Laura Barranchina says about this novel that of the pen of Fernando Navarro It does not come out ink, but sand blood. That said, I occur to me better description to explain the narrative essence that this first novel of the Granada screenwriter, author of scripts as brilliant as those of “Veronica” y “Second prize.”
Thus, after sitting a chair with a book of stories like “Malaventure ”in “Chrysalis” Weave an atmosphere that drinks from the most dreamlike Spanish cinema in the seventies, as if it were a folk-corror version of “The spirit of the hive”, Although from a poetic that escapes the descriptive cinematographic grids to, instead, embark on a purely literary exercise.
Navarro escapes everything that can be channeled literally in the reader’s mental drawing. Instead, he introduces us to a beautiful nightmare, full of humor and violence in each pore of his writing. The same capable of combining the rhythmic James Ellroy of the short phrasing with the ties -free paragraphs in its quasi lyric vertebration, at times.
Between these two extremes, an armed musicality emerges around the contrasts, as many as those that splurge each of the characters that make up such a magnetic microuniverse. One endowed with the uniqueness of finding beauty in the strange and personal rubric in the adoption of the communicative mannerisms of Granada Poetics. A whole feast in which the Gothic sounds to delirium and reality to fascination with mystery. In short, an unequivocal sample of what we hope to meet when a text could be considered as weird fiction Andalusian.
Already to end, underline the uniqueness of the world created by a Fernando Navarro to whom the literary boundaries accentuate their rubric more than in their outstanding cinematographic incentives.
){kind=link}