The puppeteer Dingo's carriage hits a young child while passing through the village of Artemilla, the miserable village from which he fled years ago to join a troupe of acrobats, aspiring to make his entire life a continuous festival. He resorts to his old friend, Juan Medinao, to help him in this predicament, but his contact with the village master will finally awaken the details of the painful past, and with them he will begin a relentless journey through memory, recalling his relationship with his father, his mother’s suicide, and the mixture of hatred and love that he felt towards his brother. Stepbrother.
In this small-sized novel, but with a big impact, Anna Maria Matute is able to delve into the depths of her characters, searching for the deep scars that childhood leaves in their souls, revealing with keen insight and high sensitivity the most complex and profound human feelings, in a dense narrative that makes room for emotional feelings. Inferiority, fear, isolation, and hatred can tell their story too.
I do not see the universe as a collection of objects, theories, and phenomena. Rather, I see it as a vast stage on which actors move, driven by the complexities of the story and its plot. So when writing about the universe, it is natural to bring readers to the stage, and behind the scenes, to see firsthand for themselves how the scenes are prepared, how the lines are written, and where the events will take place later. My goal has always been to provide insight into how the universe works, which is more difficult than simply conveying facts. We will encounter times along the way - as in the best theatrical performances - when we smile, and at other times we frown when the universe calls us to do so, and at other times we will tremble in fear before it as well. Therefore, I see the book “Death in a Black Hole” as a gateway for the reader to everything that excites us, enlightens us, and terrifies us in this universe.
Neil deGrasse Tyson
