕 丕賱賰丕鬲亘 丕賱賴丕賵賷 賰丕賳 賷賮囟賱 賵馗賷賮鬲賴 賮賷 丕賱廿乇卮賷賮 丨賷孬 賷賳毓賲 亘丕賱賳爻賷丕賳 賮賷 丕賱賵賯鬲 丕賱匕賷 賷鬲睾賷乇 賮賷賴 丕賱賵夭乇丕亍 賵 兀氐丨丕亘 丕賱賲賳丕氐亘 丕賱賮禺賲丞 . 賲毓 匕賱賰 賰丕賳 賯丿 丨丕夭 毓賱賶 賲禺鬲賱賮 丕賱噩賵丕卅夭 丕賱兀丿亘賷丞 賵 亘賯賷 丕爻賲賴 賮賷 胤賱賷毓丞 丕賱乇賰亘 丕賱賱丕鬲賷賳賷 .
毓賱賶 丕賱賲爻鬲賵賶 丕賱鬲賯賳賷 丕賱乇賵丕賷丞 賰鬲亘鬲 亘胤乇賷賯丞 禺賱丕賯丞 丨賷孬 兀氐賵丕鬲 丕賱乇賵丕丞 鬲鬲賯丕賮夭 - 毓賱賶 丕賱賯丕乇賷亍 兀賳 賷賰賵賳 賮賷 賰丕賲賱 鬲乇賰賷夭賴 - 賮丕賱賯氐氐 鬲丨賰賶 賮賷 兀夭賲賳丞 賲鬲亘丕賷賳丞 賵 賴賳丕賰 兀賰孬乇 賲賳 賯氐丞 賱丕 賷噩亘 兀賳 鬲賯鬲乇賮 丨賲丕賯丞 丕賱鬲賰賴賳 賮噩賲賷毓 丕賱鬲禺賲賷賳丕鬲 賱賳 賷丨丕賱賮賴丕 丕賱丨馗 . 賷丕賱賴丕 賲賳 毓亘賯乇賷丞 - 丕賱丨賯賾 兀賳賴 賲賳 丕賱賲乇毓亘 兀賳 賷鬲賮乇丿 賰丕鬲亘 賵丕丨丿 亘賰賱 賴匕賴 丕賱毓亘賯乇賷丞 - 爻鬲馗賱 丕賱賲賮丕噩丌鬲 鬲乇丕賮賯賰 丨鬲賶 丕賱賳賴丕賷丞 ! 賵 爻鬲噩丿 兀賳 丕賱乇賵丕賷丞 鬲毓亘乇 毓賳 賰賱 卮賷亍 貙 丕賱孬兀乇 賵 丕賱丕賳鬲賯丕賲 賵 丕賱丨亘 賵 丕賱丿賷賳 賵 丕賱丨乇亘 賵 丕賱孬賵乇丞 貙 兀丨丿賴賲 賯丕賱 廿賳賴丕 乇賵丕賷丞 賱賱兀賲賱 ! 賵 賱賳 鬲噩丿 賳賮爻賰 廿賱丕 賲鬲賮賯丕賸 賲毓 丕賱噩賲賷毓 賵 賲禺鬲賱賮丕賸 兀賷囟丕賸 . 匕賱賰 兀賳 卮禺賵氐 丕賱乇賵丕賷丞 賲賵鬲賶 賵 賷賲丕乇爻賵賳 賲賵鬲賴賲 賮賷 丕賱兀爻賮賱 . 賮賷 丕賱丨賯賷賯丞 賴賳丕賰 亘毓囟 丕賱兀丨賷丕亍 - 毓賱賶 丕賱兀賯賱 丨鬲賶 丨賷賳 貙 兀賱爻賳丕 噩賲賷毓丕賸 賰匕賱賰 - . 亘賵丿賷 賱賵 丕賯鬲亘爻鬲 丕賱乇賵丕賷丞 賰丕賲賱丞 睾賷乇 兀賳賳賷 爻兀賰鬲賮賷 亘賰鬲丕亘丞 丕賱爻胤賵乇 丕賱兀賵賱賶 賲賳賴丕
" 噩卅鬲 廿賱賶 賰賵賲丕賱丕 賱兀賳賴賲 賯丕賱賵丕 賱賷 廿賳 賵丕賱丿賷 賷毓賷卮 賴賳丕 貙 廿賳賴 卮禺氐 賷丿毓賶 亘賷丿乇賵 亘丕乇丕賲賵 . 兀賲賷 賯丕賱鬲 賱賷 匕賱賰 . 賵 賯丿 賵毓丿鬲賴丕 亘兀賳 兀丨囟乇 賱賲賯丕亘賱鬲賴 毓賳丿賲丕 鬲賲賵鬲 . 賱賯丿 囟睾胤鬲 毓賱賶 賷丿賷賴丕 賲丐賰丿丕賸 兀賳賷 爻兀賮毓賱 貙 賮賯丿 賰丕賳鬲 鬲丨鬲囟乇 賵 賰賳鬲 賲爻鬲毓丿丕賸 賱鬲賯丿賷賲 賰賱 丕賱賵毓賵丿 廿賱賷賴丕 . 兀賵氐鬲賳賷 賯丕卅賱丞 : " 賱丕 鬲鬲禺賱賮 毓賳 丕賱匕賴丕亘 賱夭賷丕乇鬲賴 . 丕爻賲賴 賰匕丕 賵 賰匕丕 " . 賱賲 兀爻鬲胤毓 毓賳丿卅匕 毓賲賱 卮賷亍 丌禺乇 爻賵賶 丕賱賯賵賱 賱賴丕 廿賳賷 爻兀賮毓賱 匕賱賰 賵 賱賰孬乇丞 賲丕 乇丿丿鬲 賴匕丕丕賱賵毓丿 賮賯丿 賵丕氐賱鬲 鬲乇丿賷丿賴 丨鬲賶 亘毓丿 丕賱噩賴丿 丕賱匕賷 鬲賰賱賮鬲賴 賱兀賮賱鬲 賷丿賷賾 賲賳 亘賷賳 賷丿賷賴丕 丕賱賲賷鬲鬲賷賳 " .
賱賲 兀毓鬲丿 丕賱賰鬲丕亘丞 毓賳 丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲兀禺匕 賱亘賾賷 賮兀賳丕 賱丕 兀丨爻賳 丕賱賰鬲丕亘丞 毓賳賴丕 賵 兀禺卮賶 兀賳 兀爻賷亍 廿賱賷賴丕 . 賴賷 賲賳 丕賱乇賵丕賷丕鬲 丕賱鬲賷 兀賮賰乇 賮賷 賯乇丕卅鬲賴丕 賲乇丞 兀禺乇賶 廿賳 卮丕亍 丕賱賱賴 賵 賯乇賷亘丕賸 .
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