Loaʻa nā palapala Venezuelan i nā leo o ka impetuous Karina Sainz aiʻole ka mea koa mua ʻO Juan Carlos Mendez kēlā poloka hou o nā mea haʻi moʻolelo i kā lākou exodo kikoʻī kahi e nānā ai i nā ʻano homelands āpau (ke kamaʻilio nei e pili ana i ka lawe pio ʻana i kahi politika i makemake ʻole wau e komo). No ka mea ʻO ke kākau ʻana kahi wānana o ka mea a ʻo ka mea hoʻi i waiho i hope. No ka mea kākau wale ʻoe e pili ana i ka mea āu e noho ai a i nānā ai paha. Mālama ka moʻoʻōlelo i ke koena.
ʻO ke kuhi ma waho o ka terroir kākau ʻelua me kēlā home ʻole a lākou e makemake nui ai a haʻo (ʻo ia no nā eñes) a i ka hana ʻana e lawe mai i aneane a haʻalele ʻia nā Sainz a me Méndez emanate i ka ikaika i loaʻa wale mai ka inertia i ʻaʻole hiki ke ukali ʻia i ka ʻoluʻolu a i ʻole ka hoʻāʻo e noho i lalo a haʻi i kekahi mea.
Kuleana ʻole ʻia no kekahi kumu ..., i nā manawa ʻē aʻe ʻo lākou nā mea kākau nui o ke kenekulia iwakālua. I kekahi manawa e like ka like me nā hulu e like me kēlā o kēia mau mea kākau ʻelua i hohonu a i ʻole deform i kā lākou mau kuka ma ke ʻano he haʻiʻōlelo variable e hiki ke loaʻa mai ka moe a ka realism e pono ai ka hoʻomākeʻaka, me ke ʻano noir.
ʻO nā puke noveloma kiʻekiʻe ʻekolu e Juan Carlos Méndez Guédez
Ka hulahula a Madame Kalalú
ʻO ke kanaka mua kāu mea. Hoʻohuli nā mea haʻi moʻolelo maikaʻi i kēlā haʻi ʻana, e hāwanawana nei ʻolua a me aʻu ma waena o ka protagonist a me ka mea heluhelu e hōʻeha hilahila ʻole i kēlā ʻili mea heluhelu e noho ai nā ʻōhumu. A laila aia ka makemake e hoʻonāukiuki i nā mea āpau, ka hana hilahila ʻole e haʻi i kahi mea pīhoihoi e hoʻonui ana i ka kānalua mai ka disconcerting.
Alakaʻi ʻo Emma i kahi ola kūpilikiʻi ma ke poʻo o kahi hui i hoʻolaʻa ʻia no ka ʻaihue o nā mea hoʻonaninani a me nā hana noʻeau. I ke aloha me ke kāne ua hui ʻo ia i hoʻokahi pō ma Madrid a makemake e hana i kekahi mea e loaʻa hou iā ia, e hoʻopau ʻia kona ʻiʻini e kahi hanana kupaianaha: hopu ka mākaʻi iā ia ma Pokukala, a hoʻopiʻi iā ia no ʻekolu mau pepehi kanaka.
A laila pono ʻo Emma e wehe i nā kī o ka hewa āna i pili ai, ʻoiai ʻo ia e loiloi ana i nā manawa hoihoi loa o kona ola, kahi kūliʻiliʻi o nā ʻaihue hoʻowahāwahā, nā pāʻani ʻike a me nā hanana erotic i kekahi manawa.
ʻO kahi puke ʻeleʻele me nā uila o ka hoʻomākeʻaka aloha, nā moʻolelo hoʻokalakupua, nā moʻolelo aloha a me nā hoʻomākeʻaka, ke hōʻike mai nei ka hulahula iā Madame Kalalú iā mākou me ke ʻano o ke aloha, kahi wahine o kēia au i hiki ke hoʻohuli i ka honua i lalo e hoʻokō i kāna mau makemake.
Nā pōkole pōkole
I kekahi manawa, lawe mākou i nā ʻeke mai ʻaneʻi a i laila, hana mākou i nā misionari i hāʻawi ʻia iā mākou me ka kānalua ʻole. He mea wale nō ia e hoʻopiha i nā hana uku i kapa ʻia ʻo nā uku. ʻO ka hoʻihoʻi he mea wale nō ia e hāʻawi i ko mākou manawa. ʻO ka paradox o ka hana ma waho o ka pono no ka poʻe e hana wale ana e ola i ko lākou kūlana. A hiki i ko mākou hoʻoholo ʻana ʻaʻole, ʻaʻole pono mākou e hana me ka ʻike ʻole i ka hohonu o nā kumu āpau a, no ke aha ʻole, nā mea i loko o nā ʻeke.
Noho ʻo Donizetti ma ka palena o kāna mau hiki: ʻelua keiki, wahine, wahine mua a me ʻelua mau hale e kākoʻo me kāna loaʻa kālā hōʻemi. ʻO ia ke kumu i ʻae ai ʻo ia i kahi mikiona enigmatic: e hoʻoneʻe i nā pōkole mai nā Caracas pilikia i nā kūlanakauhale e like me Roma, Geneva, Paris a me Madrid paha, inā ʻaʻole ʻo ia e nīnau e pili ana i ke ʻano o kēlā mau huakaʻi a me nā ʻike o nā ʻeke.
Akā ʻo ka hui aloha pū ʻana me Manuele, kāna hoaaloha mai ka wā ʻōpio, ua ala aʻe i loko ona ka manaʻo paʻa e hāʻawi i kona ola i ka wili e hiki ai iā ia ke hoʻopakele i kona ʻohana mai kahi mea maoli i kahakaha ʻia e ka hana ʻino. I waenakonu o kahi ao pilikino e noho ʻia e nā lawehala maʻamau, nā paramilitaries, nā mea kūʻai aku i nā mea kaua, nā kiu a me nā kānaka kaulana, ua hoʻomaka ʻo Donizetti i kahi hoʻolālā pilikia e kiʻi i kahi kālā he nui a hoʻokō i ka hoʻokahuli aupuni e hoʻololi mau loa i kona ola a me kāna mau keiki. .
Kū ka nalu
ʻO ka hana ʻeleʻele nui loa o Méndez Guédez. ʻO kekahi o nā puke noir e hoʻolauna iā mākou i kahi honua i lalo, kahi e noho ai nā wahi kaiāulu nā keʻena, kahi e holo ai ka mea i lalo ma waena o nā mākaʻi a me nā ʻoihana ...
ʻO Caracas ke kūlanakauhale weliweli loa ma ka honua, a ma laila kahi nalowale o ka Spaniard Begoña de la Serna, ke kaikamahine hele hewa o kahi luna politika conservative koʻikoʻi. I mea e ʻike ai i kona wahi, hoʻolimalima ka ʻohana o ke kaikamahine iā Magdalena Yaracuy, kahi mākaʻikaʻi maoli nāna e hoʻoponopono i kāna mau hihia, hoʻohui i nā kilokilo, nā hana koa a me kahi pahuhopu pololei me nā pū.
Akā paʻakikī ka nalowale o Begoña. ʻO nā lawaiʻa koko, nā hui paramilitary, nā mea kāʻili, nā mea kūʻai lāʻau lapaʻau a me nā limahana pūʻali koa kolohe, e hoʻopuni ana i ka honua o kēia kaikamahine i hana hewa paha i ke aʻo ʻana e pili ana i nā mea huna weliweli i kahi ʻāina i haki ʻia e ka lahilahi, ka makaʻu a me ka hana ʻino.
Pono ʻo Magdalena Yaracuy e hoʻohana i kāna wit, kāna intuition a i loko o ka heihei huhū e kūʻē i ka manawa e hoʻopakele i kāna mea kūʻai aku ma mua o ka hopu ʻia ʻana e nā ʻenemi he nui e makemake ana e luku iā ia. ʻO kahi pīhoihoi pīhoihoi, me kahi ʻano aloha, aloha a hoʻomākeʻaka hoʻi i hiki ʻole i nā mea heluhelu ke poina.
