
Donde el silencio se bifurca
Periférica, febrero 2018
Journalists, murders, cops… The noir novel “by other means”, could be said. As in Piña’s previous novels, the prose in the book does not wallow in rhetorical twists, but builds upon image and reflexion.. Also, upon an imagination that knows how to dive in reality, in the present of violence and meaninglessness.
At odds with other current almost nineteenth-century-esque novels, in which biographies are depicted “clearly” and backdrops are too trite, Piña exploits here the traits of the novel as space for suggestion and research on the human. The reading of one of its best passages teaches us, as well, that stories can also be told through dreams and also through the senses.
“Beyond its themes and fantastic‐style resources –and by the former I mean Henry James, and Edgar Allan Poe and his Latin American epigones–, Piña’s narrative responds to the course of Anglo Saxon’s top 19th Century literature, brought into the present of our language. A hard‐to‐pigeonhole writer,
magnificent reader and valuable critic who knew how to avoid neither being boxed in Academia nor going headlong towards the spectacular publishing landscape.” David Miklos, Nexos Revista Digital
“Gerardo Piña lets us know that the veracity in the language is farther then one would assure as truthful.”
Gilma Luque, Revista Variopinto
“Gerardo Piña manages to keep captive the attentive reader, not so much by his stories, but by his invertebrate tendency to maintain him or her in a state of constant strangeness and this feature, in this times of absolute complacency with the reader from the formal point of view, is something to be thankful for, as he forces to exercise all the time the imagination and try to stitch up the impossible reality of the narrated facts. Without a doubt, an uncompromising author.” Gregorio Martínez Moctezuma, Azteca 21