Eterno Retorno

Wednesday, July 28, 2021

Thanks Mixar López. Come and read


When I listen to this riddle of Zen masters in jeans and boots –to help develop lateral thinking, formulated by the accordion of Lupe Tijerina and the voice and bass sixth of Homero Guerrero–, I cannot stop thinking about the books by Daniel Salinas Basave (Monterrey, 1974), especially in ‘Requiem for Gutenberg’ (CONACULTA, 2012), which rehearses precisely on the page and its apparent obsolescence due to the widening of the digital library; or ‘Vientos de Santana’ (Random House Literature, 2016), which narrates the adversities of journalism and its reporters in Mexico, where their murders are the ritual of everyday life and where proving the truth is not only impossible but useless. There is also ‘Shoot me like Blancornelas’ (Nitro / Press, 2016), winner of the 2014 Ciudad de la Paz National Short Story Award, which addresses the dilemma of the journalist who aspires to be a writer, a career to reach fame among tragicomedy and the leading role; ‘Bad Whiskey Days’ (UANL, 2016), “Gilberto Owen” National Prize for Literature, stories written from the trench of absurdity; ‘Under the light of a dead star: towards the extinction of the hedonistic reader’ (Fondo Editorial Estado de México, 2016), Unique Essay Prize in the International Literature Contest “Sor Juana Inés de la Cruz” 2015, an essay on everybody we, the readers: “the last combatants in the burning trench of the written word. It is a story of the deceased that we refuse to assume ourselves as such and we bathe every night in the light of a dead star ”. And more recently ‘El samurai de la Graflex’ (Fondo de Cultura Económica, 2019), a novel between biography and fiction that narrates the life of Kingo Nonaka, a Japanese immigrant who arrived in Mexico, acquires an important role in the Mexican Revolution, first as Head of Nursing of the Francisco Villa Battalion and later as a photographer, when documenting the Insurgency, until his story “Hour of the Angelus”, in the anthology ‘Monterrey 24’ (UANL, 2018), about the violence in this city -whose Idyllic editorial design was carried out by Futuro Moncada–: “the Angelus marks the crossing of a threshold, the border towards the final hours”. The book is one and one is written; It has been a long time since the life of Daniel Salinas Basave began another page, a set that is mirror and reflection. The narrative of this author is a reading laboratory, in order to understand not only the functioning of literary creation, but also what is hidden in language, structure, shadow. A portrait that unfolds in front of the page. Daniel Salinas Basave thinks that stories tend to be capricious: “sometimes they insinuate themselves and hang around us for years; they wink at us, touch our legs under the table and give us glimpses of how extraordinary it would be to narrate them, but it all boils down to a game of seduction, an idyllic mental castle from which a first stone never springs ”, so he finishes off stories and authors as if it were an obsessive romance, “suddenly I grab a nail as an author and I exhaust it.”