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O axolote e outros contos de bestas e auga
PREMIO ILLA NOVA DE NARRATIVA 2020
Nestes relatos atoparás unha ducia de historias lostregantes que teñen como elemento común o sobrenatural. Contos que combinan o desacougo co humor, o improbable co imposible, o humano e mais o natural, todo superposto e fundido nunha colección de historias de prodixios e arrepíos.
A auga e os animais –tamén outras bestas– cobran protagonismo nestas páxinas. A autora logra dosificar a intriga e mostra un dominio da tensión para crear atmosferas envolventes e inquietantes. Cunha prosa suxerente e de grande altura estética, introdúcenos noutras épocas e latitudes con mestría e logra conmovernos en cada relato.
Nestes relatos atoparás unha ducia de historias lostregantes que teñen como elemento común o sobrenatural. Contos que combinan o desacougo co humor, o improbable co imposible, o humano e mais o natural, todo superposto e fundido nunha colección de historias de prodixios e arrepíos.
A auga e os animais –tamén outras bestas– cobran protagonismo nestas páxinas. A autora logra dosificar a intriga e mostra un dominio da tensión para crear atmosferas envolventes e inquietantes. Cunha prosa suxerente e de grande altura estética, introdúcenos noutras épocas e latitudes con mestría e logra conmovernos en cada relato.
132 pages, Paperback
First published November 19, 2020
About the author
Lara Dopazo Ruibal
15 books11 followersLara Dopazo Ruibal, nada en Marín en 1985, é unha escritora galega.
Licenciada en Xornalismo pola Universidade de Santiago de Compostela e con mestrados en Cooperación Internacional e mais en Filosofía Práctica. Bolseira na Academia de Roma no 2019, comuneira no Programa de Estudos en Man Común Comúns, Ruralidades e Feminismos.
Un dos seus poemas foi musicado no álbum Alfaias de Fanny + Alexander.
Participou en No seu despregar. Antoloxía poética, Apiario.
OBRAS:
Dende illa peixe (2009). Xunta de Galicia. Serviu de base para a curtametraxe Illa pedra, da cineasta Adriana Páramo, e foi a primeira peza audiovisual en galego con audiodescrición para persoas cegas.
Ovella (2016). Concello de Outes.
Clementina (2016). Edita-me.
Os lobos na casa de Esaú (2017). Chan da Pólvora.
Claus e o alacrán (2018). Espiral Maior.
Premios
2008: Primeiro premio do certame GZ Crea 2008 pola poesía "Dende Illa Peixe"
2015: Certame Francisco Añón de poesía co poemario Ovella.
2015: Primeira edición do Premio Literario Nortear co relato "Clementina".
2017: Premio de poesía Fiz Vergara Vilariño co poemaio Claus e o alacrán.
2020: Premio Literario Illa Nova de Narrativa con O axolote e outros contos de bestas e auga.
Licenciada en Xornalismo pola Universidade de Santiago de Compostela e con mestrados en Cooperación Internacional e mais en Filosofía Práctica. Bolseira na Academia de Roma no 2019, comuneira no Programa de Estudos en Man Común Comúns, Ruralidades e Feminismos.
Un dos seus poemas foi musicado no álbum Alfaias de Fanny + Alexander.
Participou en No seu despregar. Antoloxía poética, Apiario.
OBRAS:
Dende illa peixe (2009). Xunta de Galicia. Serviu de base para a curtametraxe Illa pedra, da cineasta Adriana Páramo, e foi a primeira peza audiovisual en galego con audiodescrición para persoas cegas.
Ovella (2016). Concello de Outes.
Clementina (2016). Edita-me.
Os lobos na casa de Esaú (2017). Chan da Pólvora.
Claus e o alacrán (2018). Espiral Maior.
Premios
2008: Primeiro premio do certame GZ Crea 2008 pola poesía "Dende Illa Peixe"
2015: Certame Francisco Añón de poesía co poemario Ovella.
2015: Primeira edición do Premio Literario Nortear co relato "Clementina".
2017: Premio de poesía Fiz Vergara Vilariño co poemaio Claus e o alacrán.
2020: Premio Literario Illa Nova de Narrativa con O axolote e outros contos de bestas e auga.
Ratings & Reviews
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Community Reviews
Displaying 1 - 6 of 6 reviews
January 12, 2021
Que maravilha retomar a leitura com esta coleção de relatos! Ótimos para desembrulhar e saborear um por um 👌🤍
January 9, 2021
I am not a huge fan of short stories (I need to take a break between stories to clean my brain of images, events, and expectations, and therefore I can't submerge myself in a world as much as I would like). But I grabbed this collection of stories for professional reasons, and I didn't feel disappointed.
Dopazo's style is clear, restrained, free from complications. Her stories are sharp and precise without running into a succession of quick events. In most cases, the key is in the feeling, in the sensation, rather than in the events. A few of the stories don't even have any shocking discovery at the end, but rather a revelation of a world that was always there but we couldn't have seen it, goaded by the delusion of the main character.
But despite some disparity in their structure and in the writer-reader game, all the stories (or most of them) share some common elements that give the book an amazing consistency. This book wears 'A few more stories of beasts and water' as a subtitle, and there are certainly beasts and water in all shapes across it: rain, storms, tsunami, sea waves, islands and harbours... Water plays as liberation but also as destruction. The stories, which are very different in appearance, tend to happen in a strange and common region between life and death, inhabited by humans of all conditions, which makes it easier to pass from a story to the next without spending too many paragraphs describing where we are and how we landed there.
But there also women, women everywhere, which is refreshing and restoring. 'The Women's' Island' is a cruel story that requires two or three readings and which is, to me, central to the book (not that I liked it particularly, but I feel it like a stem for the other stories to grow from), and the final 'Koro and Lot' (both of them women) a perhaps too oniric (to my taste) story of again body and soul restoration.
My preferred story, however, is the opening one, 'The Axolotl': short, sharp, precise, and build upon biology knowledge; minor, perhaps, in its depth, but definitely well measured and, like the rest of the book, extremely well written without being oversweet or overemotional.
Dopazo's style is clear, restrained, free from complications. Her stories are sharp and precise without running into a succession of quick events. In most cases, the key is in the feeling, in the sensation, rather than in the events. A few of the stories don't even have any shocking discovery at the end, but rather a revelation of a world that was always there but we couldn't have seen it, goaded by the delusion of the main character.
But despite some disparity in their structure and in the writer-reader game, all the stories (or most of them) share some common elements that give the book an amazing consistency. This book wears 'A few more stories of beasts and water' as a subtitle, and there are certainly beasts and water in all shapes across it: rain, storms, tsunami, sea waves, islands and harbours... Water plays as liberation but also as destruction. The stories, which are very different in appearance, tend to happen in a strange and common region between life and death, inhabited by humans of all conditions, which makes it easier to pass from a story to the next without spending too many paragraphs describing where we are and how we landed there.
But there also women, women everywhere, which is refreshing and restoring. 'The Women's' Island' is a cruel story that requires two or three readings and which is, to me, central to the book (not that I liked it particularly, but I feel it like a stem for the other stories to grow from), and the final 'Koro and Lot' (both of them women) a perhaps too oniric (to my taste) story of again body and soul restoration.
My preferred story, however, is the opening one, 'The Axolotl': short, sharp, precise, and build upon biology knowledge; minor, perhaps, in its depth, but definitely well measured and, like the rest of the book, extremely well written without being oversweet or overemotional.
November 26, 2024
Grazas ao tren Santiago- A Gudiña rematei este! Un máis, que parece imposible cueste mestrado…
Non sei por que lle puxen mala nota no seu momento, porque desta vez encantoume (e pa ser libro de relatos, é forte!). Se cuadra lino en diagonal a primeira vez ou directamente non o lin e a saber por que púxenlle nota igualmente, porque acordar non me acordaba de nada.
O meu top 3 desta vez foi:
1. Koro e Lot
2. Axolote
3. A muller dos ollos cambiantes
Non sei por que lle puxen mala nota no seu momento, porque desta vez encantoume (e pa ser libro de relatos, é forte!). Se cuadra lino en diagonal a primeira vez ou directamente non o lin e a saber por que púxenlle nota igualmente, porque acordar non me acordaba de nada.
O meu top 3 desta vez foi:
1. Koro e Lot
2. Axolote
3. A muller dos ollos cambiantes
August 23, 2023
No és un 5 perquè hi havia trossets de contes que m'han fet una mica de por... però estic enamorada de Koro e Lot
November 26, 2024
[3,75]
November 15, 2024
Son contos arrepiantes e inquietantes, que xoguetean co medo en cada parágrafo. Encantoume a creatividade de cada historia e as inesperadas resolucións de todas elas
Displaying 1 - 6 of 6 reviews