About
the Book
On the fifth decade of the sixteenth century,
the Llorona was executed at Mexico's Main Plaza for the murder of
her children. After the execution, the murderer mother returned
from the valley of death to weep for the horrifying crime. "Oh, my
children, my poor, unfortunate children!" she yelled out at the
plazas, markets, tree-lined avenues, crossroads, cellars, and the
attics. Rumor has it that she's possessed by the goddess
Cihuacoatl, by Lucifer of hell.
The secret that is today uncovered in its totality in a
blood-curdling, lucid manner, by the extraordinary Mexican
novelist Juan Trigos, to the point that it touches the peak of
terror, was concealed for more than four hundred years. Juan
Trigos brings this legend alive in a story that combines the most
exquisite feelings with the most bitter truths. For the first time
since the dramatic events occurred, we are masterly presented with
the life, deaths, and resurrections of the Llorona, who, according
to Trigos, surfaces to reality not precisely as a shadow or
immaterial ghost, but as a heavy, three dimensional being blessed
with a tongue, heart, teeth, hair, and good God!, with a bereaved
voice sized with a supernatural clamor.
Root, live heart, tradition, a major mysterious legend, at last
the Llorona comes to live in a work that is moving and ferocious,
delicate and abrupt, well researched and genuinely popular; work
that uncovers what remained hidden for so long, revealing details,
atrocious events of unimportance that give meaning to her story.
About
the Author
Juan Trigos
(1941-)
Creator
of the aesthetic literary style Hemofiction. Literature of
search which reflects on the bleeding of the consciousness in
multiple mirrors, where it contemplates with horror the thousand
faces of personal infantilism, process which endures desolation
and anguish, indispensable symptoms on the road to individuation,
path of ascension towards human. To be, it is necessary to suffer
an internal revolution, practically impossible to reach. Maybe,
someday, the spiritual awakening leads man to paradise – another
dimension of consciousness – which could mean the full
responsibility of which most characters, created by Juan Trigos,
run away from, precisely by humans.
Hemofiction
opens doors to the personal conscience of the author and, through
expansive reflection, towards the intimate knowledge of the adult
reader, who is capable to glimpse into ones own abysms. He stands
against the Europeanized concept of literature history, all class
of paradigms that oblige copy and diminished positions in writers
that start from a different spine for their creations and, for the
same, do not belong, nor want to belong, to a universal abstract
cultural sphere which tends to simplify the extreme richness of
the soul.
Hemofiction
is serous literature, points towards the exit of the everyday
insane asylum. Invents realities which seem like games where the
spiritual depth is illuminated by experience. This extraordinary
writer looks with pitiless objectivity the most darkest tendencies
of the human being. The works which have given him fame, are all
now united under the seal of Fontamara: Cuento del perro
bailarín, Déjame que te mate para ver si te extraño, La Llorona,
Mulata del diablo, La leyenda de Don Juan Manuel, La diabólica
santa de las tijeras, Callejón de las ratas, Policías y rateros,
El maniático homre de la bacinica, Leyenda del sapo matón, Crímenes
en la profesa, Rincón de las calaveras, Leyenda del hombre verde,
Diario de un cuervo humano, Mamá es loca o está poseída, El
tapado, Castigo, Divino placer, La guillotinita, La culpa,
JuanCamaleón, el hombre mimético, Carne y tripas de gusano, Hijo
de tamalera, Confesión de una muerta, Nuestra Señora del rostro
rasurado, Araña negra y peluda, La zarpa, Cuentos de hemoficción,
Leyenda de los espíritus, Yo digo que soy yo, pero quién sabe,
El hombre-reloj; and now in English: La Llorona, Let
Me Kill You to See if I Miss You, and The Guilt.
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