Shameless the innocents , plac in perspective, is a work that has withstood the harshest criticism – that of time – and has receiv the greatest reception, that which comes from readers who with renew spirit, generation after generation, still follow its stories. . The remember writer manuel scorza would propose to publish los innocents again , but this time in a massive ition – the remember “populibros” series -, on condition that the title was replac by a more commercial one. After being reluctant, reynoso accept, suggesting one that had been propos in the middle of a party one night at the legendary palermo bar: lima en rock
Where They Look for the
The most orthodox critics react with scandaliz anger after the publication, in 1965, of his first novel, In October there are no miracles . Someone even said that the work should be thrown into a dunghill. It was not for less. Against the background of a traditional festival of hundrs of years firmly root in the religious consciousness of Lima, Reynoso creates a fresco in which the moral rot of the Lima aristocratic class extending its tentacles to subjugate political power, social business lead decomposition and the careerism of the Popular strata, and ideological consciousness, which is torn between quietist intellectualism and revolutionary action, are variegatly intermingl through the massive transitory and falsely leveling ritual of social distances that embodies the procession of the Lord of Miracles.
Slightest Opportunity to
Atheism, sharp social criticism, profane language and the presence of characters debas by the stigma of forbidden sex: elements whose presence the prudish Lima of the sixties could not tolerate. Reynoso would return to the ring in 1970 with The Beetle and the Man . The book opens USA CFO with a curious and brief text that in a single line extends through four pages and in which the origin of the idea that gave life to the book is allud to, and also contains, in its initial pages, a sequence of illustrations that in some way refer to pop art , due to the plastic artist Jesús Ruiz Durand, author of the visual imagery of Velasquism.