Primary Care Physician Welcome Letter

"Act of War" in Journal of Maneco



MAN AND HIS CIRCUMSTANCES
How should I tell the story? What is the place that the protagonist of the events should take the time to tell the story?
I have not very clear. Personally, I do not get along very well with the reports. Rather, the genre (let me call it the) of the "Memoirs." I am aware of the value stored documentary first-hand accounts, but I like it when the main characters (good or maliciously) end up becoming their personal experience of a particular event in the historical event itself. I believe that history (or the reading of history) is the sum of voices, memories, experiences, and even found relative truths.

why I love the "Historical Fiction" (allow me the call it that), because I think that when history is not enough to explain History is the time to enter into the fiction scene. To bring some order out of chaos, to find transcendent meaning of what happened just yesterday or thousands of years ago. The fiction has the capacity (the license) to rearrange things to contextualize, to put them in perspective, consciously manipulating signifiers and meanings, to play the similarities, poetry games, paradoxes that sometimes, life forget to place at the right time. Intentionally, by breaking down the facts in their founding parties and keep only the items you need for dramatic reconstruction of fact, fiction can take a teaching show the strength of a message.

guess that's why I liked so much syndrome Guastavino Carlos Trillo and Lucas Varela. And that is why I liked both this act of war and Matias Rodolfo Santullo Bergara, the two most important stories of the past 2010 if you ask me take a stand. Here, Bergara Santullo and submerged in Montevideo from September 1968 to June 1973, the years before and after the coup of June 27, 1973, when then-Uruguayan President Juan Maria Bordaberry, dissolved the Chambers of Senators and Representatives, created a Council of State and limited freedom of expression known to the citizens, all with the support and blessing of the armed forces and police. From

four life stories, four stories or memories, the authors construct four fictions that allow us to glimpse, in all its edges (or almost) the passage, as ordinary as extraordinary men and women, and tupamaros repressors protagonists of history. Based on the small details, the authors place before our eyes (to our neurons) the excesses of the dictatorship, interrogation, kidnapping, torture and exile. The methodology of systematic application of terror. But the heroic gesture, the chiquitaje, powerlessness, betrayal, despair, solidarity, the blood. The man and his circumstances.
How should tell the story? So
. Ariel Fernando García