{"id":3579,"date":"2018-11-22T20:45:42","date_gmt":"2018-11-22T20:45:42","guid":{"rendered":"https:\/\/www.edicionesfranz.com\/?page_id=3579"},"modified":"2025-04-17T20:49:13","modified_gmt":"2025-04-17T20:49:13","slug":"prensa","status":"publish","type":"page","link":"https:\/\/www.edicionesfranz.com\/?page_id=3579","title":{"rendered":"Prensa 2022"},"content":{"rendered":"

[vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb7″ top_padding=\u00bb5″ bottom_padding=\u00bb5″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb200983″ back_color_type=\u00bbuncode-palette\u00bb][vc_column column_width_percent=\u00bb100″ position_horizontal=\u00bbleft\u00bb position_vertical=\u00bbmiddle\u00bb gutter_size=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb0″ mobile_width=\u00bb0″ width=\u00bb1\/1″ uncode_shortcode_id=\u00bb562912″][vc_custom_heading text_color=\u00bbcolor-uydo\u00bb heading_semantic=\u00bbh5″ text_font=\u00bbfont-555555″ text_size=\u00bbh5″ text_weight=\u00bb400″ uncode_shortcode_id=\u00bb156555″ text_color_type=\u00bbuncode-palette\u00bb]Prensa 2022[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-nhtu\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb171622″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb12425″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb402840″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-nhtu\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb149123″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb156762″ text_color_type=\u00bbuncode-palette\u00bb]Enrique Villagrasa ha seleccionado el poemario de Violeta Nicol\u00e1s, Hielo con espinas,<\/em> en su lista de los seis mejores poemarios de 2022, en la que incluye tambi\u00e9n la \u00faltima obra de Concha Garc\u00eda o la de Pere Gimferrer. Dice de Nicol\u00e1s que \u00abes una poeta que sorprende y camina a sus anchas por la geograf\u00eda po\u00e9tica sideral, con su bello, sugerente y atractivo poemario\u00bb, y que su obra \u00abes una gran joya expuesta en un libro magn\u00edfico\u00bb.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb414170″ text_color_type=\u00bbuncode-palette\u00bb]\u00abFuego po\u00e9tico femenino\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Enrique Villagrasa
\n<\/strong><\/span><\/p>\n

Libr\u00fajula<\/a>
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30 de diciembre de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb115015″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb12353″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb319448″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb192752″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb841873″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLos cuentos en los que encuentro al escritor que me convence, al Nicol\u00e1s Melini que se crece incluso cuando ensaya la brevedad con la intenci\u00f3n de ser mas breve, son los que llevan por t\u00edtulo \u2018Elasticidad comprobada\u2019 y otros relatos que toman afortunado vuelo como \u2018S\u00ed\u2019, \u2018Fe\u2019, \u2018El Roque y los muchachos\u2019 y \u2018Tal\u00f3n\u2019, que da nombre a este libro y en el que derrama apuntes notables sobre la locura. Otros no terminan de cuajar, esa es la sensaci\u00f3n de \u2018Salir\u2019\u00bb, comenta Garc\u00eda Rojas sobre Tal\u00f3n<\/em>. No le ha gustado el libro, le cuesta \u00abentender qu\u00e9 prop\u00f3sito escond\u00edan algunas historias\u00bb y le parece que \u00ablos experimentos en cualquier rama del arte suelen emplearse para esconder carencias\u00bb, aunque reconoce que un escritor\u00a0\u00abest\u00e1 en un continuo proceso de transformaci\u00f3n\u00bb.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb192934″ text_color_type=\u00bbuncode-palette\u00bb]\u00ab\u00bfUn punto de inflexi\u00f3n?\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Eduardo Garc\u00eda Rojas
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Diario de Avisos
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27 de noviembre de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb184379″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb12322″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb910017″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb451716″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb194764″ text_color_type=\u00bbuncode-palette\u00bb]\u00abHay de todo en esta botica de dicci\u00f3n exacta y exigente, singular marca de agua de la narrativa de Melini\u00bb, escribe Ricardo Men\u00e9ndez Salm\u00f3n en la secci\u00f3n de Cultura del peri\u00f3dico ovetense La Nueva Espa\u00f1a sobre Tal\u00f3n.<\/em> Cuando habla de \u201cIndolente\u201d, uno de los diecisiete relatos del libro, Men\u00e9ndez Salm\u00f3n lo califica de \u00abantol\u00f3gico\u00bb, y dice que \u00abexigir\u00eda un Cronenberg para su traducci\u00f3n cinematogr\u00e1fica [ya que es] un texto de una profundidad, de una complejidad y de una sutileza asombrosas, sobre todo teniendo en cuenta que condensa su fecunda exploraci\u00f3n del cuerpo y de la extra\u00f1eza como naturaleza esencial del mundo en poco m\u00e1s de diez p\u00e1ginas\u00bb.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb521441″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEstado del malestar\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Ricardo\u00a0Men\u00e9ndez Salm\u00f3n
\n<\/strong><\/span><\/p>\n

La Nueva Espa\u00f1a
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10 de noviembre de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb220965″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb12051″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb167629″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb703421″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb159662″ text_color_type=\u00bbuncode-palette\u00bb]A sabiendas denominamos \u201cCoda\u201d a la literatura que ha escrito Alfonso Garc\u00eda-Villalba sobre el poemario de Violeta Nicol\u00e1s, Hielo con espinas<\/em>. Algo provoca en poetas y literatos este artefacto \u2014as\u00ed lo denomina Alfonso\u2014 que les inspira a escribir una opini\u00f3n po\u00e9tica en s\u00ed misma: \u00abNada es perfecto pero todo es bello aunque el desaliento y la desaz\u00f3n existan\u00bb. Es\u00a0\u00abbello\u00bb y es \u00abhipn\u00f3tico\u00bb el hecho de que el ritmo y la sintaxis est\u00e9n rotos, lo que lleva a que la comprensi\u00f3n sea superflua y prescindible. Las palabras son aqu\u00ed \u00abhebras de luz\u00bb que acarician la piel de quien las lee y le hacen habitar el poema.[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb790659″ text_color_type=\u00bbuncode-palette\u00bb]\u00abS\u00e1cate la cabeza, ponla a un lado, eso es […] La cabeza, el seso, es irrelevante aqu\u00ed: el cuerpo en cambio, no lo es\u00bb<\/em>[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb211480″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLa palabra (estas palabras) no puede(n) decir lo que ya est\u00e1 (de modo excelente) tejido y fabulado […] Si acaso sea m\u00e1s f\u00e1cil sentir sus p\u00e1ginas\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb123581″ text_color_type=\u00bbuncode-palette\u00bb]\u2014Alfonso Garc\u00eda-Villalba[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb150736″ text_color_type=\u00bbuncode-palette\u00bb]\u00abFabuloso oasis de palabras\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Alfonso Garc\u00eda-Villalba
\n<\/strong><\/span><\/p>\n

El Coloquio de los Perros<\/a>
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9 de octubre de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb290268″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb12022″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb161044″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb692069″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb144379″ text_color_type=\u00bbuncode-palette\u00bb]\u00abSabe bien [Violeta Nicol\u00e1s] que las cosas son porque se nombran\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb797579″ text_color_type=\u00bbuncode-palette\u00bb]\u00abNuestra autora funda el poema, que diga la palabra y signifique. Cada lector encontrar\u00e1 ese rayo de luz…\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb156327″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Dionisia Garc\u00eda[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb176972″ text_color_type=\u00bbuncode-palette\u00bb]\u00abHielo con espinas, de Violeta Nicol\u00e1s\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Dionisia Garc\u00eda
\n<\/strong><\/span><\/p>\n

Revista El Ciervo
\n<\/strong><\/span><\/p>\n

Septiembre-octubre 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb188475″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb11951″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb105224″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb124980″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb726705″ text_color_type=\u00bbuncode-palette\u00bb]Yousra Takaroumt ha entrevistado en La Verdad<\/em> a Violeta Nicol\u00e1s con motivo de la presentaci\u00f3n en la librer\u00eda Libros Traperos de Murcia de su cuarto poemario, Hielo con espinas.<\/em>[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb215277″ text_color_type=\u00bbuncode-palette\u00bb]\u00abVioleta Nicol\u00e1s: \u201cMe interesa la exploraci\u00f3n de los sentidos con las palabras\u201d\u00bb<\/p>\n

Yousra Takaroumt
\n<\/strong><\/span><\/p>\n

La Verdad<\/a>
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24 de septiembre de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb939059″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb11952″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb300425″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb181339″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb192591″ text_color_type=\u00bbuncode-palette\u00bb]La Fundaci\u00f3n Amigos de la Lectura hizo p\u00fablicos este viernes los seis t\u00edtulos finalistas de la vig\u00e9simo cuarta edici\u00f3n del Premio Libro Murciano del A\u00f1o, que en este caso corresponde a obras publicadas en 2021. Aspiraban al premio\u00a0La canci\u00f3n de NOF4<\/em>, de Ra\u00fal Quinto, Mientras dure la luz<\/em>, de Dionisia Garc\u00eda, Federico<\/em>, de Ilu Ros,\u00a0Videoclub<\/em>, de Aar\u00f6n S\u00e1ez, Mi cuerpo ser\u00e1 camino<\/em>, de Alba Saura y\u00a0Signos herm\u00e9ticos de una nueva melancol\u00eda<\/em>, de Alfonso Garc\u00eda-Villalba.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb118733″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLos seis nominados al Premio Libro Murciano del A\u00f1o\u00bb<\/p>\n

A. G. R.
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La Opini\u00f3n de Murcia<\/a><\/strong><\/span><\/p>\n

23 de septiembre de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb193481″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb11939″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb104220″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb687949″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb608928″ text_color_type=\u00bbuncode-palette\u00bb]Dice Jos\u00e9 Daniel Espejo que \u00abla lectura de Hielo con espinas<\/em> es una experiencia sin duda intensa de la que, despu\u00e9s, no es f\u00e1cil hablar, o al menos no s\u00f3lo con las herramientas de la cr\u00edtica literaria. Ni de la cr\u00edtica de arte\u00bb, de ah\u00ed que le pregunte a Nicol\u00e1s si se siente \u00abc\u00f3moda en lo mutante\u00bb, a lo que ella responde: \u00abClaro, es uno de los objetivos: moverme en lo fronterizo, generar incertidumbre\u00bb.[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb336504″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEl texto explota ese territorio fronterizo entre literatura y creaci\u00f3n visual\u00bb, explica Espejo, \u00abvolcando en tu cabeza im\u00e1genes y sensaciones vanguardistas sobre un fondo de collage<\/em> cultural en el que la ciencia ficci\u00f3n, el colapso, la educaci\u00f3n sentimental y lo alien\u00edgena completan un viaje alucinante\u00bb.[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb523958″ text_color_type=\u00bbuncode-palette\u00bb]\u00abGema Monlle\u00f3 ha destacado, en la revista D\u00e9tour\u00bb<\/em>, le dice a la artista-poeta, \u00abel v\u00ednculo entre tu poes\u00eda y el cuerpo, tan fuerte que casi es capaz de sacar los poemas de la cultura, convirti\u00e9ndolos en una especie de ceremonia org\u00e1nica\u00bb. Ella reflexiona que esta obra no es cerebral \u00absino muy sensorial, intuitiva, adem\u00e1s de trabajar mucho la palabra considerando m\u00faltiples dimensiones, que acogen el lapsus, el error, otros idiomas, lo on\u00edrico, simb\u00f3lico\u2026 Lo interesante es generar preguntas, m\u00e1s que dar respuestas\u00bb.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb958004″ text_color_type=\u00bbuncode-palette\u00bb]\u00abVioleta Nicol\u00e1s, artista y poeta: \u201cCreo que hay que abrazar la incertidumbre\u201d\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Jos\u00e9 Daniel Espejo
\n<\/strong><\/span><\/p>\n

eldiario.es<\/a>
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21 de septiembre de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb153274″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb11814″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb621256″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb163248″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb500″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb477357″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLeer a Nicol\u00e1s es amoldarse a su cuerpo y a la corporeizaci\u00f3n de su entorno. El alrededor se percibe a trav\u00e9s de la piel-membrana<\/i> (\u201clabios de agua \/ lengua doble \/ turbulencias extremas \/ la esfera en un soplo \/ de la carne residual\u201d)<\/i> y la interrogaci\u00f3n po\u00e9tica pregunta a la materia corp\u00f3rea (\u201crepite repite repite \/ el cuerpo qu\u00e9 es \/ ascua o ruego\u201d).<\/i> Puro tacto, roce, tiento, tactibilidad<\/i>extrema (\u201csobre mi cuello \/ succionas \/ signos de arrebato\u201d)<\/i>, interior tangible (\u201cuna gota cae en el lagrimal\u201d)<\/i>, el continuum<\/i> sensorial de un rastro (\u201chay testigos de las olas \/ titubeo dentro\u201d)<\/i>\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb132629″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Gema Monlle\u00f3[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb183181″ text_color_type=\u00bbuncode-palette\u00bb]\u00abVioleta Nicol\u00e1s: \u00bfLa flor del cactus vive dos d\u00edas\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Gema Monlle\u00f3
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Detour<\/a>
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31 de agosto de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb0″ back_image=\u00bb11295″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/4″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb197594″][vc_single_image media=\u00bb11875″ media_width_percent=\u00bb100″ uncode_shortcode_id=\u00bb211963″][\/vc_column][vc_column width=\u00bb1\/4″][vc_single_image media=\u00bb11874″ media_width_percent=\u00bb100″ uncode_shortcode_id=\u00bb122772″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb2\/4″ uncode_shortcode_id=\u00bb485681″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb111120″ text_color_type=\u00bbuncode-palette\u00bb]Nada menos que en la suntuosa revista El Ciervo han sido mencionados dos libros maravillosos: la novela\u00a0Signos herm\u00e9ticos de una nueva melancol\u00eda,<\/em> de Alfonso Garc\u00eda-Villalba, y el poemario La Constituci\u00f3n de Uzupis,<\/em> de Manuel Molina Prados. De la primera se dice que \u00abla sensaci\u00f3n de tiempo detenido se debe a una estructura narrativa no lineal, que expande las interpretaciones y nos acerca a otro concepto de realidad\u00bb. Del segundo: \u00abLibro pol\u00edtico y l\u00edrico [en el que] prima la ternura en la vulnerabilidad\u00bb.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb170176″ text_color_type=\u00bbuncode-palette\u00bb]Signos herm\u00e9ticos de una nueva melancol\u00eda, <\/em>de Alfonso Garc\u00eda-Villalba y\u00a0La Constituci\u00f3n de Uzupis,<\/em> de Manuel Molina Prados.
\n<\/strong><\/span><\/p>\n

Revista El Ciervo
\n<\/strong><\/span><\/p>\n

Julio-Agosto 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb130854″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb12521″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb193363″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb131312″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb528959″ text_color_type=\u00bbuncode-palette\u00bb]\u00abManuel Molina ha concebido una rep\u00fablica ut\u00f3pica que podr\u00eda desarrollarse \u2014o no\u2014 en un secarral del barrio de Moncloa\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb566055″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Marina Velasco[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb328599″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUn \u201chierbajo de ciudad\u201d\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Marina Velasco y As\u00eds G. Ayerbe
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Libr\u00fajula Papel
\n<\/strong><\/span><\/p>\n

Julio de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb149517″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb10916″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb269304″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb196560″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb197418″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLos textos que desaf\u00edan a sus lectores son actualmente una extra\u00f1a rareza\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb223960″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEdiciones Franz ha tenido el valor de publicar un texto inclasificable: una novela casi humana\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb970280″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUna novela casi humana transcurre en un tiempo camuflado de futuro, m\u00e1s s\u00edmbolo que calendario, donde la ciudad es un nudo de autov\u00edas que acoge el cuerpo de los suicidas, el cielo es una red poblada de drones-ara\u00f1a y el cuerpo humano un dep\u00f3sito de f\u00e1rmacos\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb181708″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUn\u00a0texto dif\u00edcil, atractivo, nebuloso, persuasivo, de pretensiones intrigantes\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb156451″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Santi Mazarrasa[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb891059″ text_color_type=\u00bbuncode-palette\u00bb]\u00abSignos herm\u00e9ticos de una nueva melancol\u00eda, <\/em>de Alfonso Garc\u00eda-Villalba\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Santi Mazarrasa
\n<\/strong><\/span><\/p>\n

Libr\u00fajula<\/a>
\n<\/strong><\/span><\/p>\n

14 de junio de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb128762″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb10895″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb210748″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb122563″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb171874″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEl aspirante es un artefacto literario donde se procede a la aniquilaci\u00f3n del narrador omnisciente pues todo narrador omnisciente debe ser despose\u00eddo de su totalitarismo\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb658090″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUn artefacto narrativo obsesivo, desconcertante,[…]\u00a0Sientes que el personaje\/narrador\/protagonista no puede escapar de s\u00ed mismo: no puede escapar de la narraci\u00f3n, de lo que le sucede, del apartamento en el que se siente encerrado\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb595076″ text_color_type=\u00bbuncode-palette\u00bb]\u00abCasi que podr\u00eda decirse que Mazarrasa indaga o deambula por el territorio de la autoficci\u00f3n desde una perspectiva inc\u00f3moda\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb175141″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Alfonso Garc\u00eda-Villalba[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb191056″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEl Aspirante<\/em>\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Alfonso Garc\u00eda-Villalba
\n<\/strong><\/span><\/p>\n

El Coloquio de los Perros<\/a>
\n<\/strong><\/span><\/p>\n

21 de mayo de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb157351″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb10819″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb183600″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb715911″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb106843″ text_color_type=\u00bbuncode-palette\u00bb]\u00abPodemos convenir que en nuestro actual mundo pand\u00e9mico y de plataformas audiovisuales no predomina ninguna est\u00e9tica hegem\u00f3nica ni etiquetas que sirvan de s\u00edntesis global para este g\u00e9nero vivo, insurgente, en perpetua mutaci\u00f3n\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb140211″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEntre los autores que han afianzado su maestr\u00eda en el g\u00e9nero breve, despuntan la solidez de veteranos en plena forma como Clara Obligado (La biblioteca de agua<\/em>), Gonzalo Calcedo (Como \u00e1nades<\/em>), Pedro Ugarte (Antes del Para\u00edso<\/em>), Ernesto Calabuig (La playa y el tiempo, Fr\u00e1giles humanos<\/em>), Javier Morales (La moneda de Carver<\/em>), Pepe Cervera (Azufre<\/em>), Jon Bilbao(Estr\u00f3mboli, El silencio y los crujidos<\/em>), Miguel \u00c1ngel Mu\u00f1oz (Entre malvados<\/em>), Juan Carlos M\u00e9ndez Gu\u00e9dez (La diosa de agua<\/em>) y Nicol\u00e1s Melini (Tal\u00f3n<\/em>). Todos ellos, cada cual a su manera, parecen haber conquistado un espacio de madurez reflexiva digno de admiraci\u00f3n\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb164416″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Eloy Tiz\u00f3n[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb192252″ text_color_type=\u00bbuncode-palette\u00bb]\u00abCuento actual en espa\u00f1ol: la herencia descentrada\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Eloy Tiz\u00f3n
\n<\/strong><\/span><\/p>\n

Cuadernos Hispanoamericanos<\/a>
\n<\/strong><\/span><\/p>\n

1 de mayo de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb156021″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb10629″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb651043″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb485681″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb193125″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEs uno de los cuentistas m\u00e1s importantes del panorama hispanoamericano y vuelve a demostrarlo\u00a0con este hermoso, inquietante y profundo libro de cuentos\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb195284″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEl libro arranca con un extenuante cuento, \u201cSuspenso\u201d, en el que su protagonista no consigue llegar a su destino, en una suerte de S\u00edsifo moderno, condenado a ir y no llegar nunca\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb137777″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUn libro que, por su hondura de mirada sobre el vac\u00edo de este tiempo y sobre el ensimismamiento de todos, seguro va a producir, como poco, un ajuste de enfoque en nuestra circunstancia\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb152293″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Pedro Crenes[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb186148″ text_color_type=\u00bbuncode-palette\u00bb]\u00abNicol\u00e1s Melini: Tal\u00f3n<\/em>\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Pedro Crenes
\n<\/strong><\/span><\/p>\n

La Prensa Panam\u00e1<\/a>
\n<\/strong><\/span><\/p>\n

6 de mayo de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb208167″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb10631″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb203420″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb140829″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb192936″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEl escritor cuenta que el poemario habla sobre una persona que trata de fundar \u201cun pa\u00eds po\u00e9ticamente, con leyes po\u00e9ticas y con una constituci\u00f3n po\u00e9tica\u201d\u00bb<\/p>\n

[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb960710″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUzupis es un barrio de la capital de Lituania declarado Patrimonio de la Humanidad por la Unesco. Es famoso por la cantidad de artistas que viven o han vivido all\u00ed. En este barrio se dise\u00f1\u00f3 una Constituci\u00f3n bohemia con 41 art\u00edculos\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb172923″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Gisela Arag\u00f3n[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb261316″ text_color_type=\u00bbuncode-palette\u00bb]\u00abManuel Molina publica su primer poemario,\u00a0La Constituci\u00f3n de Uzupis<\/em>\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Gisela Arag\u00f3n
\n<\/strong><\/span><\/p>\n

Granada Digital<\/a>
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7 de mayo de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb322235″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb10609″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb759420″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb485681″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb641237″ text_color_type=\u00bbuncode-palette\u00bb]\u00abConoc\u00ed a Alejandro la primera vez que asist\u00ed al taller de Samantha Schweblin en 2016. Ley\u00f3 el borrador de \u201cReiteraciones\u201d, uno de los doce cuentos que se compendian en El hombre artificial<\/em>\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb884824″ text_color_type=\u00bbuncode-palette\u00bb]\u00abAlejandro tiene dos cualidades que admiro: disciplina y talento\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb137920″ text_color_type=\u00bbuncode-palette\u00bb]\u00abInstant\u00e1neas narrativas con temas tratados lo suficientemente bien como para entretener, hacer disfrutar a los lectores con su prosa limpia y, d\u00edas despu\u00e9s, te viene el golpe, el gancho al h\u00edgado… porque las instant\u00e1neas comienzan a cobrar sentido y universalidad\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb478082″ text_color_type=\u00bbuncode-palette\u00bb]\u2014Grizel Delgado[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb209890″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEl hombre artificial\u00bb
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Grizel Delgado
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Revista Desbandada<\/a>
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4 de mayo de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb736679″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb10471″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb152389″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb111172″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb181780″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUna novela at\u00edpica, on\u00edrica e irracional […] Un artefacto arriesgado que desencadena una lectura muy distinta\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb144594″ text_color_type=\u00bbuncode-palette\u00bb]\u00abGarc\u00eda Villalba\u00a0conforma su tercera novela a base de s\u00edmbolos y elementos sensoriales\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb146767″ text_color_type=\u00bbuncode-palette\u00bb]\u00abHabitaciones de hotel, \u00e1rboles oscilantes, grabaciones antiguas, espejos en los que meterse, mujeres con cabeza de lechuza, una vaca amarilla\u2026 Im\u00e1genes que asaltan al lector como piezas de un puzzle\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb141012″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Ana Bel\u00e9n Mart\u00ednez[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb704956″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLady Le\u00f1o y los pececicos\u00bb
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Ana Bel\u00e9n\u00a0Mart\u00ednez
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Estado Cr\u00edtico<\/a>
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22 de abril de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb75″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb185623″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb139903″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb118569″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb152378″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ style=\u00bbdark\u00bb back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb404277″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb308410″]En esta amena charla-entrevista Inma Donate repasa la trayectoria literaria del poeta, traductor y profesor Rafael-Jos\u00e9 D\u00edaz, y comenta su \u00faltimo libro de relatos, De un modo enigm\u00e1tico<\/em>, publicado por Ediciones Franz.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb123111″]\u00abEntrevista a Rafael-Jos\u00e9 D\u00edaz\u00bb
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Inma Donate
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Las Tardes con Inma
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AhoraTV
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6 de abril de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb214231″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb10498″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb629484″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb539216″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb184453″ text_color_type=\u00bbuncode-palette\u00bb]Valero comenz\u00f3 hace unos a\u00f1os a observar c\u00f3mo hab\u00eda cambiado el comportamiento de la gente a la hora de caminar por la calle, el modo en el que hab\u00edan dejado de mirar al frente, para enfrascarse en su smartphone<\/em>.<\/p>\n

\u00abInternet lleg\u00f3 sin manual de instrucciones a nivel de uso humano\u00bb, dice Valero, \u00aby esto es un problema. De repente ten\u00edamos una tecnolog\u00eda en la palma de la mano que no ten\u00edamos ni idea de hasta d\u00f3nde pod\u00eda llegar a ensimismarnos\u00bb.<\/p>\n

\u00abBajo tu punto de vista, \u00bfqu\u00e9 nos estamos perdiendo por estar mirando la pantalla?<\/strong>\u00bb, pregunta Bob\u00e9. \u00abYo creo que nos estamos perdiendo la vida y lo que nos hace humanos. Es cierto que hay \u201cvida\u201d en las pantallas, pero es una vida distante, digital. Yo creo que nos estamos perdiendo el contacto visual, la complicidad, la comunicaci\u00f3n no verbal, la verbal. Todo lo que nos convierte en individuos inteligentes, \u00bfno? Y no hace falta que nos eduque un aparato, que nos haga m\u00e1s inteligentes, porque ya lo somos. Tristemente, cada vez perdemos m\u00e1s…\u00bb.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb623809″ text_color_type=\u00bbuncode-palette\u00bb]\u00abJavier Valero: \u00abLa sociedad desconoce c\u00f3mo utilizar o limitar la tecnolog\u00eda\u00bb
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Ra\u00fal Bob\u00e9
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Levanta la cabeza \/ Atresmedia<\/a>
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1 de abril de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb200188″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb12266″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb639652″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb204270″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb117951″ text_color_type=\u00bbuncode-palette\u00bb]El cr\u00edtico Fernando Valls ha seleccionado para la revista \u00cdnsula<\/em> los mejores libros editados en 2021: \u00abPor lo que se refiere al cuento, destacari\u0301a los libros de Gonzalo Calcedo (Como anades<\/em>) y Cristina Cerrada (660 mujeres<\/em>), ambos en Menoscuarto; el de Domingo Villar (Algunos cuentos reunidos,<\/em> Siruela), ferviente defensor del valor oral de los relatos; Sonia Hernandez (Maneras de irse,<\/em> Acantilado); los de Ernesto Calabuig (Fragiles humanos<\/em>) y Pepe Cervera (Azufre<\/em>), en Tres Hermanas; Nicolas Melini (Talan,<\/em> Franz) y Miguel Serrano Larraz (Si no eres, lo menos que podrias hacer es decirlo,<\/em> Prensas de la Universidad de Zaragoza), que reune una seleccio\u0301n de sus cuentos, elegidos por el propio autor, quien le pone un recomendable pro\u0301logo, unos capi\u0301tulos de novela y algunos relatos ine\u0301ditos. Son todos ellos, como no podi\u0301a ser menos, libros de tematicas y esteticas muy diferentes, si bien con piezas de merito\u00bb.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb134122″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEntre la valoraci\u00f3n y la cr\u00f3nica: la narrativa espa\u00f1ola(en castellano) en el 2021\u00bb
\n<\/em><\/span><\/p>\n

Fernando Valls<\/strong>
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\u00cdnsula-904<\/span><\/a>
\n<\/span><\/p>\n

Abril de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb209194″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb10420″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb573800″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb287172″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb192574″ text_color_type=\u00bbuncode-palette\u00bb]\u00abRafael-Jos\u00e9 D\u00edaz se siente muy cercano a los espacios intermedios, a los territorios fronterizos, a los lugares bisagra, pues, al fin y al cabo \u2014explica\u2014, es justo ah\u00ed, en esos intersticios, donde suelen darse con mayor frecuencia las apariciones que desencadenan los enigmas\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb172747″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUn volumen de relatos que no representa una ruptura ni con la poes\u00eda, ni con los textos fragmentarios, diar\u00edsticos, o incluso los ensayos. Sin embargo, al autor la narrativa le parece un territorio diferente, \u201clos espacios de la poes\u00eda con m\u00e1s interiores, no tan f\u00edsicos, no tan vivenciales\u201d\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb169876″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLos relatos mantienen una conversaci\u00f3n con la obra de Jes\u00fas Hern\u00e1ndez Verano Desfiladeros del sue\u00f1o. Lugares abismales representados por grietas y barrancos pero que a veces son s\u00f3lo mentales\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb160931″ text_color_type=\u00bbuncode-palette\u00bb]\u2014Santiago Toste[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb126406″ text_color_type=\u00bbuncode-palette\u00bb]\u00abCr\u00f3nica fragmentaria de un viaje por espacios abismales\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Santiago Toste
\n<\/strong><\/span><\/p>\n

Diario de Avisos
\n<\/strong><\/span><\/p>\n

7 de marzo de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb298723″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb10382″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb147735″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb193056″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb102819″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUn poemario, La Constituci\u00f3n de Uzupis<\/em>, \u00a0tremendamente original\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb873327″ text_color_type=\u00bbuncode-palette\u00bb]\u00abUn autor dotado de un pensamiento aut\u00e9nticamente libre […] la filosof\u00eda es un motivo recurrente […] mantiene un compromiso pol\u00edtico social sincero\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb167368″ text_color_type=\u00bbuncode-palette\u00bb]\u00abY qu\u00e9 bello es\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb285649″ text_color_type=\u00bbuncode-palette\u00bb]\u2014Rafael Ruiz Pleguezuelos[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb195556″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLa p\u00e1gina de los libros\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Rafael Ruiz Pleguezuelos
\n<\/strong><\/span><\/p>\n

El Ideal de Granada
\n<\/strong><\/span><\/p>\n

12 de febrero de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb534843″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb10352″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb167617″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb161093″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb710029″ text_color_type=\u00bbuncode-palette\u00bb]\u00abMara retrata muy bien la \u00e9poca, el ambiente\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb170287″ text_color_type=\u00bbuncode-palette\u00bb]\u00abConsigue adem\u00e1s, y esto tiene mucho m\u00e9rito, que sea cre\u00edble la voz de una ni\u00f1a de 12 a\u00f1os sin que resulte cursi, ni almibarada, ni redichas ni pedante ni rid\u00edcula. […] En esto me record\u00f3 al protagonista de Malaherba,<\/em> de Jabois\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb422646″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLeed Calcetines de perl\u00e9<\/em> y leed Secretos<\/em>. Mara es una autora maravillosa que os encantar\u00e1 descubrir\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb652294″ text_color_type=\u00bbuncode-palette\u00bb]\u2014Ana Molinos[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb193231″ text_color_type=\u00bbuncode-palette\u00bb]\u00abLecturas encadenadas. Enero\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Ana Molinos
\n<\/strong><\/span><\/p>\n

Cosas que me pasan<\/a>
\n<\/strong><\/span><\/p>\n

3 de febrero de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb856786″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb168872″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb10353″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb448836″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-gyho\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb139012″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb963048″ text_color_type=\u00bbuncode-palette\u00bb]\u00abRecomiendo leer Signos herm\u00e9ticos de una nueva melancol\u00eda<\/em> escuchando un tema de Boards of Canada: Music is Math<\/em>\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb390083″ text_color_type=\u00bbuncode-palette\u00bb]\u00abDefinir\u00eda esta obra como una instalaci\u00f3n art\u00edstica […] tambi\u00e9n como una canci\u00f3n minimalista\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb198682″ text_color_type=\u00bbuncode-palette\u00bb]\u00abAlfonso Garc\u00eda-Villaba ejerce de cham\u00e1n o de DJ […] atrae s\u00edmbolos culturales […] como los de David Lynch, Gilles Deleuze, Mark Fisher, David Foster Wallace, David Cronenberg, Mario Bellatin, Charles Burns, Peter Sloterdijk o Robert Smith\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb328190″ text_color_type=\u00bbuncode-palette\u00bb]\u2014Alejandro Hermosilla[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb847628″ text_color_type=\u00bbuncode-palette\u00bb]\u00abSignos herm\u00e9ticos\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Alejandro Hermosilla
\n<\/strong><\/span><\/p>\n

Aver\u00eda de\u00a0Pollos<\/a><\/strong><\/span><\/p>\n

31 de enero de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb75″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb913263″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb194067″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb][vc_single_image media=\u00bb10345″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb959767″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb141258″ back_color_type=\u00bbuncode-solid\u00bb back_color_solid=\u00bb#f8f8fa\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb176521″ text_color_type=\u00bbuncode-palette\u00bb]El escritor local Javier Valero present\u00f3 el viernes en la librer\u00eda Lagaia Books su colecci\u00f3n de relatos Cabezas abajo,<\/em> sobre las adicciones a los dispositivos tecnol\u00f3gicos y c\u00f3mo el ir por la vida con la cabeza abajo, mirando la pantalla, se ha convertido en una normalidad, aunque, eso s\u00ed, son narraciones en clave de humor.[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-jevc\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb182780″ text_color_type=\u00bbuncode-palette\u00bb]\u00abM\u00e9s literatura\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Badalona Comunicaci\u00f3
\n<\/strong><\/span><\/p>\n

30 de enero de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb75″ override_padding=\u00bbyes\u00bb h_padding=\u00bb0″ top_padding=\u00bb0″ bottom_padding=\u00bb0″ overlay_alpha=\u00bb50″ equal_height=\u00bbyes\u00bb gutter_size=\u00bb0″ column_width_percent=\u00bb100″ shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb177377″][vc_column column_width_percent=\u00bb100″ gutter_size=\u00bb0″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ mobile_height=\u00bb380″ uncode_shortcode_id=\u00bb830947″ back_color_type=\u00bbuncode-palette\u00bb][vc_single_image media=\u00bb9806″ media_width_percent=\u00bb100″ shape=\u00bbimg-round\u00bb radius=\u00bblg\u00bb uncode_shortcode_id=\u00bb305747″][\/vc_column][vc_column column_width_use_pixel=\u00bbyes\u00bb position_horizontal=\u00bbleft\u00bb gutter_size=\u00bb3″ override_padding=\u00bbyes\u00bb column_padding=\u00bb3″ back_color=\u00bbcolor-jevc\u00bb overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb4″ align_mobile=\u00bbalign_center_mobile\u00bb mobile_width=\u00bb0″ zoom_width=\u00bb0″ zoom_height=\u00bb0″ width=\u00bb1\/2″ uncode_shortcode_id=\u00bb174047″ back_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb400″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb264784″ text_color_type=\u00bbuncode-palette\u00bb]\u00abEl volumen re\u00fane 17 relatos de un escritor que se mueve mucho mejor en este territorio que en la novela y la poes\u00eda. Los cuentos, con todo, quiz\u00e1 sorprendan a los que conocen anteriores libros de su autor, aunque en el fondo de subyace una obsesi\u00f3n que encuentro habitual en su autor, solo que ahora intenta reflejar las cicatrices que nos lega la experiencia cotidiana\u00bb[\/vc_custom_heading][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh4″ text_font=\u00bbfont-909954″ text_size=\u00bbh4″ uncode_shortcode_id=\u00bb322912″ text_color_type=\u00bbuncode-palette\u00bb]\u2014 Eduardo Garc\u00eda Rojas[\/vc_custom_heading][vc_empty_space empty_h=\u00bb4″][vc_custom_heading text_color=\u00bbcolor-gyho\u00bb heading_semantic=\u00bbh6″ text_font=\u00bbfont-555555″ text_size=\u00bbh6″ uncode_shortcode_id=\u00bb165769″ text_color_type=\u00bbuncode-palette\u00bb]\u00ab2021: Dieciocho libros a tener en cuenta\u00bb
\n<\/em><\/strong><\/span><\/p>\n

Eduardo Garc\u00eda Rojas
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Diario de Avisos<\/a>
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2 de enero de 2022<\/span>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=\u00bbyes\u00bb row_height_percent=\u00bb0″ override_padding=\u00bbyes\u00bb h_padding=\u00bb2″ top_padding=\u00bb5″ bottom_padding=\u00bb5″ back_color=\u00bbcolor-lxmt\u00bb overlay_alpha=\u00bb50″ gutter_size=\u00bb3″ column_width_use_pixel=\u00bbyes\u00bb border_color=\u00bbcolor-gyho\u00bb border_style=\u00bbsolid\u00bb shift_y=\u00bb0″ z_index=\u00bb0″ uncode_shortcode_id=\u00bb152425″ css=\u00bb.vc_custom_1684871887171{border-top-width: 1px !important;}\u00bb border_color_type=\u00bbuncode-palette\u00bb column_width_pixel=\u00bb1600″ back_color_type=\u00bbuncode-palette\u00bb][vc_column column_width_percent=\u00bb100″ position_vertical=\u00bbmiddle\u00bb align_horizontal=\u00bbalign_center\u00bb gutter_size=\u00bb3″ font_family=\u00bbfont-136269″ overlay_alpha=\u00bb50″ shift_x=\u00bb0″ shift_y=\u00bb0″ shift_y_down=\u00bb0″ z_index=\u00bb0″ medium_width=\u00bb0″ mobile_width=\u00bb0″ width=\u00bb1\/1″ uncode_shortcode_id=\u00bb681218″][vc_custom_heading heading_semantic=\u00bbh5″ text_size=\u00bbh5″ uncode_shortcode_id=\u00bb140829″]Contin\u00faa en Prensa 2021 \u2192<\/a>[\/vc_custom_heading][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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