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Friday, September 30, 2022

The Valley of Apparitions and its Characters

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Wilson Rogelio Enciso
Wilson Rogelio Enciso
Escritor colombiano (Chaguaní, 4/15 de julio de 1958), profesional en Ciencias Políticas y Administrativas (Administrador público), especializado en Administración de la Planeación Urbana y Regional y diplomado en: Docencia Universitaria, Educación Virtual, Educación a Distancia y Planeación Estratégica. Laboró con el Estado colombiano entre 1978 y 2015 y fue docente universitario de 1986 a 2012. Es autor de una saga de dieciséis novelas, dos en proceso y cuatro en perspectiva, dos compilaciones de narraciones románticas y más de sesenta relatos. Obras publicadas: La iluminada muerte de Marco Aurelio Mancipe , 2016, novela. Con derrotero incierto , 2017, novela. Enfermos del alma , 2018, novela. El frío del olvido , 2019, novela. Amé en silencio, y en silencio muero , 2017, compilación de narraciones románticas. Matarratón, 2021, novela. Es autor de cuentos y relatos que sube de manera periódica a redes y que publica en Revista Latina NC , en Escondite Literario Tropical y en su página wrenciso.com . Fundó y gestiona desde 2016 la iniciativa literaria: Una novela para cada escuela . Busca incentivar la lectura desde el aula de clase en lugares remotos y de difícil acceso a la literatura, tanto en su país como en otras partes del mundo.

In ‘El Valle de las apariciones’ all the characters have equal importance and protagonism, in addition to the connection between them through the writer, who is the first of the two voices in the novel. Each one builds in its respective section a fundamental part of the framework that comes to life, in an ethereal and unique body, when the reader in his mind joins and finishes all the stories. Yes, each one has their imprint, speech and specific moment to share with the writer, in their own way, what they think, feel, suffer, affect or need to denounce or clarify.

There are three types of characters. There are the humans, those of flesh and blood and their complements: the apparitions with which the writer believes he interacts throughout that journey through the shaggy mountains of the valley that, in the middle of the country, in its middle stride, pays its waters to the Magdala, to the river of the country. The second category is constituted, precisely, by the exquisite landscape and geography, especially that of the countryside, which the writer calls the “beloved rurality”. The third is embodied by the complex and hasty social history of that subcontinental nation.

The delicate sewing of these three categories of protagonists that converge in the work, initially spun with letters from its creation and finished off by the restless imagination of the reader, ends in a watercolor-like filigree, with lace, nuances and exquisitely diffuse footlights that the two voices of the novel are showing him and explaining to the ear of the reader; even the seemingly imperceptible details. These, it is even possible that they go unnoticed in the sight of the unsuspecting. Or, perhaps, some will want to stop seeing or understanding them… their reasons will have those to whom this happens.

Although it seems that most of the human characters and the appearances are of the male gender, after these, in truth, those who take the novelistic stardom are women, although few show their noses in the pages. The male protagonists do what they do and move, in essence, by fibers that exacerbate them in some way, usually with themes of an affective-sentimental, social or mystical nature.

The writer is the visible voice throughout the plot. He is the interlocutor and for whom the other characters appear. But, in essence, his reason for being is his wife, even more so since the fifth decade of his life when he decided to dedicate himself to writing and travel the geography of his country (rurality) donating his social fiction novels in the public libraries of the towns. His wife is a character who, although little is shown in lines, constitutes the existential support of the writer and of almost all his writings, all the more so in ‘The Valley of Apparitions – Choral Novel’.

In his order of appearance, the character who begins to interact with the writer during that three-day journey through the towns of the valley is, precisely, geography (both physical and human), made up of the landscapes, the locals and their respective culture, its idiosyncrasy. This, both in the urban area and, as it moves away from the chaotic capital city, in the towns, the rural area, its beloved rurality. With this character: the physical and human geography of that mountain crag, the convulsive history of that subcontinental country enters the scene. This is told, or revealed in particular, by each character, above all, in terms of those passages that society wants, or needs, for whatever reason, to hide, blur or transfigure.

Arriving at the first town, La Vega de Butulú, the writer runs into the next character, The Passenger, who almost causes his death. However, exciting because of the ballast that peeked at him from when he saw him in the cafeteria where the writer went for breakfast. Thanks to his story, he learned the story of his wife, who left his side with a cardiologist, separating him from his daughter forever. Which in the end led him to incurable and contagious nostalgia, not only the affective one, but also the social one.

After the impasse that almost cost him his life with his starving passenger, upon reaching the next town he interacted with the municipal sweeper, who in turn revealed to him a painful and incurable fragment of recent history, not only of that municipality: Cañas Dulces, but of the country… and it could be said, also, of the subcontinent. The revelation of this character, linked to the sad fate of his wife and children, would go deep, very deep in the mind of the writer.

In the third municipality of the journey, the intellect of the writer is impacted in a transcendental way, not only by the revelations that are revealed to him within a framework of history, culture and religion, but also by the encounter he had, first, with El Guía de Villa Remanso, then, with the stunning and vague Bella Morena Triste, in the main park, in front of her church with its colonial-style white towers.

On the way to My Destination, the end of the first day’s journey, the history and geography of the small town announce themselves and enter the scene, taking advantage of the theater that their beloved rural life had prepared for them there.
In Mi Destino, the host poetess of the literary event to which he was invited, and the reason or justification for that journey, shares with the writer a kept secret from his childhood, where the star actor is a dog that his father Martín gave him as a child and which she called Drone.
In that same town he met the story of a humble woman whom he baptized Artesana lereader, as well as the Caribbean poet with whom he makes the fantastic trip back through the other access road, where, once again, geography, history and subcontinental myths recreate the route, to Agua Viva. In that town they have to pick up, by order and in the middle of an ominous downpour, Doña Aparición. Shadow of a woman who, just as she appeared, disappeared in front of the Pradera cemetery, already in the high plateau of the great savannah, after an enigmatic journey by her side, and announcement of the spectral outcome of the novel, as well as its title.

Available on Amazon .

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sneaky encounters

Every day at 6:40 am they meet in the same place, without fail! After kissing and hugging each other with undisguised passion and passionate love, they sit on the matchless hard cement bench under the concupiscent shade of a proud and old pine tree that guards, no one knows since when, that small popular neighborhood park.
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