Prologue

The silences of Mary is a horror story with a ghostly voice that speaks to the ear of an abusive and an obstinate, to convince her to commit suicide, and carry out a motherless to gathered up the threads to allow a vengeance, partially effective and unfair, from the after life.

The silences of Mary is also a story of a man and women uprooted within their own country the Alacantí, and the impossibility to escape of a lot of surrounding yourself in the world before fate forces you to reach the edge. But it is also a story of redemption with bittersweet end rendered elements of the prospectus, without gore or swearing, thanks to the chiaroscuro and nuances in justifying the behaviour of the characters. Some characters who are not maché, but must create itself a moral attitude against themselves and others against the environment, the estrangement, and the fate. Not surprisingly, then, who cares, is forced to shoot straight and not skip the precepts of the known that about ends and means, which has cost so high for the powerful as ever. That the sacrificial victim of the argument it ends up being a poor devil who has been by chance because of the ravages of a disastrous parents, the aspirations of a girl and a patriarchal despotism of Arabic traders, could explain the partial injustice criteria mentioned at the beginning. Why noses, the reader will wonder compassionate, the Moor unredeemed must continue to keep his harem, here in Dubai, and his wife-victim should be able to enjoy a post-mortem revenge as round, at the expense of another paper makes Galdós the scapegoat in the macho culture, that clashes between a woman and the male that seduces and represent her? Of course we can always consider that the author has been guided by a strategy retro avenger for women and say that ultimately, men have no choice: either medieval despots or domestic abuse. Because The Mary silences is also a story of how it can be unsuccessful intercultural dialogue when the representatives of socio-cultural paradigm, on both sides of the Mediterranean, the good Christian or Arab infidel, are represented by the masculine.

But of course things are not going very well here, in this novel, unless it considers that the author is innocent. And for too long that we know the first thing to do to become a writer is author of innocence to stop junk room. Therefore, as Carlos Cortes has no a hair of innocence, we must agree that it is the narrative voice that wants to pass as innocent. And this is precisely where the author challenges the reader pay attention, for this narrator’s voice acts as a deus ex machina that brings the action to a happy end in the form of meeting two sisters who have earned the right to happiness as possible against the ruthless life since the death compassionate meet in the afterlife between spouses who were unable to find happiness in this miserable world.  As a traditional man would said, because the author does provide the reader through the twists and turns of plot, structure, composition, and these shadows of the characters, is sufficient information to judge the ultimate intention of the narrator’s voice and see the protagonist in a light contrasted against excessive exposure to light or Persian Alicante. Put another way: through the ghost talker, a good reader will see a woman who wanted to silence too much.
With this, a careful reader should not be left beguiled by the arts.
Julia de Jodar (Barcelona, presentation of 27.11.2009)