This morning rains in the city of La Plata. dealt with some issues at the center and now back on track for I found a painting in chapadur box, 50 x 70. It is aimed at anyone in particular, as stated in the registration pencil behind. called Maja Side. Looks like someone decided that there was sufficient in the paint and pestles and decided to bring it into the trash. Because they found, lying against a dump, outside, wet.
I waited a while standing there, accompanying the poor nice, but no owner showed up and decided I had to adopt it. Who leaves a box, however bad it may seem-over-dedicated, in these conditions? However bad memories bring you, nothing justifies it. Even if it detracts from the artist. So I brought him home. I do not know why, but at least now has a roof and shelter.
way back in the thought that something so compelling about a story. So I think what kind of story would write my friends. Daniel Flores
would secure the side of the cursed object. One who finds the picture suffer a dissipation of its body to become oil, part of the painting. Ramiro
would Sanchiz painting as an object that hides an unfathomable enigma. Surely it would have any clue at Frederick Stahl ucronia should include essential to know (and behind it were perhaps the always enigmatic AMRITA)
describe Paul Dobrynin thereby painting so precious in that words are strokes, finally revealing a sordid and perverse, incest or a terrible end erotic fantasy. John Terranova
would use the table as an excuse for two friends talk about all that talk about their characters. Surely the painting would remain in the background, but would trigger anecdotes would not issue a sociopolitical edge or sexual unexplored. Liliana
Colanzi find the colors in that kind of Bildungsroman that is building with his stories. It might be another story Analía, in which the box would not be central, but just one more element that encourages people to rethink or rebuild in a new direction. Gustavo Nielsen
detest me because it is an artist and what right do I have to assume what they think, but it stuck in the game, you might see in a painting a window into another world, a mirror of ours, a little at a Alicia , but Nielsen style (we all know that when fabulea, improves the original). Andrés Neuman
perhaps focus on the loss of the artist, the elusive luck of the work that goes hand in hand as an offering, which began in his paradise (the time it was painted) and ended up with so infirm destination. Fabio
Morábito could see a couple discussing whether the picture can stay or not in the house. She does not like, but he found it and feel an emotional bond peculiar, inexplicable. Throughout the story, we would understand the subtexts that make the relationships between them and through them with the outside. And somehow end up surprising and subtle.
The question is: what kind of story I write? What I've been thinking for a while. Almost all the ideas that come to mind are obvious. I guess I would include some experience in a novel, as a branch of the main narrative that would be anticlimactic at first and then fundamental from a lyrical point of view.
Yeah, I guess I'll try something. And I think now would be interesting to have a premise and a few writers (such as those mentioned above) each write his story freely. I know it's nothing new, but I want to see how they contrast with each other.
I'd pay for that book.
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