In Quibdó, a young white mother embarks in a canoe with her five-year-old black boy. They begin a long journey north through Atrato. The questions of the other travelers - and the inner journey of the mother - reveal a heartbreaking fact: the woman who has raised the child almost from birth, must now give it to her biological mother, who lives in a distant town, downstream . This journey through the heart of Chocó, and through that wound full of fish, is a journey in which the protagonists go to meet their destiny, and to meet the most complex and profound history of the country where we live.
It is common to hear discussions about the origin of peoples, where our ancestors came from or why we are different from our neighbors. Stories abound in Colombian towns, urban legends about the identity of the regions and those who populated the territories in times past. Revision of history adds to this effort, using the language of the comic, and through a series of self-conclusion stories about the settlement and the name that various Colombian towns received, through which the author exposes his own vision about the region that today is Antioquia and some regions of Colombia.
This book brings together my encounters with fifteen contemporary authors. While preparing the first interviews, I thought that my interest was the creative processes of each director, but, along the way, I realized that my concerns went far beyond understanding the trade. I found myself drawing relationships from interview to interview, building a personal constellation between authors, detecting their traditions, influences, making interpretations, creating bridges and dialogues. I also discovered that, although all the dialogues were held with a good degree of spontaneity, without following an identical format, certain questions were clearly repeated in them. One of the things I learned while writing this book was to read carefully what the authors say about their works. His speeches are paratexts that seek to guide the reception of his films in one of the many senses that they can have, even if they manifest not wanting to say anything so as not to determine the viewer. In this I agree with Ricardo Piglia, I do not believe that there are authors without theory: in any case naivety, spontaneity, anti-intellectualism are a theory, quite complex and sophisticated.
What is paradoxical about this collection of stories is that, from the depths of the dense and palpable boredom of its characters, two qualities typical of the best literature emerge: surprise and humor. It is surprising and amusing, for example, the story of the public employee who struggles every day to discover the functions for which he has been hired and that of the child who sees how his house is invaded little by little by what seems like an endless amount of cats and cats. family members and that of the man who spends most of his time waiting for his girlfriend anywhere. In this kind of bestiary of boredom, which is the Book of Boredom, José Ardila also achieves a rich inventory of the smiles, laughter and laughter that can be associated with sadness.
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