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unusual, and deaths must talk about Kevin

I have to talk, necessarily, because after finishing this novel by Lionel Shriver , I'm back to enjoying the good feeling terrible and revealing reading. When I reached the last page, I left the volume to one side as if it were a company undesirable. There is a display of sensitivity, it is only one way to step back to avoid judgments too passionate.

Since he won the Orange Prize in 2005, the story of Kevin Khachadurian has been everywhere. Announce it as one of the bestsellers and despite the uncontrollable suspicion with which I approach those shelves, I never cease to recognize that the title of We Need to Talk About Kevin filled me with curiosity.

to its author, had read somewhere that another of his columns in the Guardian, however, not associated with text that was pervasive in all libraries. It was because of the events at Virginia Tech, which I paid more attention Shriver both as to his work. A Lionel cited in more than a story about school shootings in the U.S. or in programs where interviewed commented on the recent murder of students at the hands of a troubled colleague. The reflections of this American based in London, took me to buy the book, hoping that not one of those now popular stories about the hardships and miseries of tormented childhoods.

The first surprise of We must talk about Kevin was the structure. Through the letters Khachadurian Eva writes to her husband, Kevin built there since, three days before reaching age 16, kills seven fellow students, a teacher and a school cafeteria worker. Each letter is a poignant attempt to make sense of an event as tragic and revealing the psychological profile of future criminal.

Lionel / Eva account, using witty descriptions and phrases intelligently made, his life since he brought Kevin to the world. That particular moment when, as she did not feel anything, seems destined to set the existence of the child and provide the basis for an apparent feeling of guilt that the protagonist intends to share.

guilt is just one more on the possible interpretations of what motivates this bereaved mother to describe the horror of having fathered a monster. The narrative evidence a simple explanation not enough to understand the nature of events, because the situations in the novel are complex and any finger is lifted after reading the opening passages may fall at the same speed as it appeared, while advancing the pages. Lionel Shriver

also achieved, despite starting his story with the announcement of the tragedy which the reader aware of the possibility of finding more reasons to develop and doubts to continue to the end. Not only is it important to know why Kevin undertaken against a select group of his classmates, but how he got that fateful day in April 1999. The detailed count of family stories is not without tension and can predict how you will continue or end this text, however, by the grace of the intricacies of the argument, before the final point I'm sure more than one theory can be disassembled.

funny thing also is that the same point that closes the book, may not fulfill that role in the mind of the reader. This is not a reading that can be easily forgotten. Whatever, I guess you can close We Need to Talk About Kevin , but the intensity of this invention daily, bring it back to the story of this murderous teenager, because when there is no precise explanation to understand a particular fact, questions seem endless.

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The circus acrobats

When at the end of the 90 met the Cirque du Soleil , I thought his performances summarized what he needed the circus not to perish in these times of worship to the super fun. My references to the circus were very specific: the famous Oleg Popov, the child visits I made to the National Circus Tent (Cuba) to tour the country and variety acts and magic that moved from time to time national television.

I'm not aware of the ongoing discussions on this ancient art. Perhaps the Cirque du Soleil him the credit for taking it to the theaters and have become something more dramatic than acrobatic. I suppose there are those who defend the tent, privacy and the environment that creates the huge curtain, and others who suggest leaving the circular space and the search for different scenarios. Perhaps theater and circus were always linked. Nor am I interested in telling that story.

This summer, the Roundhouse sponsored an extensive program with groups that depart from the traditional circus, but that adapt according to their various creative proposals. The Collectif Acrobatique Tangier (CAT), for example, offered Taoub, the name comes from a seemingly endless sheet used in their presentation.

What surprised me was the simplicity Moroccan group that mounted its function. They have an elaborate set design, even the scaffolding that one expects to find in a sample of somersaults and spins. The Collective, which mostly comprise members of a family, an act made up of more than an hour from minimal resources including live music, acrobatics and projections. The sounds refer to the Maghreb, a desert climate that evoke images projected on fabrics and in traditional costumes. The routines combine skill, danger and sometimes appeal to the complicity of the public, satisfied warns humor of some situations.

The failure to use any safety features is unique and enhances the authenticity of his performance . These are not too extraordinary, but by the familiarity of the show take on a greater prominence. Taoub is at times a backdrop, curtain, blanket, stage space. Acrobatic

Collective does not fit in most western variants of the circus, its members do not wear tight clothes and flashy, made of special materials to ensure the major body movements. The stunt work in everyday clothes, wearing jeans, t-shirts, shirts and some other tie. I think

the first reference when I was finished, was the confirmation of a personal statement that relates the simplicity of greatness. I also attracted so everyday impact of a theater. To make matters worse, the next day, by chance, we met on the street with TAC members, leaving the underground station due to the stop where the bus would wait for the Roundhouse. After
Taoub
have not changed my opinion of Cirque de Soleil , but after a chance meeting with the Moroccans, I think if I can ever go to the functions of the project was born in Canada, I doubt that has a sequel so common as The action followed the of Tangiers.