Known as an essayist and biographer of innumerable awards, Urbano Martínez Carmenate, from Matanzas, expands his writing skills by offering a book of stories entitled Still Life with a Hat, in which he lays waste to contemporary narrative techniques.
Among his stylistic features, it stands out that most of the texts appropriate widely recreated resources in this century, such as intertextuality, fiction and the use of space-time. Urban starts from the creation of a fact, a fictitious event and tells it as if it were real. This literary discourse allows him to address stories in which the protagonists are ordinary people or ghosts and can also be animals or objects that develop a plot line.
When we speak of fiction, we refer to the human need to fantasize beyond what is called real, through various expressive windows. It is also about giving importance to various expressivities of social or imaginary rank as recurring themes.
The volume has six sections, perfectly delimited, that show the intentions of the writer to reach the conscience of the reader. Their titles are in themselves the allegorical preamble to the content and designs of the 92 pages.
In his stories a free direct style is applied, by giving his gaze to the characters, through short sentences in many cases. The dramaturgical conception of the stories provides dramatic, controversial, contradictory tones at the moment of enunciating the feelings of heroes or anti-heroes and in a leading way, the absurdity, loneliness, rejection of the environment are felt, with special flashes of fear of the death that haunts people who look for illusory signs of evasion.
Intense literary industry in these texts, where the resource of intertextuality is used, recreating universal plots with unexpected twists. It highlighted in this feature narratives as Still Life with hat, that gives title to the book, Trap, Francisca and death, the bride and the sea and Monologue of Isabel watching it rain at Versailles.
For Mutation, juxtaposing planes to the narrative, the purpose of the author to reveal the depths of the character, the emotional experience it is evident, as absurd transformations occur conscious and unconscious level. The character lives the environment that surrounds him from inside himself.
In my opinion, a predominant skill in this narrative constitutes the humor, used to the fullest extent of the black genre, from figurative details, I observe that coincide with literary expression studies.
With obvious successes in the section Divertimentos, ágapes, fisgóneos, the reader dominates feelings of bewilderment, carelessness or parody, appreciable in Circumstantial, Concluso para Sentencia, Peter Pan and Pepito and the Memories of underdevelopment.
It is a reflective critique of the trace of contemporary man, which would not be possible to communicate if it were not through absurdity and irony. Some researchers catalog it: “the culture of tolerance that man has adopted in the face of the deformation of values in the current world.”
In Front Wind, he invites us to what we could call, within the avant-garde language: a literary cubist painting, when a woman experiences movements that move part of her body out of place, causing her countless difficulties, seen from a tragicomic nuance. Likewise Portrait, he confronts this style through chaos.
He also readily assumes the use of time and space. This is seen when characters or events “jump” from the present to the past or future and then back again. This literary resource becomes close in Corpse, Who and Battle.
Given his solid academic training and recognized erudition, with this book Urbano Martínez Carmenate reveals himself as a broad spectrum narrator and above all, as a controversial creator in his generic and social vision, combined with his brilliant profusion of imaginative sensations.
.Original by María Elena Bayón.