Shelves: fiction , translated , around-the-world , argentinian-literature Kamchatka is a novel by the Argentinian writer Marcelo Figueras set in , one year during a disturbing era of Argentinian history under military dictatorship, often referred to as The Dark Ages, a time when speaking out against the establishment gave rise to a terrible number of Disappeared. Ordinary people vanished without trace, neither arrested nor imprisoned, there was no record of their detainment, they simply disappeared, believed to have been disposed off. The author mentioned in an interview with Stu Allen that the subject has been written about by many authors and in his opinion many of those stories follow a similar trajectory of a romantic young man or woman, their involvement in politics, a kidnapping occurs, torture, death and the law courts follow. He wanted to do something different, to write about what those who were not kidnapped endured, a different horror. By making a year-old the narrator of his novel, he puts the reader right into this fearful and confusing situation of sensing being in danger and yet understanding nothing about where that fear is coming from.

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Su questo mi ci gioco quello che volete. Come vedete in nessuna delle due condizioni si prescrivono caratteristiche curricolari del suggeritore. Ecco quindi che il suggerimento di Gina Maneri per me aveva entrambe le caratteristiche.

Basta essere onesti e sinceri quando si offrono consigli, tutto qua. Ora Kamchatka. Vi dico invece qualcosa sulla storia bellissima. I protagonisti sono una famiglia; madre, padre e i due figli, maschi, di dieci e cinque anni.

Nel avviene il golpe militare e inizia la persecuzione degli oppositori da parte della polizia. Le violenze e i sequestri e gli assassini. I genitori saranno due tra le migliaia di desaparecidos argentini. Si possono trovare molti paragoni. Era come se fosse rimasto vittima di una combustione spontanea, come la contessa Cornelia Brandi di Cesena nei primi anni del XVIII secolo: era andata a fuoco da sola, puf, arsa dal proprio calore interno, e si era consumata in men che non si dica.

Ma il Nano non si era disintegrato. Si grattava la testa nel punto che aveva battuto e sembrava sul punto di scoppiare in lacrime. La consiglio a tutti.


Marcelo Figueras

Instead, he focuses on the personal rather than the political" - Lucy Popescu, The Independent "The result is a claustrophobic tale which exhibits real affection for its characters. Similarly the illustrative quotes chosen here are merely those the complete review subjectively believes represent the tenor and judgment of the review as a whole. We acknowledge and remind and warn you that they may, in fact, be entirely unrepresentative of the actual reviews by any other measure. The mother, a scientist at the university who has never been obviously politically active in a way threatening to the new regime, is in less immediate danger and continues working for a while though she is eventually fired , while the father, a lawyer, faces more immediate threats. Harry is a big fan of Risk, a board-game that pits armies against each other in an attempt to achieve world domination; one of the regions on the world-map board -- the most distant from Argentina -- is that of Kamchatka, at the eastern edge of Siberia, and it is this place, both symbolic and real, that Harry retreats to.


Kamchatka – Marcelo Figueras

When the time for the nominations came, the Argentine Film Critics Association credited the authorship of the final script to both of them. The title thus alludes to the family situation of hiding away from imminent peril as a final act of defiance before their ultimate downfall. Politics in Argentine films[ edit ] Kamchatka is part of what can be considered a second group of films to be made in Argentina since the downfall of the Proceso dictatorship — Another film in the second group is Veronico Cruz The first group, including such films as The Official Story , Night of the Pencils , and Funny Dirty Little War dealt frankly with the repression, the tortures, and the disappearances during the Dirty War. This second group of films uses metaphor and suggestive images, and hints at wider socio-political issues.

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