Castro Eduardo Alcantara. 
Poet narrator: Miguel Ildefonso.
Lima The writer has just published his third work of fiction, "The Last Voyage of Camille" by Grupo Editorial Norma.
- has published two books of fiction, "" The Last Voyage of Camille "is part of a trilogy?
Each book is individual, but "The Last Journey ..." can be read as the end of the above, and rescued the characters here and some loose stories of the earlier books and try to weave the story. This book aims to absorb many dimensions of a certain age, through young characters who are doomed to a search for continuity and integrity of their innocence. In all three books are a lot of testimony and I am more evident than in my poetry. I had to write before I forget, I processed or I become fatter or more bald. This trilogy is a sort of initiated several projects that I have narrative in mind.
- Al also cultivate poetry, "it is difficult to travel between these two genres?
I think so, but now I feel very confident of both. Before I was more engaged with poetry, my relationship with the language was very intense and it was hard to maintain some objectivity in the language. Conceive poetry as scenes, as part of reality and filtering in memory. While convey many feelings, I have also tried to convey ideas. No cost me, on that side, move to the narrative, but I struggled to maintain that distance with language.
- However, in "The Last travel ... "does not appear at all of poetry, including the structure seems to be handled in prose ...
Yes, and the characters are poets. The idea that these characters asocial guide is poetry, and due to this speech language and sometimes sound delusional. These books can be a kind of transformation of the poet narrator, seen through the language itself. Now, these kinds of management with greater control.
- has admitted influences Javier Heraud, Charles Bukowski, César Vallejo and Luis Hernandez. Do you have something to do with the tragic life and untimely death of these authors with an interest in them?
morbid That's me (laughs). Some artists have always wanted to die, especially when young. It's a way to transcend physically, but spiritually transcendent art is and that's what it portrays the story of Camilo. At the end we do not know if Connor was killed or not, or may not matter much, but there is someone like Paul who takes care of it transcend. It is the frustration of an artist who may have been born to go further, but this reality is so strong that it kills or domestic. This book is my symbolic death, attempt to persist in the art, which is my way of seeking transcendence.
- Where does your interest in telling stories of marginal?
I have always lived across the border. I lived in La Victoria, in a development called Apollo, surrounded by streets and always saw it as a border of formal and pop. When I traveled to the United States ended up living on the border with Mexico. So I have always been within bounds and in my projects I tried to capture that side marginal, not necessarily by the morbid interest in delving into the sordid, but as a criticism of the system and to recover their good points.
- Finally, what are your next projects?
I have several ideas for novels and prose that cost me to take right for personal reasons: I'm leaving the country again. These projects will not have anything biographical or at least almost anything, I think I have achieved a maturity that hopefully will show where they are concluded. For the moment I think to migrate, do not know if the U.S. or Europe. It does not matter much: I have built my own world that I can carry on a sheet of paper.
EDUARDO CASTRO ALCÁNTARA
The data
Miguel Ildefonso (Lima, 1970) studied literature at the Pontifical Catholic University of Peru and has published a book of short stories "El Paso" (2005) and the novel "Hotel Lima (2006). He has also published poetry books "Vestiges", "Ghost Towns" and "symphonic landslides, among others. 07/09/2009
Source: Journal
"Express."
Taken from the blogs:
http://nidodepalabras.blogspot.com/
